13.01.2015 Views

Untitled

Untitled

Untitled

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

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 />

54 55

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!