By Marc James Leger
Brave New Avant Garde is a set of essays that ask the questions: what's an enough version of latest avant garde perform and what are its theoretical premises? With this it asks the similar query, echoing Alain Badiou: needs to the avant garde speculation be abandoned?
Brave New Avant Garde stands towards postmodern post-politics and the view that radical perform has no different destiny than its relief to the workings of the loose industry within the type of the "simple strategy of cultural production" or to diversifications at the cultural politics of illustration. Today's avant garde, shaped within the wake of the top of the Soviet Union and the increase of the anti-globalization flow, represents a counter-power that rejects the inevitability of capitalist integration. the way in which out for artists in today's global of artistic industries is outlined in those pages as a psychoanalytically educated sinthomeopathic practice, a severe id with winning stipulations of creation that avoids the excess delight in the ideology of postmodern pluralism.
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Extra info for Brave New Avant Garde: Essays on Contemporary Art and Politics
52 Chapter 2 53 Community Subjects Criticism of community art provides new ways to consider the question of subjectivity from a non-essentialist perspective that affords us the occasion to conceptualize the relationship between subjective and social formations. 1 From a Lacanian, psychoanalytic point of view, such capture devices are the points de capitonnage (points of ideological suturing) that are inherent to subjectivity and that operate through processes of identification and disidentification.
Finally, how can we reimagine a community subject that is immune to the forms of democratic contestation that seek a mere surface reorganization of capitalist social relations? 54 These are some of the questions that are posed by today’s socially engaged community art. In the following I consider two competing paradigms of community art and propose a third, alternative framework for critical cultural practice. 2 Bourriaud describes relational work, for instance the work of artists like Rirkrit Tiravanija and Liam Gillick, as unfinished, open-ended works that do not provide collectible objects but that are oriented toward social interaction.
22 The subjective is therefore a crucial moment of institutional critique. 23 However, and while the body makes its demands in terms of habitus – a durable and transposable complex of tastes and dispositions – the body’s relation to the psyche makes such demands a matter of repression and fantasmatic projection. The body that supports legitimate culture and good taste is, according to Bourdieu, a member of the dominant group whose criteria of selection remain tacit because considered absolute, thereby masking the psychic processes that produce identity and identification.