@article{01H2WZWKJKCNXPX8Y3M8ETP16R,
  abstract     = {{In recent years, “Socially Engaged art”, which emphasizes public participation in art, has been rising in the international contemporary art circle. Nevertheless, as these works often are presented as non-material social activities but not as “art objects”, they are frequently questioned, “Is it art?”. Over two hundred years, Modern and contemporary Western philosophy, aesthetics, and art theories have consistently debated the relationship between art and society, providing aesthetic clues for the “intervention” of art. Based on Kant and Hegel’s discussion on Artistic Autonomy and Artistic Heteronomy, Adorno and Berleant put forward the aesthetic topic of “Intervention” and “Engagement.” After the 1990s, Bourriaud’s “Relational Aesthetics” and Rancière’s “Dissensus” provided direct academic support for interventionist art. The former gave birth to Kester’s “Dialogical” and “Collaborative” Art, while the latter enabled Bishop to construct a complete theoretical discourse of “Participatory Art.” After two centuries of theoretical evolution, eventually, Socially Engaged Art has gained aesthetic rationale and has become a new Zeitgeist of the 21st century.}},
  author       = {{Sun, Weiwei}},
  issn         = {{1004-0544}},
  journal      = {{THEORY MONTHLY}},
  keywords     = {{socially engaged art,participatory art,Artistic Autonomy,Artistic Heteronomy}},
  language     = {{chi}},
  number       = {{8}},
  pages        = {{147--153}},
  title        = {{From autonomy to participation : the theoretical evolution of art intervention}},
  url          = {{http://doi.org/10.14180/j.cnki.1004-0544.2022.08.015}},
  year         = {{2022}},
}

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