Humour as a bulletproof vest

Gościło, Helena; Jonson, Lena; Erofeev, Andrei

doi:10.4324/9781315186856-10

Cited by 1 publication

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“…The protest art of the early 2010s, on the contrary, was meant to be divisive and confrontational vis-à-vis both the public and the state (Goscilo 2017a, 183; Borenstein 2021). It inadvertently reproduced the police order by antagonizing the conservative state in the name of progress.…”

Section: Politics Of Art: a Few Examplesmentioning

confidence: 99%

“F*** tha police!” à la Russe: Rancière and the Metamodernist Turn in Contemporary Russian Music

Morozov

Reshetnikov

Gaufman

2022

Nationalities Papers

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The nationwide prominence of Russian oppositional artists has inspired a fair number of studies analyzing the political aspects of their creative output. We argue that the new generation of Russian musicians, whose art became popular in the end of 2010s, brings political engagement to a qualitatively new level. Following Jacques Rancière, we reject the assumption that critical art can bring about political mobilization by exposing social evils. Instead, we juxtapose politics and police, distinguishing between transformative moments of discursive confrontation and the mundane activity centered on distributing places and roles. In this article, we look at three popular Russian musical collectives – IC3PEAK, Shortparis, and Monetochka – whose art disrupts the police order in a novel and subversive manner. Some of their works became even more timely with the outbreak of Russia’s large-scale aggression against Ukraine. We have performed multimodal discourse analysis of their audio and video clips, aimed at identifying the ways in which these artworks create the conditions of possibility for new politics by re-articulating the connection between the political and the universal.

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Section: Politics Of Art: a Few Examplesmentioning

confidence: 99%