Abstract

Under a political dictatorship it is primarily from the margins that an artistic critique can be articulated, as suggested by the examples presented in this article from Romania and Chile during the 1970s and 1980s. By focusing on their threefold marginality—of the artist, the art form, and the subject of art—and by applying to them Jacques Rancière's concept of dissensus, the analysis of artistic variants of marginality sheds light on the relationship of art and politics in totalitarian regimes.