The Transgressive Policy of ParasitismApril 25, 2013
Today, art is simple, direct and clear. No illusions. Today, art could not possibly function as l’art pour art, or ‘art as art’, or ‘art as idea as idea’. Unlike historicism, it does not aspire to exalted objectives (aesthetical or political), as it did during the epoch of historical modernism1, neither is it eclectically dispersed or decentered as pure pleasure like in the era of consumer post-modernism.(2) Today, art subjects are socially explicit(3), culturally referential(4) and artistically realistic(5). The relationship between art and reality(6) is ontological.
Art is not a mirror representation of the world, but it is a representative, or rather a probe of an ‘artistic action’ in the world that is a ‘new-or-other’ nature. Here the term ‘nature’ denotes polysemy of culture, or to be more precise, the multifold effects of the struggle for power inside culture and society. In the course of the 19th and at the beginning of the 20th century, this was the ‘class struggle’ between capitalists and workers. In the second half of the 20th century the struggle was waged between politically opposed blocs (the East and the West) in the symmetrically split world (influential spheres). Today it is the struggle between the ‘center’ and ‘margins’:
– within individual (localized) societies,
– within culture as new nature,
– within private or public art of communication,
– within global politics,
– within local or global economy,
– within the distribution of power inside our everyday,
– within production, exchange and consumption of values (information, influence, pleasure).
Written by Miško Šuvaković. Continue HERE