This article explores the meanings of the arts produced in the 2014 Hong Kong Umbrella Movement, using a reinterpretation of Hannah Arendt’s political philosophy. It examines how these arts struggle with the tensions between politics and aesthetics. These arts are not only politically provocative in themselves but they also provide us new perspectives in understanding participatory politics and participatory arts, in general. The discussion is based on two sets of tensions: the tensions between arts and artifacts and those between actors and spectators.
© 2016 Duke University Press
2016
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Articles
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