that of Dijkstra and Ruff – and the result is not an isolated and powerless
subject, whose image is just another commodity subject to the same logic of the
market that all the commodities in the contemporary neoliberaleconomy undergo.
In direct contrast to the Dijkstra’s and Ruff’s large format portraits destined to
meet the requirements of the contemporary museum logic, Sternfeld chose
medium-size prints juxtaposed with text for the exhibition, replicating the same
format of his book. The specificity of the subjects’ statements, which bring to
the fore concerns
the implications therein of shifting notions of labour/
work (2015); the edited volume Work, Work, Work offers critiques of neoliberaleconomy in relation to visual arts and museum-based practices
(Widenheim et al., 2011).
10 In The Misinterpellated Subject (2017), James Martel complicates the
Althusserian notion of interpellation by investigating the ways in which
those who are not meant to be the intended addressees of the call of the
state nevertheless come forward and respond. These misinterpellated
subjects, Martel argues, challenge the scene in which they
. What I propose, therefore, is very simple: it is nothing more than
to think what we are doing.61
By the late 1980s, the ‘heedless recklessness’ of what Gorz called ‘economic reason’, and its direct impact on the human condition first observed
by Arendt, were increasingly observable, as the principles of a neoliberaleconomy had been aggressively applied across Europe and North America
throughout the decade. Two developments, in particular, preoccupied Gorz.
On the one hand, Gorz deplored the deep disparity in the distribution of work
between an elite of ‘privileged