没有统计!BIPoC艺术家对抗艺术高等教育中的“公平”代表和系统性种族孤独

IF 0.4 Q3 CULTURAL STUDIES Journal of Aesthetics & Culture Pub Date : 2022-03-11 DOI:10.1080/20004214.2022.2046956
Cecilie Ullerup Schmidt
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引用次数: 0

摘要

公共空间中的艺术从根本上取决于谁能进入艺术世界。在当今艺术世界的入口——艺术学院——存在着一种全球流动性的理想,这种理想与认知资本主义和竞争力有关,但也与白人特权的基本原理和隐藏的结构性种族主义的重复有关。通过分析丹麦高等艺术教育如何奖励“自由”流动并鼓励国际化,遵循博洛尼亚进程的新自由主义欧洲政策,以提高竞争力,同时没有与种族多样性和招聘有关的官方战略,我发现丹麦艺术界的基础设施中存在生物政治分界线和结构性种族主义。基于我对教育政策文件的分析和对丹麦艺术中bipoc“公平”代表的理解,我展示了种族孤独是如何作为对艺术基础设施中结构性种族主义经验的情感反应而存在的。我认为种族孤独是一种相互依存的影响,是教育文件、改革和政策的产物。这一假设伴随着艺术家集体FCNN的例子,强调BIPoC学生Eliyah Mesayer是如何在艺术学院的课堂上被孤立和受到象征主义的影响。由于越来越多的分离主义BIPoC集体提供了“太多”的持续基础设施表现,文章以一种关于如何通过超越合理和充分代表性的理性来组织艺术界基础设施中的其他机构的猜测结束。
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No count! BIPoC artists counteracting “fair” representation and systemic racial loneliness in higher education in the arts
ABSTRACT Art in public space is fundamentally determined by who has access to the artworld. At the entrance to the artworld of today—the art academy—resides an ideal of global mobility that relates to cognitive capitalism and competitiveness but also to the repeating of rationales of white privilege and a hidden structural racism. By analysing how Higher Education in the Arts in Denmark awards “free” mobility and encourages internationalization, following the neoliberal European policies of the Bologna Process in their aim of competitiveness while at the same time having no official strategies in relation to racial diversity and recruitment, I find biopolitical lines of demarcation and structural racism within the foundational infrastructures of the Danish artworld. Based on the findings of my analysis of both educational policy documents and understandings of “fair” representation of BIPoCs in the arts in Denmark, I demonstrate how racial loneliness resides as an affective response to experiences of structural racism in the infrastructures of the arts. I suggest that racial loneliness is an interdependent affect and a product of educational documents, reforms and policies. This assumption is accompanied by the example of the artists’ collective FCNN, stressing how BIPoC student Eliyah Mesayer is isolated and subjected to tokenism in the classroom of the art academy. Informed by the increasing number of separatist BIPoC collectives offering an ongoing infrastructural performance of being “too many”, the article ends with a speculation on how to organize bodies otherwise in the infrastructures of the artworld by exceeding rationales of reasonable and adequate representability.
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来源期刊
CiteScore
0.80
自引率
33.30%
发文量
15
审稿时长
14 weeks
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