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The Self-Organization of Human-Actor in Ecological Art as Viewed by ANT: Focusing on Aviva Rahmani’s Activism Art Practice

  • The Journal of Aesthetics and Science of Art
  • Abbr : JASA
  • 2022, 67(), pp.216-236
  • DOI : 10.17527/JASA.67.0.09
  • Publisher : 한국미학예술학회
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 15, 2022
  • Accepted : October 4, 2022
  • Published : October 31, 2022

Yu HyunJu 1

1한남대학교

Accredited

ABSTRACT

This paper seeks to find the concept of self-organization of human-actors as described in Bruno Latour’s Actor Network Theory (ANT) in the practice of ecological art. The reason for this anayisis is that ecological art shows a new organization of human subjectivity in which the asymmetric relationship between humans and nature is transformed into a symmetrical relationship characterized by both of their balance and healing. This paper intends to cite of Aviva Rahmani’s trigger point theory as an example. Rahmani uses the trigger point; metaphor which is interpreted as a pain-inducing point, to compare her art with the acupuncture that she used to treat her chronic fatigue syndrome. Rahmani’s ecological art makes visible the entanglement of nature and society inherent in environmental problems, which is an example of what Latour calls the politics of nature and ecologicalization. In the “Ghost Nets” project, a representative work of her activist art, Rahmani ultimately redefines her own body and spirit, improving the polluted environment through artistic intervention as a human-actor. As a result, her art shows the possibility of human-actors redefining their subjectivity through the relational ontology of ANT, where all actors are symmetrically connected beyond human-centeredness.

Citation status

* References for papers published after 2022 are currently being built.

This paper was written with support from the National Research Foundation of Korea.