Abstract
Over the past years of critically engaged participation in the sphere of activity that has until recently been neutrally known as ‘contemporary art’ from the perspective of a theorist, writer and teacher, I have been developing a constellation of ideas which both speak about (as an observer) and ‘speak nearby’ (as a participant) the imbrication of art with political and economic forces in the disaster capitalism of our era from the standpoint of the production of subjectivity and labour. I’ve come to call this constellation speculation as a mode of production. This research essay will provide an introduction to what is intended with this designation, and hopefully be able to frame some tangents of inquiry not yet pursued under this imprimatur but which are nonetheless relevant.
Highlights
Over the past years of critically engaged participation in the sphere of activity that has until recently been neutrally known as ‘contemporary art’[1] from the perspective of a theorist, writer and teacher, I have been developing a constellation of ideas which both speak about and ‘speak nearby’ the imbrication of art with political and economic forces in the disaster capitalism of our era from the standpoint of the production of subjectivity and labour
Recent inquiries in this direction, including the work of art theorists Suhail Malik and Andrea Phillips, have expertly demarcated how art markets obfuscate the profit motive and market disciplines through an assumptive logic of ‘love of art’, which licenses opacity and irrationality at best, and vast reserves of corruption in the worst – a libidinising of commodity exchange that perhaps throws into relief the far-from-rational laws of operation of capitalist markets more broadly.[16]
Her work has appeared in South Atlantic Quarterly, Ephemera, Afterall, Journal of Cultural Economy, Australian Feminist Studies, and Radical Philosophy, among others, as well as a number of edited volumes
Summary
Over the past years of critically engaged participation in the sphere of activity that has until recently been neutrally known as ‘contemporary art’[1] from the perspective of a theorist, writer and teacher, I have been developing a constellation of ideas which both speak about (as an observer) and ‘speak nearby’ (as a participant) the imbrication of art with political and economic forces in the disaster capitalism of our era from the standpoint of the production of subjectivity and labour. This research essay will provide an introduction to what is intended with this designation, and hopefully be able to frame some tangents of inquiry not yet pursued under this imprimatur but which are relevant
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