Abstract:

In Jacques Rancièr, a different relationship is established between politics and art. He doesn’t believe that politics has entered the nihilist age, just as he doesn’t believe that the end of art has come. According to Rancière, the contradictions within politics and art arise from their nature, rather than from the meaning that their end comes. He also believes that these contradictions make equality possible. Therefore, the scenes of conflict that make the aesthetic revolution possible are the scenes of conflict that accompany the action of equality with the prejudice. Art, like politics, is a space for the scenes of this conflict. This conflict appears on the scene that has not been previously contacted, seen, not heard or not participated in the account through scenes. This appearance means the re-formation of time and space on the basis of equality. In this context, it has an aesthetic, revolutionary effect. Only this effect is far from having a predictable, targeted and universal character. Aesthetic revolution is carried out on a smaller scale and temporarily, through art forms, taking into small groups and individuals. Thus, while the aesthetic revolution is optimized by Rancière, its content is filled in a different way.