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Art, Politics and Rancière: Broken Perceptions

In Art, Politics and Rancière, Tina Chanter interprets Jacques Rancière’s significant body of work from the perspective of feminist, post-colonial and critical race theories. Chanter’s contribution is the most sustained attempt within current scholarship on Rancière to bring him into contact with a variety of political identities. Chanter’s subtle case threads a delicate balance between adopting and altering some of Rancière’s key concepts. In its style, the book follows aspects of Rancière’s fusion of political and aesthetic topics, but it also incites productive disagreement with the positions on which he is most emphatic. It is in these moments of disagreement that Chanter’s book will be of most interest to those working on feminist, post-colonial and critical race theory as well as scholars of Rancière. Chanter asks, “What might a productive conversation between feminist theory, and race theory and the questions Rancière poses look like?” (24) She analyses what Rancière might offer to the field of intersectional politics. In particular, Chanter focuses on how Rancière offers a way of thinking about those who might not have a “part” or an audible voice, or be visible in the “police order”. Rancière maintains a careful balance between art and politics, giving them a co-constitutive relationship in the distribution of the sensible. It joins other qualities such as the “in-disciplinarity” of his thought, which makes it available for appropriation, and the sharp lucidity of his writing as reasons for Chanter’s turn to Rancière from her background in feminist philosophy. Although open to misinterpretation and criticism, Chanter is attentive to what separates them: