Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse
It has been over a decade since the publication of Giorgio Agamben's Homo Sacer, yet the notion of "bare life," evolved from the scathing biopolitical political analyses of Hannah Arendt and Michel Foucault, has gained theoretical momentum in art and critical discourse only recently....
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| Veröffentlicht in: | Art journal (New York. 1960) 2009-12, Vol.68 (4), p.24-43 |
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| container_title | Art journal (New York. 1960) |
| container_volume | 68 |
| creator | Gal, Nissim |
| description | It has been over a decade since the publication of Giorgio Agamben's Homo Sacer, yet the notion of "bare life," evolved from the scathing biopolitical political analyses of Hannah Arendt and Michel Foucault, has gained theoretical momentum in art and critical discourse only recently.
1
At the same time, its increasing deployment in these arenas has, for better or worse, risked diluting the concept into a synonym for a quasi-existentialist subjectivity; the resulting pluralism has tended to neutralize the concept.
2
In the following argument, by contrast, I will try to locate a critical position in both the visual and the theoretical fields in order to resituate the biopolitical force of bare life. |
| doi_str_mv | 10.1080/00043249.2009.10791359 |
| format | Article |
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1
At the same time, its increasing deployment in these arenas has, for better or worse, risked diluting the concept into a synonym for a quasi-existentialist subjectivity; the resulting pluralism has tended to neutralize the concept.
2
In the following argument, by contrast, I will try to locate a critical position in both the visual and the theoretical fields in order to resituate the biopolitical force of bare life.</description><identifier>ISSN: 0004-3249</identifier><identifier>EISSN: 2325-5307</identifier><identifier>DOI: 10.1080/00043249.2009.10791359</identifier><language>eng</language><publisher>Taylor & Francis</publisher><subject>Art photography ; Concentration camps ; Jewish refugees ; Nation states ; Refugees ; Sovereign states ; Sovereignty ; Woody vines ; Zionism</subject><ispartof>Art journal (New York. 1960), 2009-12, Vol.68 (4), p.24-43</ispartof><rights>Copyright 2009 College Art Association, Inc. 2009</rights><rights>copyright © 2009 College Art Association, Inc.</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed><citedby>FETCH-LOGICAL-c368t-a61aa0397b8ec4673b2984fff768538211de9da5927f3e9e448f29f54871e87a3</citedby></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.jstor.org/stable/pdf/25676502$$EPDF$$P50$$Gjstor$$H</linktopdf><linktohtml>$$Uhttps://www.jstor.org/stable/25676502$$EHTML$$P50$$Gjstor$$H</linktohtml><link.rule.ids>314,780,784,803,27915,27916,30985,58008,58241</link.rule.ids></links><search><creatorcontrib>Gal, Nissim</creatorcontrib><title>Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse</title><title>Art journal (New York. 1960)</title><description>It has been over a decade since the publication of Giorgio Agamben's Homo Sacer, yet the notion of "bare life," evolved from the scathing biopolitical political analyses of Hannah Arendt and Michel Foucault, has gained theoretical momentum in art and critical discourse only recently.
1
At the same time, its increasing deployment in these arenas has, for better or worse, risked diluting the concept into a synonym for a quasi-existentialist subjectivity; the resulting pluralism has tended to neutralize the concept.
2
In the following argument, by contrast, I will try to locate a critical position in both the visual and the theoretical fields in order to resituate the biopolitical force of bare life.</description><subject>Art photography</subject><subject>Concentration camps</subject><subject>Jewish refugees</subject><subject>Nation states</subject><subject>Refugees</subject><subject>Sovereign states</subject><subject>Sovereignty</subject><subject>Woody vines</subject><subject>Zionism</subject><issn>0004-3249</issn><issn>2325-5307</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2009</creationdate><recordtype>article</recordtype><sourceid>7QI</sourceid><recordid>eNqFUMtOwzAQtBBIlMIngHzkkuJH4ge3Ul6VKiGhcrbcZA2ukrjYqVD_nkQBrpxWuzszOzsIXVEyo0SRG0JIzlmuZ4wQ3Y-kprzQR2jCOCuyghN5jCYDKBtQp-gspW3fSkbpBC3vbAS88g5u8foD8Cu4_TsA9i1ehLaDZheijQe8TNFC7fE8dti2FV5E3_nS1vjepzLsY4JzdOJsneDip07R2-PDevGcrV6elov5Kiu5UF1mBbWWcC03CspcSL5hWuXOOSlUwVVvqgJd2UIz6ThoyHPlmHZFriQFJS2foutRdxfD5x5SZ5reAtS1bSHsk6GcEZ4LKlgPFSO0jCGlCM7som_6dwwlZsjO_GZnhuzMb3Y98XIkblMX4h-LFUKKggzC83HvWxdiY79CrCvT2UMdoou2LX0y_J8b3wsNfZg</recordid><startdate>20091201</startdate><enddate>20091201</enddate><creator>Gal, Nissim</creator><general>Taylor & Francis</general><general>College Art Association</general><scope>AAYXX</scope><scope>CITATION</scope><scope>7QI</scope><scope>~I4</scope></search><sort><creationdate>20091201</creationdate><title>Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse</title><author>Gal, Nissim</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c368t-a61aa0397b8ec4673b2984fff768538211de9da5927f3e9e448f29f54871e87a3</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2009</creationdate><topic>Art photography</topic><topic>Concentration camps</topic><topic>Jewish refugees</topic><topic>Nation states</topic><topic>Refugees</topic><topic>Sovereign states</topic><topic>Sovereignty</topic><topic>Woody vines</topic><topic>Zionism</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Gal, Nissim</creatorcontrib><collection>CrossRef</collection><collection>ARTbibliographies Modern</collection><collection>ARTbibliographies Modern (ABM) for DFG</collection><jtitle>Art journal (New York. 1960)</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Gal, Nissim</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse</atitle><jtitle>Art journal (New York. 1960)</jtitle><date>2009-12-01</date><risdate>2009</risdate><volume>68</volume><issue>4</issue><spage>24</spage><epage>43</epage><pages>24-43</pages><issn>0004-3249</issn><eissn>2325-5307</eissn><abstract>It has been over a decade since the publication of Giorgio Agamben's Homo Sacer, yet the notion of "bare life," evolved from the scathing biopolitical political analyses of Hannah Arendt and Michel Foucault, has gained theoretical momentum in art and critical discourse only recently.
1
At the same time, its increasing deployment in these arenas has, for better or worse, risked diluting the concept into a synonym for a quasi-existentialist subjectivity; the resulting pluralism has tended to neutralize the concept.
2
In the following argument, by contrast, I will try to locate a critical position in both the visual and the theoretical fields in order to resituate the biopolitical force of bare life.</abstract><pub>Taylor & Francis</pub><doi>10.1080/00043249.2009.10791359</doi><tpages>20</tpages></addata></record> |
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| identifier | ISSN: 0004-3249 |
| ispartof | Art journal (New York. 1960), 2009-12, Vol.68 (4), p.24-43 |
| issn | 0004-3249 2325-5307 |
| language | eng |
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| source | ARTbibliographies Modern; JSTOR |
| subjects | Art photography Concentration camps Jewish refugees Nation states Refugees Sovereign states Sovereignty Woody vines Zionism |
| title | Bare Life: The Refugee in Contemporary Israeli Art and Critical Discourse |
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