After the murder of Israeli film director Juliano Mer-Khamis and the arrests of Ai Weiwei or the members of Voina group, and after the spectacular arrest and sentence of Pussy Riot, it seems illusionary to even speak about the immunity of art. Bretonís surrealist gesture of taking a revolver and firing blindly into the crowd would be treated as a crime in any society, regardless of the artistic context in which it has taken place.
It is therefore impossible to do just anything, proclaim it a work of art, and get away with it. Instead, the question that arises here is: What can be done only because it is a work of art? How can the fictional sphere in which art operates function as an area of refuge?
The basic currency of the post-disciplinary society is freedom, and art is its embodied ideal. If this is the reason that art is often criticized as an autonomous sphere where critical operations have been displaced and thus paralyzed, and if everything that is ever done in art is bound to remain merely art, isnít that its main weapon rather than its weakness?
This issue of Frakcija raises these questions by taking as its starting point the immunity of art in the legal sense of the word, and by exploring the blind spots that art can create in its encounter with law as the primary regulatory apparatus in Western society.
Art occupies a unique position in relation to law. Law needs definitions in order to operate as a system. What cannot be unambiguously defined either does not exist or presents a threat in its unpredictability. Of all spheres of human activity, art is the one that presents most difficulties for law, which is precisely because its borderlines cannot be accurately defined and are constantly shifting. Exactly therein lies the subversive potential of art.
Besides this strictly legal sense, this issue of Frakcija has embarked on a search for the modern Trojan horse, exploring the use of art and the artistic in various forms of political activity.
Instead of thinking strategies in art, the issue proposes thinking of art as a strategy.
- Jakob Braeuer
- Patrick Bernier and Olive Martin
- Judith Ickowicz
- Omer Krieger
- Aldo Milohnic
- Juli Reinartz
- Jonas Staal
- Vincent Van Gerven Oei
- Tea Tupajic
- Joanna Warsza