Bad parrhesia
The limits of cynicism in the public sphere
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This paper examines the limits of Cynical parrhesia. Based on fieldwork with artist‐activists in post‐recession Dublin, I recount their fraught efforts to use adventurous artistic expression to provoke a critical awakening in an audience of strangers, who instead respond with derision. My focus is thus on a narrow but prevalent feature of artists’ work and lives, and the public’s experience of challenging genres of provocative public criticism: the encounter with unintelligibility and alienation in the public sphere. I thus deploy ‘bad parrhesia’ as a tool through which to consider the factors that mitigate against artists establishing the desired critical relationship with audiences. Nevertheless, though these parrhesiastic encounters do not succeed, I argue that they do not yield an absence of social relations but relations of an anti‐social kind. Departing from readings of parrhesia as a form of individualism, corrosive to relationality, or a playful reaction against the failures of liberal democratic politics, I make a case for framing parrhesia as a relationship of contestation over which kinds of public criticism are judged to be intelligible and valuable responses to moments of cultural crisis in northern liberal democracies.