art-e-conomy _ reader - marko stamenkovic

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126
Jim McGUIGAN Neo-liberalism, Culture and Policy Introduction We live in an age of neo-liberal globalisation. This is a profoundly hegemonic condition, though not without contradictions and resistances. What are the relations between a global process of neo-liberalisation and culture in both general and particular senses? Is it even feasible to pose such a wide-ranging question at all in a complex and baffling world? In what follows I will make some preliminary observations that do not by any means exhaustively cover the various aspects of neo-liberalism, culture and policy but are intended to open up debate. Neo-Liberal Globalisation How should we characterise and name the present condition? There is no shortage of candidates, such as ‘the global age’, ‘the information age’, not to mention the variants of ‘modernity’ and ‘postmodernity’. Recently, the term ‘neo-liberal globalisation’ has been used increasingly by critics and activists. This may be an offputting nomination for many since it seems to imply a reduction to political economy and the dreaded economic determinism of classical Marxism. However, the emphasis on neo-liberal globalisation does have the distinct virtue of avoiding the kind of cultural reductionism that is so prevalent in social analysis today. Neo-liberalism refers to the extraordinary ‘revival of doctrines of the free market’ (Gamble, 2001: 127) over the past thirty years. The free-market revival coincided with the crisis of Fordist capitalism during the 1970s and the subsequent collapse of soviet communism. Transferring manufacture from richer to poorer countries, reducing the social wage, expanding global business and speeding up communications, all contributed to the victory of market ideology and practice in the recent period. Incidentally, the new international division of labour generally encompasses a new international division of cultural labour whereby capital ruthlessly seeks out cheap sources of production for making films and the like (Miller et al, 2001). The IMF (International Monetary Fund), the World Bank and the WTO (World Trade Organisation) all subscribe to neo-liberal doctrines of ‘free trade’, privatisation and deregulation. And, from a cultural policy point of view, the operations of GATS (General Agreement on Trade in Services) and TRIPS (Trade- Related Intellectual Property Rights) are of cardinal importance. It is vital to appreciate the historicity of neo-liberalism and to remember that not long ago such rabid capitalism was thought to be untenable both economically and with regard to social cohesion across the political spectrum from left to right. As well as changing structural conditions in global economy and governance, neo-liberalism 127
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art-e-conomy theoretical reader edi
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Saskia Sassen Economy and Art Today
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FOREWORD This publication is a theo
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Marko STAMENKOVIĆ INTRODUCTION CUR
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not whether there is a connection,
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As it is now evident and possible t
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The current reality of contemporary
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official presentation[12], the Euro
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(1) The capitalist economic system
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1 Miško Šuvaković, “The Ideolo
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24 économique du travail. Les sect
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26 d’information et de manipulati
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28 La segmentarité moléculaire Da
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30 Les pédés, les fous, les radio
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32 mesure qu’il se sentira débor
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34 upon consent nor even capable of
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36 universally valid and applicable
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38 imposing obligations on themselv
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40 A cosmopolitan Europe of nationa
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42 Tatjana ĐURIĆ KUZMANOVIĆ Glob
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44 Unlike these countries, the Unit
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46 fact that they benefited from Am
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48 marital status and language. How
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50 influenced by ethnicity, class,
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52 assistance from them. However, i
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54 What is the reason for this enor
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56 In India, the policy of “Econo
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58 Nick DYER-WITHEFORD Cognitive Ca
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60 demands an extraordinary exercis
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62 ‘immaterial labourers’ are t
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64 ranks of immaterial labour is se
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66 Thus, for example, in the cycle
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68 about neoliberal policies and al
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70 Species-being movements are biop
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72 25. See Tony Vellela, New Voices
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74 problem for capitalistic societi
Page 76 and 77: 76 The critique of objectifying the
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Page 82 and 83: 82 on the horizon of language and c
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Page 92 and 93: 92 Freedom without Security It is w
Page 94 and 95: 94 International Meeting of the Pre
Page 96 and 97: 96 Jacek TOMKIEWICZ Capital Formati
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Page 100 and 101: 100 consumption, economy is able to
Page 102 and 103: 102 Endre KISS ‘Discourses’ and
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Page 106 and 107: 106 (though obviously the theory an
Page 108 and 109: 108 The ‘elitist discourse’, ca
Page 110 and 111: 110 The political and social rhetor
