Lebenskünstler

“Art, Neoliberalism, and the Fate of the Commons” John Roberts, in The Art of Direct Action: Social Sculpture and Beyond

Posted in Uncategorized by dilettanteventures on 07/07/2026

…many of the new forms of collaborative and participatory art make no distinction between art as political praxis and political praxis itself; art, it is claimed, is a form of political praxis.

…”enclosure” is as much cognitive and cultural as it is economic.

This has produced a range of practices along two fundamental axes: first, the idea of artistic collaboration between an artist or artists and a group of participants as the model of an ideal intellectual community; and second, the notion of the artist or artists acting in collaboration with a non artistic community or group in order to ameliorate or change a given state of affairs, as a counter to external forces of neglect, coercion, or oppression.

…each sets out to enact and make visible a process of free exchange and participation irreducible to the enclosures of the commodity form, the boundaries of medium-based practice, the institutional spaces of the official art world, and the historical distinctions between art praxis and social or political praxis.

This does not mean that discursive, pedagogic, and dialogue-based works escape the commodity form; even temporal interventions have to purchase commodities on the market in order to pursue their “non-commodified” outcomes. Moreover, in order to enter into dialogue with an audience or collaborators artists have to transform the content of what they do into intellectual goods…[Yet, these forms] establish an important centrifugal dynamic for art in the present period: namely the development of an art after “art in the expanded field” in which the collective forms of of participatory production and reception become constitutive of these open-ended research interests.

autonomy always has to be won anew from the conditions in which art finds itself, irrespective of its material or immaterial forms.

…the official art world seems less and less a place where artists might think and work…

…the conditions of emancipation are not lying in wait for us and as such need to be produced here and now…

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