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?
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.
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.
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