Ana Vujanović
- Published in print:
- 2016
- Published Online:
- October 2016
- ISBN:
- 9780199393749
- eISBN:
- 9780199393770
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199393749.003.0006
- Subject:
- Music, Theory, Analysis, Composition, Performing Practice/Studies
The chapter deals with the relations between the art and the public good in the European neoliberal capitalist society in the times of economic crisis, from the perspective of how they shape the ...
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The chapter deals with the relations between the art and the public good in the European neoliberal capitalist society in the times of economic crisis, from the perspective of how they shape the agentic potential of artistic citizenship. This chapter supports the claim that art can be understood as a “bad public good” in the same way as the public consists of a bad, rebellious public apart from the one that is silent, is obedient, and fits the idea(l) of public order. Without recognizing and fostering their “bad”—disturbing, unpleasant, confusing, uncertain, and noisy—parts, we artists and citizens leave the art and the public good to the neoliberal capitalist state. Therefore the oxymoron of “the bad public good” presents an invitation and a demand for including a critical and disobedient public into the very idea of the public. Otherwise, the artistic citizenship could remain a historical notion.Less
The chapter deals with the relations between the art and the public good in the European neoliberal capitalist society in the times of economic crisis, from the perspective of how they shape the agentic potential of artistic citizenship. This chapter supports the claim that art can be understood as a “bad public good” in the same way as the public consists of a bad, rebellious public apart from the one that is silent, is obedient, and fits the idea(l) of public order. Without recognizing and fostering their “bad”—disturbing, unpleasant, confusing, uncertain, and noisy—parts, we artists and citizens leave the art and the public good to the neoliberal capitalist state. Therefore the oxymoron of “the bad public good” presents an invitation and a demand for including a critical and disobedient public into the very idea of the public. Otherwise, the artistic citizenship could remain a historical notion.
