“Cognitive embodiment research shows that people see objects and predict the possible bodily actions they afford. In society’s environments, we often follow through with anticipated movements, upholding and strengthening the dominant stereotypes by way of chronological assumptions”
-Raymond Gibbs-
“Movement-based performing art has the opportunity to counter those anticipated actions, by way of reassembling the expected sequential patterns and repetitions”
-Poh Productions-
___________________________________________________
Text Response to Thomas Hirschhorn´s writings on ¨doing art politically¨
by Phoebe Osborne
One might roll their eyes or utter the word “loaded” at the topic of politics and art. Not because they are not interested in the topic, but because it’s name has a dense history. It has been used and now lays exhausted and spent like a whore on her customers couch.
Thomas Hirschhorn approaches the topic of doing art politically, ultimately, assuming his opinion and stance on the matter. He defines political as, “where do I stand? Where does the other stand? What do I want? What does the other want?” (Hirschhorn). This is also the concept of intimacy: how do I feel and what do I need? How does the other feel and what does the other need? These are the questions with answers that offer clarity of action and are anyone’s closest bet to 20/20 vision in the present. It also serves to get underneath all the opinions, comments and views that make the topic of art and politics so worthy of eye rolling. Hirschhorn also suggests the important difference between doing art politically and making political art: the underbelly of this idea maintains process, not outcome, as a means to relevant participation in the act of change, growth, and intimacy with the world. These two approaches to art, through intimacy and through process can offer outcomes unimaginably powerful.
These powerful and often surprising outcomes establish an important reality for the artist: by being fully committed and one with her art, the artist gives form that no one else can offer. Furthermore, by giving form “which comes from me, from myself only… because I am the only one to know that form,” the outcomes become invaluable and irreplaceable to society (Hirchhorn).
Moreover, Hirschhorn continues to establish that doing art politically means creating something and that positivity is the key to creation. The third and poignant claim promotes the health and happiness of one’s self is every individual’s priority and that it is from this state of balance, vibrancy, and integration (even within moments of hardship or darkness), that we enable our fullest capacity for doing art politically. As someone from San Francisco, California, I can personally attest to positivity allowing unimaginable creation to occur and I will mention that this idea rests in my bones and I rely on it always in my pursuits as a movement-artist.
In Hirchhorn’s artistic pursuits, he identifies four form- and force-fields in which he positions his work: that of Love, Politics, Philosophy, and Aesthetics. This illustrates having an over-arching purpose that can be applied to each of our projects. The value of identifying an over-arching purpose relates to the reality that life is a complex and messy experience and in order to thrive in such an experience, we must have a hold on our passion. Purpose harnesses passion. It is necessary element of doing art politically. It will also channel indescribable and stunning outcomes. So within the ideas presented by Hirchhorn, one can argue that with intimacy (Where do I stand? What do I want? Where does the other stand? What does the other want?), process (not outcome), positivity (health and happiness), and purpose (which harnesses passion), doing art politically emerges.
