Foucault and biopolitics
French philosopher and social theorist Michel Foucault first discussed his thoughts on biopolitics in his lecture series "Society Must Be Defended" given at the Collège de France from 1975–1976. Foucault's concept of biopolitics is largely derived from his own notion of biopower, and the extension of state power over both the physical and political bodies of a population. While only mentioned briefly in his "Society Must Be Defended" lectures, his concept of biopolitics has become prominent in social and humanistic sciences.[14]Foucault first mentioned biopolitics on 17 March 1976, during his "Society Must Be Defended" lectures. He described it as "a new technology of power...[that] exists at a different level, on a different scale, and [that] has a different bearing area, and makes use of very different instruments." More than a disciplinary mechanism, Foucault's biopolitics acts as a control apparatus exerted over a population as a whole or, as Foucault stated, "a global mass." In the years that followed, Foucault continued to develop his notions of the biopolitical in his "The Birth of Biopolitics" and "The Courage of Truth" lectures.
Foucault gave numerous examples of biopolitical control when he first mentioned the concept in 1976. These examples include "ratio of births to deaths, the rate of reproduction, the fertility of a population, and so on." He contrasted this method of social control with political power in the Middle Ages. Whereas in the Middle Ages pandemics made death a permanent and perpetual part of life, this has shifted around the end of the 18th century. The development of vaccines and medicines dealing with public hygiene allowed death to be held (and/or withheld) from certain populations. This was the introduction of "more subtle, more rational mechanisms: insurance, individual and collective savings, safety measures, and so on."
What is "art documentation"?
Art documentation refers to art in at least two different ways. It may refer to performances, temporary installations, or happenings, which are documented in the same ways as theatrical performances.
Meanwhile, however, more and more art documentation is being produced and exhibited that does not claim to make present any past art event(e.g. complex and varied artistic interventions in daily life, lengthy and complicated processes of discussion and analysis, the creation of unusual living circumstance, artistic exploration into the reception of art in various cultures and milieus, and politically motivated artistic actions. None of these artistic activities can be presented except by means of art documentation, since from the very beginning these activities do not serve to produce an artwork in which art as such could manifest itself.
