Subversive Performance in the Age of Human Capital

1. Front Matter

   Pages i-viii

   PDF

2. Introduction

   • Pil Kollectiv, Galia Kollectiv

   Pages 1-18

3. Art for All

   • Pil Kollectiv, Galia Kollectiv

   Pages 19-74

4. Artists in the Social Factory

   • Pil Kollectiv, Galia Kollectiv

   Pages 75-128

5. Paradoxes of Democracy

   • Pil Kollectiv, Galia Kollectiv

   Pages 129-165

6. Irony and Overidentification

   • Pil Kollectiv, Galia Kollectiv

   Pages 167-243

7. Conclusion

   • Pil Kollectiv, Galia Kollectiv

   Pages 245-264

8. Back Matter

   Pages 265-280

   PDF

Contemporary art relies on an expansionist, modernist ideal and still progresses through a critique of earlier forms of democratisation. But beneath this democratic drive, lurks a creeping crisis. Under neoliberalism, criticality has become a zone of value production. A self-deprecating irony, exposing and re-enacting this position of impotence, is one of the few gestures left in the arsenal of critical art. Against this irony, this book pits overidentification. This term has been taken to mean a kind of parodic mimicry of institutional power. Using a broad tapestry of sources, from political philosophers to art theorists, from post-Marxist critiques of labour to ethnographic studies, it proposes an interpretation of overidentification that does not collapse into ironic posturing. The authors differentiate this from bad faith flirting with taboo aesthetics by focusing on practices grounded in a genuine identification with power that ushers the kind of excess implied by overidentification. It is these forms of overidentification that destabilise the metastasis of liberal-democracy. Staging forms of critique not so readily absorbed into the structure of the present, these subversive performances herald a future beyond the democratic paradox.

• Contemporary art
• Art and politics
• Modernism in art
• Art and capitalism
• Artistic practice

“This book sharply reveals the impotence of critical art in the face of neoliberalism, highlighting art workers' increasingly compromised role as agents of the very system of their own oppression. Importantly, the authors skilfully expand the scope for overidentification beyond its customary use of irony and performative excess, by demonstrating how such practices destabilise normative structures and exclusionary mechanisms. Through critical analyses of historical and contemporary artists' projects, this exciting and expansively researched book draws on political theory, post-Marxist critiques of labour, subculture studies and contemporary art theory, providing us with a measured optimism in the face of the demise of art's revolutionary potential”. (--Lina Džuverović (Curator and Lecturer in Arts Policy and Management, Birkbeck University)

 

“Pil and Galia Kollectiv expose the fake criticality of contemporary art, showing us how in many cases today’s art declares itself as critical, whereas in reality it is only an official style (socialist realism) of neoliberalism”. (--Miran Mohar (member of IRWIN and New Collectivism)

• Royal College of Art, London, UK

  Pil Kollectiv

• University of the Arts, London, UK

  Galia Kollectiv

Pil and Galia Kollectiv are artists, writers and curators working in collaboration.