Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere

How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a publi...

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Autor principal:	Annatina Aerne
Formato:	article
Lenguaje:	EN
Publicado:	Cogitatio 2021
Materias:	art art world contemporary art distribution of the sensible eduardo navarro environmental art global art market jacques rancière latin american art latin america inclusiveness oliver marchart prabhakar pachpute public sphere political art Sociology (General) HM401-1281
Acceso en línea:	https://doaj.org/article/545cd63bbca441ca958338ecf743e8be
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id	oai:doaj.org-article:545cd63bbca441ca958338ecf743e8be
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spelling	oai:doaj.org-article:545cd63bbca441ca958338ecf743e8be2021-11-30T10:00:21ZPalm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere2183-280310.17645/si.v9i4.4180https://doaj.org/article/545cd63bbca441ca958338ecf743e8be2021-11-01T00:00:00Zhttps://www.cogitatiopress.com/socialinclusion/article/view/4180https://doaj.org/toc/2183-2803How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro’s Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute’s Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification.Annatina AerneCogitatioarticleartart worldcontemporary artdistribution of the sensibleeduardo navarroenvironmental artglobal art marketjacques rancièrelatin american artlatin americainclusivenessoliver marchartprabhakar pachputepublic spherepolitical artSociology (General)HM401-1281ENSocial Inclusion, Vol 9, Iss 4, Pp 180-190 (2021)
institution	DOAJ
collection	DOAJ
language	EN
topic	art art world contemporary art distribution of the sensible eduardo navarro environmental art global art market jacques rancière latin american art latin america inclusiveness oliver marchart prabhakar pachpute public sphere political art Sociology (General) HM401-1281
spellingShingle	art art world contemporary art distribution of the sensible eduardo navarro environmental art global art market jacques rancière latin american art latin america inclusiveness oliver marchart prabhakar pachpute public sphere political art Sociology (General) HM401-1281 Annatina Aerne Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
description	How do artworks contribute to a more inclusive public sphere? Artworks contribute to the inclusiveness of a public sphere in that they help us consider previous objects as acting subjects, and thus as entities deserving membership in the public sphere. In addition, artworks typically attract a public, thus generating the necessary recognition for additional subjects. We propose a typology that categorizes artworks’ contribution to an inclusive public sphere. The typology is based on two axes: (a) artworks’ explicitness in attributing the status of a subject to a previous object and (b) the number of people that get to see the artwork. In order to illustrate the applicability of the typology and in order to understand how the two dimensions relate to one another, we analyze how two artworks include the non‐human as subjects into the public sphere: Eduardo Navarro’s Sound Mirror (shown at the 2016 São Paulo Biennal) and Prabhakar Pachpute’s Mountain Escape (exhibited in the 2016 Colombian Salón Nacional de Artistas). Comparing both artistic strategies we find that there may be a trade‐off between the explicitness and the reach of a new subjectification.
format	article
author	Annatina Aerne
author_facet	Annatina Aerne
author_sort	Annatina Aerne
title	Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
title_short	Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
title_full	Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
title_fullStr	Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
title_full_unstemmed	Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere
title_sort	palm tree whispers and mountain escapes: how contemporary artworks contribute to an inclusive public sphere
publisher	Cogitatio
publishDate	2021
url	https://doaj.org/article/545cd63bbca441ca958338ecf743e8be
work_keys_str_mv	AT annatinaaerne palmtreewhispersandmountainescapeshowcontemporaryartworkscontributetoaninclusivepublicsphere
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Palm Tree Whispers and Mountain Escapes: How Contemporary Artworks Contribute to an Inclusive Public Sphere

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