Inspired by Jacques Rancière’s The Emancipated Spectator, Caroline Jones discusses the difference between curatorial or artistic scripting and the ethics of public participation in the context of performance art in May’s Artforum:
We are now also invited to displace the authoritative structure of artwork and artist in favour of our embodied “experience” – a word that often challenges received knowledge but doesn’t always insist on critical intellectual critique and the “magic power of theatrical action”, a split personified as “Brecht/Artaud” in his 2004 construction of “the emancipated spectator” […]
Contemporary appeals to the aesthetic of experience, then, always need to be leveraged by our demands to experiment. We are responsible for our own performativity and for the politics we make of “emancipated” experience. Best to enter these ludic contracts as both knowers and dupes – only than might we really manage to do things with art.
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