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Antigoni Memou

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 neoliberal economy 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

in Photography and social movements
Sruti Bala

the implications therein of shifting notions of labour/ work (2015); the edited volume Work, Work, Work offers critiques of neoliberal economy 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

in The gestures of participatory art
Anna Dezeuze

. 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 neoliberal economy 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

in Almost nothing