Kris Rutten: "Critical arts: the ethnographic turn (revisited)"

  • Datum: –16.00
  • Plats: Engelska parken 6-0022
  • Arrangör: Litteraturvetenskapliga institutionen
  • Kontaktperson: Otto Fischer
  • Seminarium

Högre seminariet i retorik

Kris Rutten, professor i Culture and Education vid institutionen för utbildningsvetenskap, Ghent och därtill ordförande för RSE (Rhetoric Society of Europé) talar över ämnet

Critical arts: the ethnographic turn (revisited)
Since the 1990s there has been a wave of art practices, productions and events that show significant similarities with anthropology and ethnographic research in their theorisations of cultural difference and representational practices which has been referred to as the ethnographic turn in contemporary art. At the same time, there has been growing interest in anthropology for contemporary art that started from a problematisation of the different possible ways to communicate ethnographic findings and insights. This interest has been referred to as the ‘sensory turn’ in anthropology and ethnographic research (Pink 2009). Arnd Schneider and Chris Wright (2006: 4) assert that ‘[a]nthropology’s iconophobia and self-imposed restriction of visual expression to text-based models needs to be overcome by a critical engagement with a range of material and sensual practices in the contemporary arts’. This implies that the ethnographic turn in contemporary art can be related to – and runs parallel with – a sensory turn in anthropology and ethnographic research. This is exemplified by anthropologists who are collaborating with artists, by artists who are creating projects generating anthropological insights, and by art projects that are produced as outcomes of ethnographic research. In my presentation, I will discuss the interrelationship between these different ’turns', based on a series of special issues of the journal Critical Arts that I have been guest editing together with An van. Dienderen. The following questions are addressed: In what way does art connect cultures and communities across borders? How does one capture people on camera (or recorder) with respect and integrity? What does it mean to make art in an age of “superdiversity”? What are the implications of shifts in our media ecology for the production, mediation, and representation of “culture”? 

Postseminarium på lokal.

Ordf.: Fischer