Από την αναλογική στην ψηφιακή φάρσα: BRACO DIMITRIJEVIC & YES MEN

Περίληψη

This paper comparatively examines iterations of Braco Dimitrijević’s artwork ‘’Casual Passerby I Met’’ (1967) and the cyber-interventions of the Yes Men, highlighting aspects of mutual infiltration between activist claims and artistic tactical practices, and the ways in which both have been historically transformed in accordance with shifts in the structure of publicity. Proceeding inductively through a comparative and phenomenological analysis of two cases within Art History—both inscribed in the broader traditions of subvertising and culture jamming—the study seeks to illuminate how art acquires political content by entering the sphere of communication. Furthermore, it critically discusses how technological, technico-economic, ideological, and cultural transformations—from the late 1960s to the early 21st century—are reflected in the aesthetic articulation of the artwork as a communicative event or, in this case, as a “prank”.