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+ (presences of art)
Estul postcomunist: consumatori puri, esenfla marginalizatæ a capitalismului.
Se aflæ exact în situaflia „noilor særaci“ descriøi de Bauman, care
nu mai pot figura ca „proletari“ misionari, dar realizeazæ øi împlinesc
practic capitalismul, salvîndu-l. „Noii særaci“ nu reprezintæ o resursæ
directæ, nu sînt exploatafli, fug nu de, ci dupæ exploatare, cæutînd integrarea
øi segregarea internæ, aspirînd sæ devinæ „mai consumiøti
decît consumul“.
Exact ceea ce se întîmplæ acum în România, în Est, ceea ce aratæ, dar
nu øtie (øi nu vrea) sæ descrie mass-media. Adevær marginal, adevær
esenflial.
SCHIMBAREA DE PARADIGMÆ
NOUA CONDIfiIE A CRITICII
Pentru a nu mai produce în continuare artificial øi fals, adicæ pentru a
nu mai acredita iluzia unei posibile „redresæri“ voluntarist radicale, „moderniste“,
a omului, „fæcînd jocul“ capitalului însuøi, øi pentru a deveni
în sfîrøit aøa cum i s-a cerut dintotdeauna sæ devinæ, constructivæ, critica
trebuie sæ nu mai califice, sæ nu mai judece negativ fenomenele de
negativitate a omului. Omul, sau mæcar percepflia asupra lui, nu poate
fi deblocat(æ) decît prin acceptarea øi recunoaøterea negativitæflii
esenfliale, de fond, a omului øi prin pozitivarea ei creatoare.
Capitalismul a integrat ceea ce voia sæ i se opunæ øi sæ i se sustragæ –
arta, creaflia –, tocmai din asta, vorace, hrænindu-se, critica capitalismului
(cacofonic) trebuie sæ se apropie øi ea de artæ, propunînd alternative
øi ieøind din jocul, întotdeauna perdant pentru ea øi profitabil
pentru adversar, al creafliei.
Critica, exacerbatæ de cætre intelectualii finalului apoteotic-monstruos,
profetic, al modernitæflii, nu mai este practicabilæ decît ca puræ
inerflie, ca pur joc scolastic, închis, rupt de societate.
Critica nu mai existæ. I-a dispærut locul, a dispærut din „nomenclatorul“
prezentului.
Situaflia este cel puflin inconfortabilæ. E greu sæ fii transparent, sæ nu mai
exiøti.
Critica nu mai trebuie sæ respingæ, trebuie sæ atragæ, propunînd alternative,
creînd.
Omul contemporan cautæ, ca tot omul, împlinire, dezvoltare, ameliorare.
Dar continuæ sæ o facæ dupæ modelul modernitæflii, prin creøtere,
conform logicii „suplementaritæflii“, a protezei organice: adæugîndu-øi
capacitæfli, extinzîndu-se.
Critica nu mai are de criticat idealurile imediate, practice ale oamenilor,
în sine, ci are de discriminat între solufliile øi mijloacele propuse ei
pentru atingerea acestor idealuri banale.
Critica are de criticat hiperfalsificarea solufliilor øi a expedientelor, fæcînd-o
însæ pe fondul acceptat øi recunoscut, de-negativizat, pozitivat,
normalizat, de negativitate øi artificialitate al omului însuøi.
Falsul, artificialul presupun ARTA însæøi.
Capitalismul actual a integrat arta, expropriind-o, exploatîndu-i pînæ
la devitalizare tocmai capacitatea de fals, de a crea artificial atrægætor,
ajungînd sæ falsifice complet arta însæøi.
În miezul societæflii actuale, al capitalismului actual se aflæ problema artei.
Capitalismul nu doar a integrat, dar a øi monopolizat arta, „artisticul“.
Tendinfla hiperbolicæ spre producerea de fals øi artificialitate pentru promodernity,
the critique cannot be practiced otherwise than as pure inertia, as pure,
closed scholastic game, insulated from society.
The critique does no longer exist. Its place has disappeared; it disappeared from the
“nomenclature” of the present.
The situation is at least uncomfortable. It is hard to be transparent, to cease to
exist.
The critique should not any longer reject, it must attract by proposing alternatives,
by creating.
Like every Tom, Dick and Harry, the contemporary man seeks to accomplish, to
develop, to improve. But it continues to do it following the model of modernity,
by accretion, according to the logic of “supplementarity”, of the organic prosthesis:
by adding up capacities, by extension.
The critique should not criticize men’s immediate, practical ideals themselves; on the
contrary, it should discriminate between the solutions and the means proposed to it
so as to reach these banal ideals.
The critique should criticize the hyper-falsification of solutions and expedients, but
without disregarding the accepted and acknowledged, de-negativized, pozitivized,
normalized man’s inherent substance of negativity and artificiality.
Falseness, artificialness presuppose ART itself.
Current capitalism has integrated art, by expropriating it, by exploiting up to
devitalisation its capacity to falsify, to create attractive artificialness, and it has thus
reached the point where it has completely falsified art itself.
The problem of art lies at the heart of contemporary society, of current capitalism.
Capitalism has not only integrated, it has also monopolized art, the “artistry”.
The hyperbolic drive that pushes capitalism – which now “genetically modifies” art
itself by manipulating its own artificiality gene – toward the production of falseness
and artificiality in the search of immediate, unlimited, speculative profit, in other
words, the artificiality of capitalism is different from the artificiality of art.
CAPITALISM = ART, CREATION
⇒
ART
=
TRUE
CAPITALISM
Integrated for its inexhaustible creative resources, with the purpose of saving capitalism
by “virtualizing” it, by “immaterializing” it, art can and must become man’s
true post-capitalism: a capitalism of production, finally, not just one of (resource)
consumption and consumer-based.
Through postcapitalism-art, man can finally transform from consumer into producer
of self as [producer of ] new life forms.
Against the final-capitalist sacrifice of quality, against the capitalist radicalized falsification
and artificialization of the quality of commodities, goods and products (in the
conditions of the generalized, objective decrease of the profit rate, the immediate
search for unlimited profit has come to the point where the quality requirements
have been totally replaced and the profit increases in direct ratio with the lack of
quality, with the purely speculative product: “virtual” goods), art can bring back the
quality of „capitalist” life solutions, thus re-establishing man as producer-emitter.
As new critical stance, art has to fight against capitalistically integrated “art”.
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