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Anthropological Reflections on Lebanese Art: How Empathy, the Human Rights Topos and Ideological Attitudes Interact with Aesthetic Perceptions

Anthropological Reflections on Lebanese Art: How Empathy, the Human Rights Topos and Ideological... enough for a bourgeois' decorative catharsis ­ are absorbed by the art market or end up in museums, which, as Marcel Duchamp has already remarked, could comprise artworks of a completely different nature as well. Compared to the classical functions of museums ­ collecting, exhibiting, researching/publishing ­ the focus of many exhibitions of contemporary art often shifts from the cultural to the economic capital. On the basis of their historically grown power of definition and prestige, the collections of a museum nowadays can play an important mutually value-boosting role through exchange and certain market-oriented exhibition strategies with private collections (Mourad 1998, 2010; Mourad et al. 1992). In this context, critical Lebanese art oscillates ­ like an exotic art product or a funny thrill ride ­ between a sacred new aristocratisation and an artistic Luna Park. In the following we reflect on our experiences with the perception of the human rights topos, which is often present in critical Lebanese art. We sought to determine whether protagonists of the artistic and cultural realm ­ who often self-proclaim, or are ascribed to, the role of a sensitive elite in the tradition of a critical socio-cultural avant-garde ­ would empathically identify with http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Anthropology of the Middle East Berghahn Books

Anthropological Reflections on Lebanese Art: How Empathy, the Human Rights Topos and Ideological Attitudes Interact with Aesthetic Perceptions

P.-Fromm; Gerald A.; Mourad; Bariaa
Anthropology of the Middle East , Volume 8 (1) – Jan 1, 2013
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Publisher
Berghahn Books
Copyright
© Berghahn Books
ISSN
1746-0719
eISSN
1746-0727
DOI
10.3167/ame.2013.080107
Publisher site
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Abstract

enough for a bourgeois' decorative catharsis ­ are absorbed by the art market or end up in museums, which, as Marcel Duchamp has already remarked, could comprise artworks of a completely different nature as well. Compared to the classical functions of museums ­ collecting, exhibiting, researching/publishing ­ the focus of many exhibitions of contemporary art often shifts from the cultural to the economic capital. On the basis of their historically grown power of definition and prestige, the collections of a museum nowadays can play an important mutually value-boosting role through exchange and certain market-oriented exhibition strategies with private collections (Mourad 1998, 2010; Mourad et al. 1992). In this context, critical Lebanese art oscillates ­ like an exotic art product or a funny thrill ride ­ between a sacred new aristocratisation and an artistic Luna Park. In the following we reflect on our experiences with the perception of the human rights topos, which is often present in critical Lebanese art. We sought to determine whether protagonists of the artistic and cultural realm ­ who often self-proclaim, or are ascribed to, the role of a sensitive elite in the tradition of a critical socio-cultural avant-garde ­ would empathically identify with

Journal

Anthropology of the Middle East – Berghahn Books

Published: Jan 1, 2013

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