Ujawnianie polityczności. Trajektorie polityki i estetyki

This paper is an attempt at a critical introduction to Jacques Rancière’s philosophy of the distribution of the sensible [le partage du sensible] in the field of aesthetics, politics and art. Presenting the general context of Rancière’s late philosophy, I try to show his fundamental theoretical gesture. When Rancière looks for political aspects of art, he is not interested in in any ideological “features” of painting, photography or film. Based on the original interpretation of Immanuel Kant’s transcendental aesthetics, Rancière wants to find and disclose a specific potential of political as well as aesthetic visibility. Every work of art discloses and conceals something or someone: class distinctions, forms of identity, mechanisms of social exclusion etc. In this paper, analyzing Rancière’s late philosophy through selected works of art, I attempt to find his concept of the political. For Rancière every work of art is political because discloses a landscape of social tensions, models of subjectivity and hidden conflicts.This paper is an attempt at a critical introduction to Jacques Rancière’s philosophy of the distribution of the sensible [le partage du sensible] in the field of aesthetics, politics and art. Presenting the general context of Rancière’s late philosophy, I try to show his fundamental theoretical gesture. When Rancière looks for political aspects of art, he is not interested in in any ideological “features” of painting, photography or film. Based on the original interpretation of Immanuel Kant’s transcendental aesthetics, Rancière wants to find and disclose a specific potential of political as well as aesthetic visibility. Every work of art discloses and conceals something or someone: class distinctions, forms of identity, mechanisms of social exclusion etc. In this paper, analyzing Rancière’s late philosophy through selected works of art, I attempt to find his concept of the political. For Rancière every work of art is political because discloses a landscape of social tensions, models of subjectivity and hidden conflicts