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The question of envisioning an "art to come", yet "undiscovered"
but already effecting us by arousing the faculty of imagination, has
both the capacity and an inbuilt inclination to unfold further into
questions on the potential of the culturally and politically imagined
and produced in general, inquiring what makes the transcendental framework
for seeing something as paradigmatic cultural and social action at
all, and as well as an actual legitimate component of the very particular
setting of the isolated "artworld" cluster of contemporary
society, and those questions get articulated either through the regulations
of the market and the biopolitical agendas of great industrial and
financial powers, producing not only commodities but also producers,
agent subjectivities with industrialized needs and desires, social
relations, bodies and minds, or, on the contrary, they become present
through the radical cultural vision, a vision of constituting effective
cultural, social and political alternative, of forming some new constituent
powers by mediation of which the expansive networks of global exchange
that can be transformed into agents of global emancipatory change,
relying on practices that are simultaneously collaborative, cooperative
and communicative, affective and responsible, conceptually grounded
and self-reflective, libidinally charged and speculative, socially
aware and context-sensitive but strongly subjective, historical and
time based, resistant to the system which suspends history and thereby
fixes the existing state of affairs for eternity, therefore always
conflictual and agonic, programmatically non-hierarchical, egalitarian
and counterhegemonistic, relying on activism, on intervening, always
aiming at subverting hegemonic languages and social structures, prepared
to become a tool for giving a voice to the silenced spots within the
structure of identity-based discourses, pointing towards the incompletion
of acts of political institution, keeping it's non-finished state,
processual, emancipatory, critical, putting into question the culturally
given norms, not ignoring nor denying but eluding to the system of
oppositions as defined by dominant discourse, building on internal
conflicts that each particular side of the opposition has in clearly
defining itself, indexing distortions of the cause-effect relationship
in reading back causality onto one's personal history and re-enacting
to different senses of belonging, insisting on socially specific contexts,
but avoiding being reduced to an anthrophological object, presenting
a certain topology of the "non-realized", a topology of
"blind spots, as empty as the purely indexical gesture 'look
here'", insisting on keeping to the impossible, to the non-classifiable,
going against technologies of difference management, contesting new
regimes of differentiation and homogenization, deterritorialization
and reterritorialization, disclosing, interpreting and rearticulating
the spatial divisions, paths and limits of new global flows, which
tend to lead art towards becoming a means of simple social reproduction,
framed through the deployment of assimilatory, disciplinatory and
exclusionary strategies. So, therefore, it persists in reinscribing
into the field of cultural representations what is left out during
the process of accumulation and naturalization of authoritative discourses,
in de-sedimenting layers of cultural and social identifications, reactivating
buried potentials to imagine alternative worlds, to envision the horizon
of radical pluralism, "heterogeneous, open and ultimately indeterminate",
and to embody oneself as a bearer of that vision, in the material
way of the one who, as described by Rimbaud, succeeds to "arrive
at the unknown through the disordering of all the senses", and
lives it through everyday artistic social praxis.
Stevan Vukovic
Belgrade
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