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Ines Kleesattel: Situated Aesthetics for Relational Critique
Situated Aesthetics for Relational Critique
(S. 181 – 197)
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Ines Kleesattel

Situated Aesthetics for Relational Critique
On Messy Entanglements from Maintenance Art to Feminist Server Art

PDF, 17 Seiten, 0.0 MB

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Ines Kleesattel

Ines Kleesattel

Ines Kleesattel is a scholar of critical aesthetic studies with a background in philosophy, cultural studies, art education, and artistic research. Her work addresses relational practices of critique, situated aesthetics, queer-feminist ways of doing theory, and methods of artistic research. Since 2023 she is a professor at Basel Academy of Art and Design. Before, she was a guest professor at Academy of Fine Arts Stuttgart, a senior Researcher at University of Applied Arts Vienna as well as at Zurich University of the Arts. Kleesattel holds a PhD in Aesthetics/Philosophy. As a post-doc, she contributed to the SNSF project Aesthetics of Translocality. Recently, she has published on the topics of queer-feminist witchery as critical fabulation and on landscaping as a relational practice.
Ines Kleesattel (Hg.), Pablo Müller (Hg.): The Future Is Unwritten
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Ines Kleesattel (Hg.), Ruedi Widmer (Hg.): Scripted Culture
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Ines Kleesattel (Hg.), Ruedi Widmer (Hg.): Scripted Culture
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Weitere Texte von Ines Kleesattel bei DIAPHANES
Shusha Niederberger (Hg.), Cornelia Sollfrank (Hg.), ...: Aesthetics of the Commons

Shusha Niederberger (Hg.), Cornelia Sollfrank (Hg.), Felix Stalder (Hg.)

Aesthetics of the Commons

Broschur, 276 Seiten

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PDF, 276 Seiten, 0.0 MB

What do a feminist server, an art space located in a public park in North London, a ‘pirate’ library of high cultural value yet dubious legal status, and an art school that emphasizes collectivity have in common? They all demonstrate that art can play an important role in imagining and producing a real quite different from what is currently hegemonic; that art has the possibility to not only envision or proclaim ideas in theory, but also to realize them materially.

 
Aesthetics of the Commons examines a series of artistic and cultural projects—drawn from what can loosely be called the (post)digital—that take up this challenge in different ways. What unites them, however, is that they all have a ‘double character.’ They are art in the sense that they place themselves in relation to (Western) cultural and art systems, developing discursive and aesthetic positions, but, at the same time, they are ‘operational’ in that they create recursive environments and freely available resources whose uses exceed these systems. The first aspect raises questions about the kind of aesthetics that are being embodied, the second creates a relation to the larger concept of the ‘commons.’ In Aesthetics of the Commons, the commons are understood not as a fixed set of principles that need to be adhered to in order to fit a definition, but instead as a ‘thinking tool’—in other words, the book’s interest lies in what can be made visible by applying the framework of the commons as a heuristic device.

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