This paper reflects on a recent participatory installation by the artists’ collective @.ac, entitled Messy Democracy, as a case study to raise questions concerning the ‘distribution of the sensible’ within the neoliberal art school. The project set up a quasi-autonomous artists’ space within Hanover Project gallery 9 April–3 May, 2018 at University of Central Lancashire, Preston. This exhibition functioned as a space of collective pedagogy, co-labour and ‘dissensus’ situated in relation to the wider operation of the department of Fine Art. It also sought to operate as a critical alternative to contemporary models of the art school, rooted in notions of usefulness and romantic self-realisation, but re-structured in the service of ‘commodification’ and ‘financialisation’ in wake of the Browne Report (2010). Most importantly, Messy Democracy represented a ‘theatocractic’ ‘undercommons’ for alternate and counter-hegemonic subjectivities to emerge. However, hierarchical logics, resulting from the hegemonic ‘distribution of the sensible’ stubbornly persisted even within this nascent pedagogic democracy.

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“凌乱的民主”：民主教学法及其不满

本文反映了艺术家集体@.ac 最近的一个参与式装置，题为“混乱的民主”，作为一个案例研究，以提出有关新自由主义艺术学校内“感性的分配”的问题。该项目于 2018 年 4 月 9 日至 5 月 3 日在普雷斯顿中央兰开夏大学的汉诺威项目画廊内设立了一个准自治艺术家空间。这个展览作为一个集体教学、合作​​和“分歧”的空间，与美术系的更广泛运作有关。它还试图作为当代艺术学校模式的重要替代品，植根于实用性和浪漫的自我实现的概念，但在布朗报告之后为“商品化”和“金融化”服务进行了重组（ 2010）。最重要的是，凌乱的民主代表了一种“戏剧性的”“下层平民”，可供替代的和反霸权的主体性出现。然而，即使在这种新生的教育民主中，由霸权的“明智的分配”产生的等级逻辑也顽固地存在。