|
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
|
|
|
