The precarious and the immune are no longer only in a relation of opposites in post-Fordist societies, but rather more and more also in a relation of overlapping, tending, in fact, to become indistinguishable.
Under post-Fordist conditions, the capitalisation of the immaterial work has managed to be integrated into artistic labour.
How can we break the ahistoric informatic screens in the laboratories and camps of this world that take away the eyes and parts of the bodies today as we‘re governed by opaque oceans of data?
In Walter Benjamin’s understanding, the use of allegory is typical of Baroque Art: Man acknowledges his guilty passion for this world in the moment of its decay.
Androids, cyborgs, and avatars are new territories beyond the body’s biological condition. However, these territories ought to be also a discursive extension, where new identities, categories, and values can coexist.
The fetish for glow, the iridescence, and shimmer growing over our bodies like a skin made of light, cannot be detached by references to enhancement, the almost untouchable, the undying dream of artificial.
Doch die Friedhofsruhe, die jetzt andächtig um Kiefers Werk verbreitet wird, ist aus dem gleichen Stoff, wie die hysterischen Abgrenzungsversuche, weil beides dem Werk äußerlich bleibt und aus deutschen Projektionen besteht.
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