The Fall of Greatness: Toward an Aesthetics of Co-(re)production

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Standard

The Fall of Greatness : Toward an Aesthetics of Co-(re)production . / Schmidt, Cecilie Ullerup.

I: Critical Stages / Scènes critiques, Bind 23, 30.06.2021.

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Harvard

Schmidt, CU 2021, 'The Fall of Greatness: Toward an Aesthetics of Co-(re)production ', Critical Stages / Scènes critiques, bind 23. <https://www.critical-stages.org/23/the-fall-of-greatness-toward-an-aesthetics-of-co-reproduction/>

APA

Schmidt, C. U. (2021). The Fall of Greatness: Toward an Aesthetics of Co-(re)production . Critical Stages / Scènes critiques, 23. https://www.critical-stages.org/23/the-fall-of-greatness-toward-an-aesthetics-of-co-reproduction/

Vancouver

Schmidt CU. The Fall of Greatness: Toward an Aesthetics of Co-(re)production . Critical Stages / Scènes critiques. 2021 jun. 30;23.

Author

Schmidt, Cecilie Ullerup. / The Fall of Greatness : Toward an Aesthetics of Co-(re)production . I: Critical Stages / Scènes critiques. 2021 ; Bind 23.

Bibtex

@article{560ae04f17ee4430bd06850c3bc208f1,
title = "The Fall of Greatness: Toward an Aesthetics of Co-(re)production ",
abstract = "Public reception of artistic inquiries into Danish colonial legacies insistently focuses on singular authorship, quality and visual representation. In public discourse, I argue, collectively uttered needs for decolonization are willfully ignored. Through an analysis of the aesthetics of reception and its entanglement in post-enlightenment onto-epistemologies of separation, I demonstrate how the “carceral frame of the art work” (Moten qtd. in Harney et al.) is upheld in both art criticism and in the infrastructures of the arts. However, informed by practices of BIPoC artists{\textquoteright} collectives, I will describe and theorize a current changing conception of production in aesthetic theory. Moving from the Kantian heritage of isolation, interiority and exclusion, I suggest instead to think with the conception of an aesthetics of co-(re)production (Kunst, “NT”). This shift to co-(re)production changes the conception of what an artwork is, namely not an action or an object produced through freedom by one artist, but an imprint of interdependency, a socio-aesthetic structure woven between history, infrastructures and people. Perceiving artistic production as interdependent challenges a racial grammar otherwise inherent in the tradition of Western aesthetic theory. ",
author = "Schmidt, {Cecilie Ullerup}",
year = "2021",
month = jun,
day = "30",
language = "English",
volume = "23",
journal = "Critical Stages",
issn = "2409-7411",
publisher = "International Association of Theatre Critics",

}

RIS

TY - JOUR

T1 - The Fall of Greatness

T2 - Toward an Aesthetics of Co-(re)production

AU - Schmidt, Cecilie Ullerup

PY - 2021/6/30

Y1 - 2021/6/30

N2 - Public reception of artistic inquiries into Danish colonial legacies insistently focuses on singular authorship, quality and visual representation. In public discourse, I argue, collectively uttered needs for decolonization are willfully ignored. Through an analysis of the aesthetics of reception and its entanglement in post-enlightenment onto-epistemologies of separation, I demonstrate how the “carceral frame of the art work” (Moten qtd. in Harney et al.) is upheld in both art criticism and in the infrastructures of the arts. However, informed by practices of BIPoC artists’ collectives, I will describe and theorize a current changing conception of production in aesthetic theory. Moving from the Kantian heritage of isolation, interiority and exclusion, I suggest instead to think with the conception of an aesthetics of co-(re)production (Kunst, “NT”). This shift to co-(re)production changes the conception of what an artwork is, namely not an action or an object produced through freedom by one artist, but an imprint of interdependency, a socio-aesthetic structure woven between history, infrastructures and people. Perceiving artistic production as interdependent challenges a racial grammar otherwise inherent in the tradition of Western aesthetic theory.

AB - Public reception of artistic inquiries into Danish colonial legacies insistently focuses on singular authorship, quality and visual representation. In public discourse, I argue, collectively uttered needs for decolonization are willfully ignored. Through an analysis of the aesthetics of reception and its entanglement in post-enlightenment onto-epistemologies of separation, I demonstrate how the “carceral frame of the art work” (Moten qtd. in Harney et al.) is upheld in both art criticism and in the infrastructures of the arts. However, informed by practices of BIPoC artists’ collectives, I will describe and theorize a current changing conception of production in aesthetic theory. Moving from the Kantian heritage of isolation, interiority and exclusion, I suggest instead to think with the conception of an aesthetics of co-(re)production (Kunst, “NT”). This shift to co-(re)production changes the conception of what an artwork is, namely not an action or an object produced through freedom by one artist, but an imprint of interdependency, a socio-aesthetic structure woven between history, infrastructures and people. Perceiving artistic production as interdependent challenges a racial grammar otherwise inherent in the tradition of Western aesthetic theory.

M3 - Journal article

VL - 23

JO - Critical Stages

JF - Critical Stages

SN - 2409-7411

ER -

ID: 274433103