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This timely collection examines the contemporary arts as political
practice, offering critical insight into some of the more
controversial talking points that have shaped Singapore's identity
as a nation. Focusing on the role played by contemporary arts in
shaping Singapore's political landscape as the country celebrated
50 years of independence in 2015, the authors consider how politics
is often perceived as that which limits the flourishing of the
arts. Contending that all art is political, and that all art form
is a form of political practice, this collection examines ways in
which the practice of art in Singapore redraws the boundaries that
conventionally separate arts from politics. It critically examines
the tenuous relationship between the arts and politics and offers a
timely reevaluation of the relationship between the arts and
politics. In doing so, it opens a dialogue between artistic
practice and political practice that reinforces the mutuality of
both, rather than their exclusivity, and redefines the concept of
the political to demonstrate that political involvement is not a
simple matter of partisan politics, but has an inherently aesthetic
dimension, and aesthetics an inherently political one.
This timely collection examines the contemporary arts as political
practice, offering critical insight into some of the more
controversial talking points that have shaped Singapore's identity
as a nation. Focusing on the role played by contemporary arts in
shaping Singapore's political landscape as the country celebrated
50 years of independence in 2015, the authors consider how politics
is often perceived as that which limits the flourishing of the
arts. Contending that all art is political, and that all art form
is a form of political practice, this collection examines ways in
which the practice of art in Singapore redraws the boundaries that
conventionally separate arts from politics. It critically examines
the tenuous relationship between the arts and politics and offers a
timely reevaluation of the relationship between the arts and
politics. In doing so, it opens a dialogue between artistic
practice and political practice that reinforces the mutuality of
both, rather than their exclusivity, and redefines the concept of
the political to demonstrate that political involvement is not a
simple matter of partisan politics, but has an inherently aesthetic
dimension, and aesthetics an inherently political one.
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R398
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