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Art in the Age of Biopolitics<br />
defined by the aspiration of today’s art to become life itself, not merely to<br />
depict life or to offer it art products.<br />
Traditionally, art was divided into pure, contemplative, “fine” art and<br />
applied art—that is, design. The former was concerned not with reality but<br />
with images of reality. Applied art built and composed the things of reality<br />
themselves. In this respect, art resembles science, which can also be divided<br />
into a theoretical and an applied version. The difference between fine art and<br />
theoretical science, however, is that science has wanted to make the images<br />
of reality that it creates as transparent as possible, in order to judge reality<br />
itself on the basis of these images, whereas art, taking another path, has taken<br />
as its theme its own materiality and lack of clarity, the obscurity and, therefore,<br />
autonomy of images and the resulting inability of these images adequately<br />
to reproduce reality. Artistic images—from the “fantastic,” the<br />
“unrealistic,” by way of the Surrealistic and on up to the abstract—are<br />
intended to thematize the gap between art and reality. And even media that<br />
are usually thought of as reproducing reality faithfully—such as photography<br />
and film—are also used in the context of art in a way that seeks to undermine<br />
any faith in reproduction’s ability to be faithful to reality. “Pure” art thus<br />
established itself on the level of the signifier. That to which the signifier<br />
refers—reality, meaning, the signified—has, by contrast, traditionally been<br />
interpreted as belonging to life and thus as removed from the sphere in which<br />
art is valid. Nor can it be said of applied art, however, that it concerns itself<br />
with life. Even if our environment is largely shaped by applied arts such as<br />
architecture, urban planning, product design, advertising, and fashion, it is<br />
still left to life to find the best way to deal with all these designed products.<br />
Life itself as pure activity, as pure duration, is thus fundamentally inaccessible<br />
to the traditional arts, which remain oriented toward products or results in<br />
one form or another.<br />
In our age of biopolitics, however, the situation is changing, for the<br />
principal concern of this kind of politics is the lifespan itself. Biopolitics is<br />
often confused with scientific and technical strategies of genetic manipulation<br />
that, at least potentially, aim at reforming the individual living body. These<br />
strategies themselves, however, are still a matter of design—albeit that of a<br />
living organism. The real achievement of biopolitical technologies lies more<br />
in the shaping of the lifespan itself—in the shaping of life as a pure activity<br />
that occurs in time. From begetting and lifelong medical care by way of the<br />
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