What are the distinctions between art, art activism, and traditional political activism? How can we reconstitute the political culture in a hyper-aestheticised world?
What happens when the framework of the nation-state, the figure of the enterprising individual, and the premise of limitless development can no longer be counted on to produce a world worth living in? These apparent failures of liberal thinking are a starting point for an inquiry into emergent ways of living, acting, and making art in the company of others.
What are the productive limits of art practice as critique? Renzo Martens’ ‘Enjoy Poverty’ is as relevant and as challenging as it was on its release.
In the biennial, art could do all the things that we like to believe that art can do: deliver us from our concerns, transcend the limits of our imaginations, inspire us, give us hope. Art could do all those things. But often, it doesn’t.
Surrealism produces images and artefacts that are rooted outside the real. For many artists, however, Surrealism took on an explicitly political and practical dimensions. Abigail Susik argues that many artists tried to transform the work of art into a form of unmanageable anti-work.
Since the Vietnam War the way we see conflict – through film, photographs, and pixels – has had a powerful impact on the political fortunes of the campaign, and the way that war has been conducted.
When philosophers have approached virtual reality, they tend to do so through the lens of metaphysics. But to really account for VR, we must focus on the medium and its uses.
Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy.
Investigative Aesthetics draws on theories of knowledge, ecology, and technology; evaluates the methods of citizen counter-forensics, micro-history and art.
The activist performances of Grupo de Arte Callejero, Etcétera, and International Errorista rooted in the political histories of Latin America show how experimental practices in the visual arts have been influenced by and articulated with leftist movements and popular uprisings.
