VIDEO

Jorge Luis Marzo, "From the moss under the happy steamroller". The 1990s Course

8/02/2018
Category
Other / Lectures and debates

In the 1990s, and especially since 1992, annus mirabilis of Spanish and European neoliberalism, a whole range of artistic practices emerged with the explicit intention of abandoning the mellifluous formalist tendencies of the previous decade and formulating new discourses linked to the political, social, sexual and working reality concealed under the steamroller of an institutional culture at the service of consensus. The dynamics of the 1990s viewed culture through the complex social processes that comprised it, in rejection of a culture that served merely to tame and subdue all sensitivity. Undoubtedly, these dynamics were in many cases paradoxical and subject to strong tensions: how to define the collective versus individualism? How should the aesthetic and productive autonomy of art be regarded when there is a need for public accountability, for inclusion in common life?
How should working in art be explored at a time of precarisation and work aestheticisation? How to adopt new technologies without falling into mere spectacularisation? Where should socio-aesthetic experiences be located in a decade in which the ever-expanding number of art museums in Spain merely responded to the politics of tourism and urban speculation? And yet, these questions and their answers are still relevant today, underlying current debates on the role of art in an aesthetic capitalism that devours signs, affections, bodies and memories.

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