Fields of discourse and power of art has authorized players to act, both the center and the edges o

Art is a dialogue. Art is a beautiful painting on the wall. Art is a social practice and as such has a field of action, game rules, field boundaries and players are allowed (see Bourdieu, "but beach wreath who made the creators"). The art works in the fields beach wreath of aesthetic beach wreath game had some players - key among them artists themselves, art historians and critics, art consumers - are those who come to see her and those who buy it their home. Art Action fairly defined fields - places where art is displayed, although these vary around the display (see Vanilla sex exhibition space displayed should taste rich with crazy, if not quite the inherent fetishism of the show), and expanding (see Azoulay, 1999 Lavie and domestic arts).
Fields of discourse and power of art has authorized players to act, both the center and the edges of the field. Habitus players must be right to play the game of art: Graduates of recognized - not by the CHE - but by the field of art and practice, researchers from disciplines it is legitimate to see them linked to art, and other sporadic players who came from here and there. Whether there is a field, then there is also an area outside of the field is part of the discourse of the field, sometimes trying to invade the field, expand it, reshape it and sneak it in new players and new realms of activity or even contrary to steal players and reduce the field of action.
Before I expand a little on the discourses and the power of art, I will try to stand on some of the underlying assumptions general artistic discourse, sociology - not as belonging to the discourse. There is space for artistic game: the clear base is designated spaces for display and practice of the arts, including museums, galleries, studios, open public spaces like walls of houses beach wreath and cars and more. Continuation of the dialogue takes place spaces (physical and virtual), intended for the socialization field: art schools and associated dialog fields (history, philosophy), the existence of lectures and shrubs - Galleries. The end of the discourse is discourse spaces where there is the art itself which is openly and even Mtasrrim beach wreath rules of discourse and players are re-legitimized field to play on. For example, the decision to write a review or display text from the catalog compared to the decision not to visit the exhibition or display certain beach wreath text then are the result of a conscious way - often, executives space. So far I did not renew anything.
Artistic discourse is composed of several practices and assumptions, including the assumption that art has a place in art related to deep philosophical beach wreath ideas, but, as noted - by various art historians (Azoulay, Groys) Art precedence over these ideas. Ie, no review or analysis of a work does not stand before the creation or misplaced. Art there is dialogue between the artists - without beach wreath which there will be a field and discourse - and the other players first and foremost appreciate the existence of the artists. Without artists there will be no field, no matter what to visit, to explore, to what to respond. Therefore due to these features of the field, is the box art is social action. Anyone who saw conflict between - Dori, kick the old generation values immediately beach wreath let him appear in front of us!
At the "youth culture" a lot of talk about the alternatives that young people have today against the hegemonic culture. Terminology such as capitalism, hegemony and others come up again and again what was said and if desperate generation establishment of a revolution. How to establish a revolution? To drive the revolution should first understand the limits of the power of discourse, where you can break these boundaries and work together to build power would break those boundaries. Examples of revolutionary practice, large and small can be found eg in Marx redefined the rules of the field - by Framing - Re-existing rules, beach wreath framing - re the relations of production. Another example is embodied subversive pamphlets published by the - by the students and thinkers beach wreath in the 60s in Paris and other cities, the city traffic led to the eradication of the cultural foundations of the campus until they came and they Offerings Apologetics beach wreath angry students, the establishment of communes avant-garde, and more. So how natives of the years 70'-80 'formative revolution? beach wreath
Gideon Efrat sorry about that art today is no longer exciting, no changes, not moving anywhere. Unfortunately leakage art is one of sorrow over the entire generation that is not moving, is neither new nor makes. I wrote ore: "I was put in the box elderly - against - the young", but when posted in the evening - long text presented at a conference on the subject, besides Dr. Oded Heilbronner no one responded to the comments. Remarks did not arouse continued debate - the words just would not stir. Fact embedded in Box elderly entertainment - against - the young proves its relevance (representing a generation - not as a private person) begins to expire, but due to boredom subject. theme youngsters not that important and raises as much as being subject generation will be remembered in the history books ball was not there.
Writes Michael Igodin in "Daddy" that lack a father figure similar shortage is felt in the wake of a tooth fell - more noticeable prevalence of others. At an exhibition of young artists have dealt with the same deficiency as they live in an era that defined Igodin as post - Oedipal. Aram Gershoni beach wreath performs while documenting things at the Tel - Aviv murder - father when he draws his father in a red sweater decent, as if British pensioner who receives "Castor" gardenia watering his. International problem - Dorit art is part of the spillover argument between - my generation in general. Events in the field of art is one symptom of this. What is her problem? We were born in the 70s feel that Sorsno, we cry about it and blame the hands and the spirit of the generation of baby - Boom invented the '70s (even if buried them then - so under ownership "built beach wreath Wall - Street). In this sense we succumbed to the postmodern discourse of victimization that allows legitimacy victim - a practice legitimate and worthy in itself, but not when it comes to the hegemonic layer which should beach wreath lead the society and culture. Educated hegemony layer, consisting mainly old Jewish Israelis aged 30 + can not afford "As we approach & q