In this article we focus on the potential for an alignment of certain feminist artistic practices and poststructuralist conceptions of critique that may enable ways of theorizing practices of resistance and engender ways of practicing resistance in theory, without the lurch back into masculinist forms of dogmatism. It will be claimed that an ontological conception of art, considered as that which makes a difference in the world, can not only challenge the primacy of the dogmatic and masculine ‘subject who judges’, but also instill ways of thinking about, and ways of enacting, feminist artistic encounters with the capacity to resist dogmatism. The theoretical stakes of this claim are elaborated through complimentary readings of Deleuze and Guattari’s constructivist account of philosophy and Irigaray’s feminist explorations of what it means to think from within the 'labial', rather than from the position of the dominant phallic symbolic order. We argue that this creative conjunction between Irigaray, Deleuze, and Guattari provides the resources for a conceptualisation of both feminist artistic practice and the critical practice of poststructuralist philosophy as forms of resistance to the dominant patriarchal order, in ways that can avoid the collapse back into masculinist forms of dogmatism. Revel’s discussion of the role of constituent rather than constituted forms of resistance is employed to draw out the implications of this position for contentious politics. It is concluded that constituent practices of resistance can be understood as a challenge to the phallogocentric symbolic order to the extent that they are practices of a labial art-politics.
A Labial Art-Politics
Hollie MacKenzie and Iain MacKanzie
The Art of Slow Sociality
Movement, Aesthetics and Shared Understanding
Jo Vergunst and Anna Vermehren
This article presents reflections on the theme of sociality from a mass-participation art event in the town of Huntly in north-east Scotland in 2009. Drawing on Alfred Schütz's notion of the 'consociate' and related concepts, our efforts are directed towards understanding the nature of sociality that the event created for the people involved in it. We consider slowness as an actual experience through pacing and cadence, and also the tensions between experience and the requirement that art should have measureable impact.
Walking utopias. The politics of walking in art and anthropology
Walking has become a common form of practice in contemporary art. Recent anthropology has been influenced by art walking practices. In this paper, however, I show significant differences between art walking and what we could call ‘Walking anthropology’. The former is more explicitly engaged, in many cases, in the ‘politics of walking’. These politics, on the one hand, could be based on ideas of walking as an everyday prefiguration of a future utopian society. Yet on the other hand, walking art could also be a critique of existing forms of everyday power and mobility as they are inscribed in the landscape and the city. In walking anthropology these concerns with the politics of walking seem less evident. Comparing artistic and anthropological practices and discussions of walking, my final objective is to critically evaluate the concepts of ‘politics’ and ‘utopia’ in art and anthropology.
Silence in the Woods
Finno-Ugric Peoples of the Russian North and Western Siberia in the Ethnographic Literature from the Eighteenth to the Beginning of the Twentieth Century
.] Zhurnal M.G.I . 4 : 3 – 36 . Leete , Art . 2005 . “ Accounts of cannibalism, human sacrifice, alcohol-addiction and filthiness among northern peoples .” Acta Ethnographica Hungarica 50 ( 1–3 ): 241 – 258 . Leete , Art . 2014 . Guileless
The AfD and the End of Containment in Germany?
integration possible. Time will tell if 2017 was the year that this formula was abandoned. Notes 1 See David Art, “The Containment of the Radical Right in Europe,” Ethnic and Racial Studies 38, no. 8 (2015): 1347–1354. 2 John Lewis Gaddis
Echo and the Ecumene
Grasping the Estonian National Museum
Art Leete and Patrick Laviolette
shortcut through the fields, arriving fifteen minutes too early. ‘I expected Art to arrive around ten minutes early because this is the kind of person he strikes me as being. So I should have gone in and used the loo … Instead, I couldn't resist the chance
Routine and Authority
The Return of the Russian Orthodox Church to Komi Rural Communities
Art Leete and Piret Koosa
since 2006 (Art Leete started his individual ethnographic field studies there in 1996). 1 We attempted to collect data about the contemporary religious situation in the district and about religious feelings among the local Komi population. We questioned
Anthropology, Art, and Folklore
Competing Visions of Museum Collecting in Early Twentieth-Century America
At the turn of the last century, it was not at all a settled question as to what kinds of objects museums should collect. The boundaries between art and anthropology and between art and craft were fluid and contested. In the great age of museum
Inherited Trauma, Place, Embodied Memory and Artistic Practice
Lorna Brunstein and Katie O'Brien
creative practice. In Brunstein's terms, ‘the Holocaust was always present in the house’, and it was only by her leaving home and making art that she was able to explore who she was and find a way to live with her history. In this interview, she is in
Contextualizing the Artistic Repertoire in Museums
The Role of Nonartistic Factors
Liora Aldes and Tally Katz-Gerro
Studies of cultural markets examine the social, economic, and organizational aspects that shape the content and form of art and culture in society ( Frey 2019 ; Heilbrun and Gray 2001 ). This article seeks to contribute to this literature by