ЯЗЫК, ВОЗНИКАЮЩИЙ ИЗ КОФЛИКТА ПОЛИТИКИ И ИСКУССТВА: ПЕРСПЕКТИВА ОСНОВАННАЯ НА РАБОТАХ ЖАКА РАНЬЕРА «ПОЛИТИКА ЭСТЕТИКИ» И АЛЕХАНДРО ХОДОРОВСКИ «БЕСКОНЕЧНАЯ ПОЭЗИЯ»

Аннотация

This paper investigates the act of defining art as a politically charged process that often conflicts with the nature and purpose of art itself. Drawing on Jacques Rancière’s theory of the “distribution of the sensible” and the aesthetic regime, as well as Alejandro Jodorowsky’s film Endless Poetry, it contrasts the political logic of definition—rooted in exclusion, visibility, and categorization—with the diverse and evolving language of art. Through historical, philosophical, and cinematic analysis, the text argues that the language of politics and that of art operate according to fundamentally different principles, despite their functional similarity. It further examines how art challenges established frameworks governing perception and the presentation of truth. While politics depends on binary logic, exclusion, and control, art navigates multiplicity, presence, and transformation. Ultimately, the paper questions whether it is even possible—or desirable—to define art within frameworks foreign to its nature.

 Keywords: Aesthetic regime, Definition of art, Distribution of the sensible, Visibility and exclusion, Language and perception, Contemporary artistic practice, Politics of aesthetics, Jacques Rancière, Alejandro Jodorowsky, Philosophy of art, Critical theory, Cinema and visual arts