If, as claimed within the autonomist tradition, capitalism derives its lifeblood from attempts to negate it, where does this leave the position of the subversive artist? Of the aesthetics of resistance? At a point where the distance between the legacy of the modernist avant-garde and the advertising industry grow ever slimmer, or disappear completely, how is it possible to assert an aesthetic or cultural practice that is not immediately utilized against itself by capitalism and the state?
BAVO, 2007
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