Überwachung ist Macht. Zur Mythifizierung von Überwachung in der Gegenwartskunst

Michell, Alix

Überwachung ist Macht. Zur Mythifizierung von Überwachung in der Gegenwartskunst

dc.bibliographicCitation.firstPage	201
dc.bibliographicCitation.lastPage	223
dc.contributor.author	Michell, Alix
dc.date.accessioned	2021-06-10T08:57:45Z
dc.date.available	2021-06-10T08:57:45Z
dc.date.issued	2020
dc.description.abstract	The article uses contemporary artworks by Florian Mehnert (Waldprotokolle [2013]), Paolo Cirio (Street Ghosts [2012–2017]) and the artists’ collective ‘Center for Political Beauty’ (Holocaust Memorial Bornhagen [2017]) to show how ‘narratives of surveillance’ change in art. Surveillance can be semantically functionalized as ‘power’, as the art action Holocaust Memorial Bornhagen by the Center for Political Beauty shows. This functionalization of surveillance as power stems from culturally established phobic narratives. In this context, the symbolic representation of surveillance is repeatedly charged with meaning, which can be assigned to the semantic field of power. This results in a ‘mythification’ of surveillance in the sense of Roland Barthes, in which original semantics such as state surveillance, security or freedom are eliminated.
dc.description.url	https://www.peterlang.com/view/title/69884
dc.identifier.uri	http://resolver.sub.uni-goettingen.de/purl?fidaac-11858/989
dc.language.iso	ger
dc.publishedIn	Berlin
dc.publisher	Peter Lang
dc.relation.doi	10.3726/b17376
dc.relation.editor	Hauptmann, Kilian
dc.relation.editor	Hennig, Martin
dc.relation.editor	Krah, Hans
dc.relation.ispartof	Narrative der Überwachung: Typen, mediale Formen und Entwicklungen
dc.rights	L
dc.subject.ddc	ddc:700
dc.subject.field	mediastudies
dc.subject.field	arthistory
dc.subject.field	culturalstudies
dc.title	Überwachung ist Macht. Zur Mythifizierung von Überwachung in der Gegenwartskunst
dc.type	anthologyArticle
dc.type.version	publishedVersion
dspace.entity.type	Publication