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• W1521142774 abstract "[Ed. note: This is the first part of a two part essay.] During an exhibition opening at the Museum of Modern Art in Vienna in 2006, several people showed up with their shoelaces undone, stood talking to each other, and were photographed periodically. Later, Polaroids appeared under the title Resistance, identifying artist Roman Ondak as the mastermind of this intervention and providing the temporary performance with the potential for permanence. However, by retrospectively calling this performance Resistance, the artist intervened not only in the ritualized situation of the opening, but also in a much broader field. He relates this slight disturbance of everyday gestures to an important artistic and critical tradition that presents disturbances of language and interruptions of convention as acts of political resistance; hence. Ondak inscribed his work within this tradition. By using the museum and a public meeting of art connoisseurs for his intervention, he highlighted the judgment of such a process as resistant, but at the same time he revealed that such a judgment might also become the subject of questioning and reflection. Seen this way, this artwork creates a kind of pictorial equivalent of the starting position of a research enterprise (1) also designed to investigate this particular artistic, political, and critical tradition--that sees aesthetic tactics of irregularity and disturbance (such as montage, alienation, parody, or irony) as resistant or subversive, and thereby contrasts them to conventional or dominant aesthetic and political formations. Similar to Ondak's artwork, this project was determined to question such a binary division of the aesthetic-political world that ascribes a quasi-essentialist political effect to certain aesthetic tactics regardless of how they are used and the reactions they trigger, not by criticizing from a bird's-eye view, but by working through the arguments brought up by this tradition. The method I have chosen to analyze and question this is that of a plural genealogy--a critical and multilayered history of handing down concepts, judgments, and practices. By tracing the emergence or invention of this tradition of regarding certain aesthetic tactics as 'resistant'' or subversive, we can better understand the historical contexts these tactics respond to and the kind of reception histories they trigger, and recognize whether they were always performed in the same way. Can there be a way to escape such a division of the aesthetic (and political) worlds and, if so, how might this be conceptualized? ART, EMANCIPATION, AND THE EVENT OF THE FRENCH REVOLUTION With Dadaism, surrealism. Situationism, the Expanded Cinema. Bertolt Brecht's Alienation Effect, and other avant-garde practices since the 1950s, the twentieth century Overflows with aesthetic provocation of various kinds. Despite such a recent. accumulation, use of aesthetic tactics like alienation, parody, irony, and montage to de-legitimate, question, and provoke dates back to ancient times. The historian Carlo Ginzburg (2) traced the tactic of alienation back to the second century, to Marcus Aurelius's stoic self-education toward a distanced perception of things. For the Roman emperor, matters had to be alienated as if they were riddles in order to question erring beliefs, seemingly self-evident postulates, and frozen attitudes. This method, recommended by Aurelius, was handed down through copying, narrative, duplications, and reading experiences. For instance, a sixteenth-century monk, Antonio de Guevara, wrote an imitation of Aurelius's self-contemplation in which he pointed out the gaze of the savage, the peasant, or the animal as possible alterative views of the world. From this, a connection can be drawn to Michel de Montaigne; to the French seventeenth-century moralists, especially Voltaire; and later to Leo Tolstoy and theories of Russian formalism in the first half of the twentieth century. …" @default.
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• W1521142774 date "2009-11-01" @default.
• W1521142774 modified "2023-09-26" @default.
• W1521142774 title "Irony, Montage, Alienation" @default.
• W1521142774 doi "https://doi.org/10.1525/aft.2009.37.3.24" @default.
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