Art has not taken the place of an absent or distant politics. Instead, politics and art are both engaged in providing an opening in the consensus that there is only one reality, one space, one time: the space-time of the market.
On the one hand, political argumentation for Ranciere belongs to a domain where the setting, dialogues, and even the cast of characters—who “counts,” who is recognized as a legitimate participant in the discussion—are not given in advance. Both the terms of the argument and the scene where politics takes place must be produced, invented. We are here squarely in the realm of the aesthetic: the system of forms that governs what is seeable or sayable—the world, in other words, of perception. On the other hand, Ranciere’s thinking grants to art a kind of revitalized energy and potential for the new; art is given much the same power Ranciere has granted elsewhere to politics: that of reframing, and thus expanding, what can be perceived in the present. Both art and politics reconfigure what is thinkable at a given moment.