By Roger Sansi
In fresh many years, the discussion among artwork and anthropology has been either severe and debatable. Art, Anthropology and the Gift presents a much-needed and complete evaluation of this discussion, while additionally exploring the reciprocal nature of the 2 matters via perform, conception and politics.
Fully enticing with anthropology and paintings conception, this ebook innovatively argues that paintings and anthropology do not simply percentage methodologies, but in addition deeper highbrow, theoretical or even political issues, inviting students and scholars alike to examine this contentious dating in a extra severe gentle. one of many important arguments of the publication is that the matter of the 'gift' has been relevant to either anthropological and creative perform. This very inspiration connects the several chapters on subject matters together with aesthetics, politics, participation and fieldwork.
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Extra resources for Art, Anthropology and the Gift
But cinéma vérité was not well received by the official “situationists,” essentially Guy Debord, who thought it was pointless to pretend to get to a real understanding of everyday life in Paris by filming “out there” (McDonough 2007). And yet, one could argue, from an inverse perspective, films like Chronique d’un été are excellent examples not just of the methods, but also of the ideas of the situationists: the film was not just based on the production of situations, but the themes that emerged from these situations were precisely the contradictions of everyday life: the relationship between work and life, the use of free time, boredom, play … Perhaps Debord’s critique of cinéma vérité is less interesting in itself, than as a revelation of the contradictions of situationism as a movement, in the constant debate between developing new methods and forms of life, and focusing on the discursive critique of capitalism.
In any case, these notions anticipate discussions on the relation between people and things that have taken place in the social sciences in the last few decades, as we will see in the next chapters. For the surrealists this was indeed a revolutionary practice, one that questioned the bourgeois separation between people and things to its very ontological foundations. The convulsive, and subversive, effects of encounter were central to another artistic movement that in some ways took surrealism to its ultimate consequences: Situationism.
Both include participants into their practice, acting as mediators in social relations, more than as producers of objects; both allow the chance of their encounters with objects and people to shape their work, withdrawing their agency. And yet these artists firmly remain within the field of art; they don’t try to disappear in the everyday, perhaps they don’t even pretend to change it, but they use it as raw material through which they produce their work, which is objectified in the form of films, photographs, installations, archives, notebooks, and books of their authorship.