by quotes of Zizek and of Foucault. Her argument is flawless. Vettese did persuade us: To overthrow the art market from the inside is a useless and inconclusive argument. The only possible sabotage , in these terms, is the one made by Damien Hirst against owners of galleries and critics, that is selling his golden veal “directly” at the Sotheby auction for 10 millions of sterling: But this thing, on the contrary, doesn’t affect the market at all. But, I would say, the sabotage line undertaken by Pasquinelli, was not going in that direction.
of new subjectivities and that are trying not to be “caught” by the market.
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As it is explained in many parts of the book, this is definitely the point: In the new post-fordism, cognitive and immaterial capitalism, the key processes of the increase of value (economy value creation) are not anymore the transformation of raw materials in goods: but they are those in which every relational and linguistic activities of the human beings, the imaginary, are turned into immaterial goods, where new devices give them value as they are able to read , integrate, spread and produce them as a brand. In short, to simplify a bit but not that much: Not only art has become a productive process, but production is becoming an artistic process itself. Art and production are starting to look more and more alike every day . “Production and creation”, writes Judith Revel, “are the same thing”. So it is not possible anymore as it was at the time of the “cultural industry”, to play with subjectivity against capitalism. Again Judith Revel: ” With the new age of the cognitive, intellectual, linguistic and affective capitalism something has changed. With the valorization of new forms of social cooperation and circulation of
He was rather suggesting that it’s possible to give birth to new forms of production able to damage the market (therefore without “staying apart”) because they introduce elements of incompatibility between expressive activities and processes of valorization. Many of the expressive experiences which were born in the last decades inside the movements, or just around them, are going in this direction: of course, without really reaching the proper “sabotage”, but placing the bases. For example collective or fake names, mythopoeic narratives, no conventional use of images: Luther Blissett, San Precario, Serpica Naro, Anna Adamolo. Things that do not appear in art galleries or in critics exhibitions, things that are not “increased in value” in terms of monetary meaning, but things that can give rise to the forming processes 31