Famed: Revolte

Famed, passing glory, accustomed beauty, the silver box gleaming in the sun of the art world. Someone is sending an SOS. Get us out of here! We find the minor stars on the internet, revolution as pose. The smartphone as handgun, firing the arab spring and now disappearing behind the surreal practices of the situation. We set fire, we build up, we destroy, in order to deconstruct the illusion of unity and purity, but also of art and artist at the heart of the periphery. “We have a situation here.” But this is turned back on itself, subversively imitated. The agents of institutional critique wrap themselves in a cloak of rebellion, since “in art the revolt fulfils and perpetuates itself in true creation, not in critique or commentary“. Critique tries to keep up, commentary tends to digress. But isn’t it absurd, this claim of creation, to participate in the uprising of signs? In the state of exhaustion the fervour of resistance spills on the value chain of cultural capital. “Why don’t I keep sleeping for a little while longer and forget all this foolishness?“ No, without respite, the spirit of perpetual negation is called to interpret the world, even if no artist accepts the real. No relevance, no acceptance. In the flow of language the vanguards paint the grim image of disaster in the white cube. Your work of art is a battlefield in the struggle for the defence of the critical practice of progressive art. “Buy A Revolt That Never Ends at a low price.” In the shimmer of neon lights we turn away from the spectacle of consumption and transport the fast pose of digital upheaval into the eternal return of the old. A collective moves in the circle of the economy of attention and promises salvation from the profanity of everyday life. What hubris, after Dada, the surrealists, the situationists and all the others to again adopt a revolution!