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Conference
Exploring dispositifs, today.
Friday, 28.6.2019, 14:30 bis 18:30 UhrSaturday, 29.6.2019, 09:30 bis 13:30 Uhr
Institut for Institute of Art History, LMU München, Zentnerstr. 31, 007
Keywords
Dispositif, art, art history, aesthetic regime, disruptions, episteme, power, knowledge, truth, discipline, deconstruction, disagreement, backlash, culture wars.
Concept, organisation & moderation
Birte Kleine-Benne (Berlin/München)
We are assuming that in the sphere of art theory there exists a need for new methodological and historical concepts. This assumptions derives from the observation that the terms and categories on which our discipline is grounded do not work anymore, that a number of dualisms and oppositions do not function anymore, that some concepts are not applicable anymore and that certain methodological basic decisions appear to have no use anymore - that, in short, Rancière's "aesthetic regime" is up for discussion. Other reasons for this state of affairs are the profound structural and cultural transformations brought on by digitalization and computerization, the political, socio-economic and institutional disruptions that are currently under way, and the current remodeling of principles of governance.
The technical term "dispositif" will be employed in the context of the conference Exploring dispositifs, today. for both methodological and heuristic reasons: Since 1978 with Michel Foucault the term encompasses an ensemble of institutions, discourses, decisions, practices, and conventions, and a solid network spanning between them for explicit strategic use, which produces the constitutive conditions that allow us to talk about that what is visible, identifiable and canonised as "art". This allows us to take all those procedures generating legitimization, exclusion, truth and power into consideration, which can now be explored in a nondualistic and antireductionist, relational and complex, non-conclusive and history-oriented way.
An exploration of dispositifs unlocks the possibility of a second-order art history able to analyze its objects of investigation and the results to which this investigation leads, all the while taking into account its own methodological techniques, theoretical (preliminary) decisions, validity requirements, institutional procedures and discursive processes of exclusion. Since an exploration of dispositifs must cover a wide field of activities in art, curation, art history, art criticism, art education and the economy of art, thinkers are invited to approach the dispositif(s) of art from their specific perspective and to find their own historical, epistemic, contemporary or discipline-oriented research outlook.
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