| Summary/Abstract |
This article sheds light on the place of avant-gardism in socially engaged art and how it is reformulated in practice, through critically examining the art practices of the Yangdeng Art Cooperatives, a socially engaged art project in a rural area of Southwest China, where artists create various collaborative artworks and site-specific projects with the local people. I argue that the project contributes to an avant-garde mode of socially engaged art through aestheticizing the ordinariness of the everyday. I term this process ‘ordinary aesthetics’. This term demonstrates potential connections in our everyday lives and redefines the relationship between aesthetics and politics by regarding aesthetics as a perceivable sensate and a distribution of the sensible. In aiming to promote the ordinary, artists engage in local residents’ everyday lives by transforming their ordinary objects, spaces, and incidents into works of art. It is art that makes their ordinariness extraordinary. Technically, the artists blur the boundary between the real and the fictional to aestheticize the everyday lives of local residents. In their practices, ordinary aesthetics consequently becomes a means to rediscover the avant-gardism of socially engaged art.
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