Training Art, Tracking Discourse
Mangrané, Ariadna (2020)
Mangrané, Ariadna
2020
All rights reserved. This publication is copyrighted. You may download, display and print it for Your own personal use. Commercial use is prohibited.
Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi:amk-2020121829490
https://urn.fi/URN:NBN:fi:amk-2020121829490
Tiivistelmä
The aim of this essay is to create a methodology for an art project that will help me understand to a greater degree the concept of discipline. This is done through the study of choreographed group fitness classes with music. I consider this to be relevant because these workouts are based on disciplinary and resistance programs, concepts that at the same time have a close connection to the practice of art, and especially during these studies. There is a question repeating along with the text: how to create a disciplinary method for my artistic practice? Then, the different chapters of the text are approximations to this question. My methodological approach comes from a position of maximal involvement, where I narrate my experiences as an active participant, and being an attendant in the workouts acts as a field study for the development of my artistic work. Part of this involvement includes observations, conversations, and an artwork made during spring 2020 that evolves from this question. The theory developed by Michel Foucault on disciplinary societies has given me a historical understanding of different mechanisms to apply power individually and collectively.
Then the text operates in two levels: one is the study of situations of dominance through different tools and processes and the other is the training of an artist to fit into a particular structure (where a coherent discourse is demanded). The analysis happens during and after carrying out the artistic project, both from my written investigations and my practical outcome.
In conclusion, I can say that the concept of the disciplinary method has developed during the course of the research, from being the means to also exist as ends, becoming then artistic material on itself.
Then the text operates in two levels: one is the study of situations of dominance through different tools and processes and the other is the training of an artist to fit into a particular structure (where a coherent discourse is demanded). The analysis happens during and after carrying out the artistic project, both from my written investigations and my practical outcome.
In conclusion, I can say that the concept of the disciplinary method has developed during the course of the research, from being the means to also exist as ends, becoming then artistic material on itself.