Havmannen - et estetisk møte

• Main Author: Brandanger, Annett Elen Theim
• Format: Master Thesis
• Language: Norwegian Bokmål
• Published: The University of Bergen 2013
• Subjects: Kunst; kunsthistorie; Politikk; estetikk; sansning; mikropolitikk; Jaques Rancière; Bourdieu; Pierre; samtidskunst; skulptur; betrakter; politisk estetikk; Kjønn; Antony Gormley; 713203; Jaques; Kjernen; Mo i Rana; Norway
• Online Access: https://hdl.handle.net/1956/6808

The politics of spectatorship and the aesthetic writings of the French-Algerian philosopher Jaques Rancière (1940) are the main focal points in this thesis. The aesthetic writings of Rancière have received increased attention in the last few years. A recurrent motif in his work is capturing the relation between politics and aesthetics, and their various meanings in different contexts. Rancière sees the aesthetic as a historically determined concept which designates a specific regime of visibility and intelligibility of art, which is inscribed in a reconfiguration of the categories of sensible experience and its interpretation. For him, the aesthetic as that which has been denied, when reconsidered on equal terms, is a potential site of emancipation. This leads into a discussion of what art does, and how it might have a political impact. Among others, political emancipation is to be seen in the literature of the oppressed" - unrecognized voices in society. For Rancière, such works constitutes an event. This thesis examines such an event - around 100 poems spontaneously written by ordinary women and men. They were inspired by a work of art, the sculpture Havmannen (1995). Havmannen, made by the British sculptor Antony Gormley (1950), is situated in the town of Mo i Rana, Norway. Through the thinking of Rancière, the poems are linked to his understanding of event, equality and the aesthetic - Rancière's own term on which political emancipation is to be fought for. In doing so, this thesis also presents the sculptor Antony Gormley, examines his work of art Havmannen, and charts the legacy of traditional thinking - art as it is understood by Clement Greenberg (1909 - 1994) and the structural polemic against aesthetics by Pierre Bourdieu (1930 - 2002). I denne masteroppgaven er betrakteren både mitt utgangspunkt og mitt omdreiningspunkt. Ved hjelp av den fransk-algeriske filosofen Jaques Rancière (1940), blir spørsmålet om betrakterens rolle plassert i kjernen av diskusjonen om forbindelsen mellom kunst og politikk. ...