"... it was clear by then that, in order to respond to industrial capitalism (with its disciplinary society and its identitarian logic), it was necessary to oppose a fluid, flexible, and hybrid logic that had been appropriated from the 1960s and 70s. It has now become a mistake to take the latter as a value in itself—since it came to constitute the dominant logic of neoliberalism and its society of control. It is, therefore, within this logic—between different politics of flexibility, fluidity, and hybridization—that the struggles take place around tracing the cartographies of our globalized contemporaneity....
asking the question of whether to refuse or celebrate the cartographies marked by cultural hybridization, flexibility, and fluidity would result in putting forward a false problem. It is just as false to pose the question of the pertinence of art’s role in the invention of such cartographies. The forces at work in each artistic proposal are what matter. What matters are the ways in which creation starts from the turbulences of contemporary sensible experience and the extent to which artistic practice is the consequence of frictions, tensions, and impossibilities that are implicated by the complex and singular construction of a globalized society at each moment and in each context. In the field of visual arts, those forces are embodied not only in the works themselves, but in their exhibitions and the curatorial concepts they articulate, in the critical texts that accompany them, and the directives of the museums that host them—and also, of course, in all of the artistic practices that take place in a drift beyond the institutional territory of art."
asking the question of whether to refuse or celebrate the cartographies marked by cultural hybridization, flexibility, and fluidity would result in putting forward a false problem. It is just as false to pose the question of the pertinence of art’s role in the invention of such cartographies. The forces at work in each artistic proposal are what matter. What matters are the ways in which creation starts from the turbulences of contemporary sensible experience and the extent to which artistic practice is the consequence of frictions, tensions, and impossibilities that are implicated by the complex and singular construction of a globalized society at each moment and in each context. In the field of visual arts, those forces are embodied not only in the works themselves, but in their exhibitions and the curatorial concepts they articulate, in the critical texts that accompany them, and the directives of the museums that host them—and also, of course, in all of the artistic practices that take place in a drift beyond the institutional territory of art."
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