Echo Gone Wrong magazine has just published the first part
of the series of my reflections on contemporary art called "The Effect
of Contemporaneity." In it you will find some observations about how contemporary art is intertwined with
capitalism to an extent of there being no distinction between the two.
What is of particular interest to me is the way the latest trends and theoretical shibbolets are imported into the global 'province' where artists are eagerly turning themselves into the self-managing entities ready for the
overwhelmingly interconnected techno-reality. This is the moment when we witness a sudden and unreflected turn towards what is trending—e.g., things like posthumanism, speculative realism, new materialism, metamodernism, etc.—topics that are exploited without questioning the
conditions under which they are introduced in the first place. It is now a common sense that every emerging artist—anywhere in the world—should aspire to the hights of the 'global art market.' Artists, especially those who come from the so-called 'underdeveloped world' or (to use a socio-political term) 'East', learn to embrace these conditions of artistic recognition as something 'natural.'
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