The Politics of Aesthetics
Nowadays art keeps, just like it has always kept, a complex relationship with politics. At other levels but the one usually known as “political art”, this relationship stands mainly as a kind of label which has acted as a restrictive vehicle in the whole debate. We know that we keep being offered one of the so-called “critical proposals”, though they are always consensually accepted – because in the end the most important options in contemporary art always have a critical mark, were it not the most strangely consensual domain of our time. Either being consensually critical or, to put it bluntly, simply not being it at all. That is what Jacques Rancière clearly says it is the production of stereotypes as a model for the stereotypes to be criticized.
Such a scenario becomes unsuspected to us because of such an encompassing condition.Maybe because of that it becomes imperative to discuss the politicized nature of the art process and how to achieve it in the second decade of the 21st century imbued with wildly global growth crises. Made up of biennials and mega exhibitions, a bit everywhere, in increasing agony or undergoing quick transformation; made up of diverse nomadisms and their fetish interpreters, but also of other interventions aiming above all at doing art work while aware of their limits, and yet imbued with that reality feeling which causes some kind of strange echo unwilling to fade – our reality is made up of all of them, looking at it without suspicion is a political act par excellence.