Autonomy in Art

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: closed (28 February 2023) | Viewed by 2775

Special Issue Editor


E-Mail Website
Guest Editor
Department of Arts, University of Northumbria, Newcastle NE7 7XA, UK
Interests: autonomy; art; politics; theoretical and historical practice upon critical theory; the aesthetics of the Frankfurt School; landscapes of northern England; art and philosophy of Greek antiquity

Special Issue Information

Dear Colleagues,

There have been substantial debates about the relationship of art to society over the last 200 years. The development of socially engaged arts practices in the 19th and 20th century from Arts and Crafts to Bauhaus to contemporary participatory arts has been central to notions of cultural value, engagement, participation and democratic inclusivity. Yet there are some problematic aspects to these debates and practices including the instrumentalisation of art to progressive and indeed totalitarian regimes, the privileging of process over product and a suspicion towards what we might call autonomous art. This Special Issue of Arts aims to explore this notion of autonomy across all art forms and politics and the ways that we might both reassert and critique the autonomy of art from social purpose; to paraphrase Adorno, perhaps the social function of art is not to have a social function. We welcome papers that address these key debates and critiques.

Dr. Martyn Hudson
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • art
  • autonomy
  • aesthetics
  • social practice
  • world-making
  • imaginaries

Benefits of Publishing in a Special Issue

  • Ease of navigation: Grouping papers by topic helps scholars navigate broad scope journals more efficiently.
  • Greater discoverability: Special Issues support the reach and impact of scientific research. Articles in Special Issues are more discoverable and cited more frequently.
  • Expansion of research network: Special Issues facilitate connections among authors, fostering scientific collaborations.
  • External promotion: Articles in Special Issues are often promoted through the journal's social media, increasing their visibility.
  • e-Book format: Special Issues with more than 10 articles can be published as dedicated e-books, ensuring wide and rapid dissemination.

Further information on MDPI's Special Issue polices can be found here.

Published Papers (1 paper)

Order results
Result details
Select all
Export citation of selected articles as:

Research

15 pages, 316 KiB  
Article
Experimental Institutionalism and Radical Statecraft: Art in Autonomous Social Centres and Self-Managed Cultural Occupations in Rome
by Aria Spinelli
Arts 2023, 12(3), 123; https://doi.org/10.3390/arts12030123 - 12 Jun 2023
Cited by 1 | Viewed by 2064
Abstract
This article analyses experimental institutionalism in the city of Rome, focusing on artistic practices of the C.S.O.A. Centro Sociale Autonomo Occupato (Squatted Autonomous Social Centre) Forte Prenestino and the three-year occupation of Valle theatre, Teatro Valle Occupato. In scholarly research on art institutionalism, [...] Read more.
This article analyses experimental institutionalism in the city of Rome, focusing on artistic practices of the C.S.O.A. Centro Sociale Autonomo Occupato (Squatted Autonomous Social Centre) Forte Prenestino and the three-year occupation of Valle theatre, Teatro Valle Occupato. In scholarly research on art institutionalism, artistic practices in squatted spaces are often overlooked. While the 1990s European wave of experimental institutionalism transformed the concept of an art museum or art institution into a processed-based, community-oriented, and participatory platform, in Rome, the collectives of activists and artists used more autonomous endeavours, such as processes of instituting, to affirm how artistic practices’ use of radical imagination can foster collective agency, creativity, and radical statecraft. In the following, radical statecraft is understood as a political act that reclaims and creates anew institutional infrastructures. Teatro Valle Occupato’s experimental cultural institution of the commons at the 17th-century theatre Valle from 2012 to 2015, and the projects of artists and musicians of the European underground cultural hub C.S.O.A. Forte Prenestino at the squatted 19th-century military fort in the working-class, peripheric neighbourhood of Centocelle, are crucial examples of artistic, cultural, and institutional experimentation, whereby artistic and cultural practices foster social relationships based on freedom, mutualism, solidarity, and the commons. In both cases, the contingency to grassroots politics forged the desire and imagination to either create anew or carve out a social space. By reclaiming spaces in which art is used as a means of radical statecraft, these practices reimagine society fostering non-market-driven social relationships becoming pivotal in the struggles against the neoliberal turn in Italy. Full article
(This article belongs to the Special Issue Autonomy in Art)
Back to TopTop