This article focuses on Jacques Rancière’s reflections on Alfredo Jaar’s The Rwanda Project in the context of wider discussions of the politics of naming the dead. Against the claim that his reflections reveal a depoliticizing, universalist commitment to naming all the dead, it contends that foregrounding the relation between naming and counting in this discussion shows Rancière’s focus to be the policing and politics of naming. In an original argument, it focuses specifically on how, for Rancière, in this context, individualized (...) proper names function politically and dissensually. To do so it explores Rancière’s analysis of the role of the mainstream media during the Rwandan genocide in perpetuating the police order which divided nameable individuals from anonymous masses, thereby constituting living and dead Rwandans as of little or no account, and his account of how Jaar’s art is able to disrupt the ‘partition of the sensible’ underpinning this count. The article concludes by considering how Rancière’s ideas about the relationship between naming and counting and between politics and police serve as a useful supplement to and extension of existing discussions of grievability. (shrink)

This paper focuses on Lefort’s and Rancière’s conceptions of democracy as a set of conflictual processes through which the composition of the public sphere is reassessed. Reading their works together and sometimes in opposition to each other, the paper extracts elements of a theory of inessential sovereignty that avoids the pitfalls of populist antagonism and of neoliberal diffuse domination. It analyses Lefort’s and Rancière’s understandings of democracy as rule of the people, which are based on ontological and aesthetical distinctions between (...) ‘politics’ and ‘the political’. It argues that in the structural situation of dissensus described by both Lefort and Rancière, popular sovereignty could be conceptualized as lying in an ability to shape and transform the public sphere. (shrink)

This paper focuses on Lefort’s and Rancière’s conceptions of democracy as a set of conflictual processes through which the composition of the public sphere is reassessed. Reading their works together and sometimes in opposition to each other, the paper extracts elements of a theory of inessential sovereignty that avoids the pitfalls of populist antagonism and of neoliberal diffuse domination. It analyses Lefort’s and Rancière’s understandings of democracy as rule of the people, which are based on ontological and aesthetical distinctions between (...) ‘politics’ and ‘the political’. It argues that in the structural situation of dissensus described by both Lefort and Rancière, popular sovereignty could be conceptualized as lying in an ability to shape and transform the public sphere. (shrink)

The Repeal campaign articulated new and transformative relationships between law, reproduction and the political in Ireland. During the campaign, ordinary people took ownership of and participated in mutual teaching and critique of law on a wide scale. Art, along these lines, was often used to document and archive the injustices worked by the 8th Amendment. However, art also became a means of imagining law otherwise. In this piece, I use Jacques Rancière’s work on the relationship between aesthetics and politics to (...) analyse artistic contributions to feminist legal discourses associated with Repeal. (shrink)