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Page 114 and 115: 114 upravo kao što će to jednako
Page 116 and 117: 116 jednostavno nisu moguće bez iz
Page 118 and 119: 118 Upravo nas ta nedavna „traged
Page 120 and 121: 120 3. preformulirati ciljeve, odno
Page 122 and 123: 122 njihove analize mahom temelje u
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Page 128 and 129: 128 has been remarkably successful
Page 130 and 131: 130 More specifically to do with cu
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Page 134 and 135: 134 Sandra BRAMAN Art in the Inform
Page 136 and 137: 136 Taste in art is to some degree
Page 138 and 139: 138 It is one of the features of th
Page 140 and 141: 140 now concerned about the fact th
Page 142 and 143: 142 It is, as it was in the example
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Page 146 and 147: 146 works of art and those who may
Page 148 and 149: 148 Ewen, S. (1988). All consuming
Page 150 and 151: 150 Die Mechanik des Kunstbegriffs
Page 152 and 153: 152 Doch so aktuell und vielseitig,
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Page 158 and 159: 158 Katalogen lesen, von Art Consul
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Page 162 and 163: 162 Saskia SASSEN Economy and Art T
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Page 166 and 167: 166 the development of communicatio
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Page 174 and 175: 174 Martin FERRO-THOMSEN Change thr
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176 anything other than artists. To
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178 - ungrounded, fluid, virtual«[
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180 Julie VANDENBROUCKE & Michel ES
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182 great deal of social resistance
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184 But is producing “this sort o
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186 become more involved. Once the
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188 Elena FILIPOVIC The Global Whit
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190 Now, Biennials and Other Large-
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192 almost categorically fixed, a p
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194 of dialogue between artists, in
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196 to white cubes amounted to a ra
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198 stage stood in the middle of th
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200 the constitution of society in
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202 Yet, one could say that the “
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204 See, in particular, Douglas Cri
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206 manner, verging on seamless sli
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208 Such a statement naturally call
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210 exploitive and forced nature of
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212 Pier Luigi SACCO & Marco SENALD
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214 academicism for the feverous re
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216 a notable step ahead toward ben
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218 Pietroiusti on one side and Tak
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220 Žarko PAIĆ The Spectacle of t
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222 The project was brought to a cl
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224 Martinis’s “intervention in
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226 Marina GRŽINIĆ Performative A
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228 Economic contradictions are cen
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230 Susanne ALTMANN Artists Strike
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232 its creation, Althamer investig
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234 Dawicki’s colleagues from Sou
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236 Some of the hopes and illusions
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238 27. Dan Perjovschi in an email
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240 Quitting the common artistic wo
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242 oriented practices into an arti
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244 According to Adorno’s aesthet
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246 The approach underlying the ent
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248 and hypocrisy of the internatio
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250 Interestingly enough, for the s
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252 6. Of course, Adorno’s thesis
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254 art theory. The magazine is pub
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256 grant systems that support not
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258 but also in new media. And ther
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260 MIHNEA MIRCAN: There was, of co
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262 become one of the first victims
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264 as a private museum, which does
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266 edge and this competitive edge
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268 very different from the German
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270 als wichtigste Produktionsfakto
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272 sowohl der Wirtschafts- als auc
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274 Malerei-Bewegung erfolgten viel
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276 SOURCES Félix Guattari, “Le
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278 ABOUT THE CONTRIBUTORS Félix G
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280 Struggle in High Technology Cap
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282 Cultural Politics, Cultural Stu
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284 the collaborations evolved from
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286 Marina Gržinić Born 1958 in R
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288 About the Editor Marko Stamenko
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290 art-e-conomy theoretical reader
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292 CIP - Каталогизаци
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