Art and Politics May Art and Politics .- "All art is political, even those who are exempt from these discussions is" . We already know.
"Art is a tool of social transformation" . Know as well. But how they are made, at present, these intersections between art and politics? Can ignored the "politics" of the artistic field in these debates? Is it enough to "take art to the street or public art is not (by itself) a strategy
repulsive? Remove
art to the street can be a disruptive strategy to dispute the ownership of production artistic spaces (institutional and symbolic) configured for this purpose, in seeking to compel an audience different from the specialized, popularize
forms. Art has long taken the street from self-management experience and networks of community theater, the street musicians and cord candombe artistic groups or
graffiti crews.
However, the same field of art has been institutionalized
to the most radical expressions of communicative production, capturing, organizing and cataloging the
urban art, street, and even public artivism through meetings, biennial, seminars and contests. We also can not ignore that there is a policy of the artistic field in which power relations and hegemony translates into who legitimizes certain practices over others, the definition of "art" which is a special status that elevates over the communicative or
folk art. Allowing others to define and build the genealogy of art and aesthetic practices relegate implies a space for discussion, set aside as speaker and retreat into the role (quite comfortable at times) to be always "on the side of the street." Repeatedly, we note that under an art of "political content" there is nothing else than the reproduction of the given, the repetition of a cliché: a representation of poverty, injustice or any other "social evil" in which only the artist has a voice and decide lay his eyes on those other outcasts, marginalized or slighted by history.
not intend to limit this discussion to the academic and institutional spaces. The debate also occurs in the street, in areas shared on the web and is, of course, from creative production and articulation of those productions that are made sense. Is also in these shared spaces where play standing under logical and aesthetic different.
The definition of "art as a tool for social transformation" forces us to rethink what are the operations and resources, from the language of art, can promote or generate the transformation. Art (in its different disciplines and devices) is transforming itself, it is in their power to stop and / or collective, collaborative production lies the transformative potential: the re-construction collective of local history and mobilization towards the organization, the interpellation to the user-consumer Internet and social networking to generate interrupts hegemonic discourse by the same language and media that are distributed, the signage and urban intervention towards the visibility of femicide and injustice, artistic action contesting the occupation of public space, are some of the practices collected in this Special shipping. Are not the only, are not exceptions, not the product of enlightened artists
and individual, but collective proposals that are defined and constructed with a strong anchor and situational context.
This forces us to rethink what are the tools of artistic productions counterhegemonic. A plastic workshop in a district is in itself itself, transformative action? Many times we see the workshop owner
paratrooper generated spaces that are presented as neutral
times in a daily life that is alien to him, teaches techniques but not socializing tools, and maintains one-way relationship of the teacher and the learner. Decades ago, make a stencil or was a practice of graffiti art, street, breaking with what art should be and say and possible formats. Today, that tool is used by social movements, artists and collectives, but also by political parties, marketing strategists and trademarks. For this reason, you can dispute sense from devices considered (a priori) hegemonic. Site codes, the circulation of images and content on social networks, advertising language need not be foreign territory transforming artistic practices. Those languages \u200b\u200bthat we deal with and challenge every day (in the graph, in public and the media) can also be used to build other languages.
Art can also enhance political action. A traditional paraphernalia of the protests and complaints in public (leaflets, posters, Murga, stencils, graffiti and dummies) are added various strategies and formats artistic communication: interventions and symbolic appropriation, participatory performances, collective murals, stamps, images and advertising apocryphal (Darío and Maxi Station, a live appearance of JJ Lopez, Justice Sandra Ayala Gamboa, anniversaries of the coup of March 24) among others examples, in order to transcend the traditional forms of political pamphlet and leave a mark that lasts beyond the moment of mobilization. If the siluetazo (still in the process of the last military dictatorship) and the escrache (Full Menem decade) were among the first articulations between the contemporary artistic discourse and the political demand and social, the variety of devices and formats that is currently used seems to have no limit. Experiences
articulating Part of the richness of these alternatives and alterative practice lies in the relationship between groups or nodes for debate, networking and multiply actions. The Regional Meeting
Art and Politics "The street is ours" was one of the spaces generated in this year around the above issues. But it was not the only one: the coordination and mobilization by the Points of Culture, the network management of cultural centers and its 1st meeting in Mar del Plata, proliferation of FLIA (Independent Book Fair and self-management) and community theater networks, realize the variety of practices and groups that are organized under a different logic of institutional and government: the horizontal, articulation and self-management.
Far from the anachronistic conception of the artist who "seeks to serve the cause" of the creative practice and production of a single work and objects, we find a scenario in which the production of collaborative strategies emerge, the link between groups, artists and organizations in order to visualize, sense and power play in the public space devices and more various formats. Since the stencil to the web pages from institutional-academic spaces to self-managed, the relationship between art and politics is no longer regarded as temporary and timely crossing two distant areas, but as practices that imply each other, which together in productions that go beyond mere representation and speak from the action. Press
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