By Gerald Raunig, Gene Ray, Ulf Wuggenig
Creativity is astir: reborn, re-conjured, re-branded, resurgent. The previous myths of construction and creators – the hallowed labors and privileged enterprises of demiurges and major movers, of Biblical world-makers and self-fashioning artist-geniuses – are again underway, generating results, circulating appeals. a lot because the Catholic Church attire the previous creationism within the new robes of ‘intelligent design’, the inventive Industries sound the clarion name to the Cultural marketers. within the hype of the ‘creative type’ and the excessive flights of the electronic bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays gathered during this booklet research this complicated resurgence of construction myths and formulate a latest critique of creativity.
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A revolução não será televisionada, TrancaRua, Frente 3 de Fevereiro. If some of the most ‘visible’ and ‘institutional’ moments of the articulation of this ‘local movement’ are compared with similar activities taking place outside Brazil – a concatenation to which Suely Rolnik refers without going into detail – this results in an interesting diagram of contemporary forms of a transnational articulation of artistic and politicized practices that have occurred in these years. g. the movement Sem Teto do Centro) and a ‘flexible’, ideologically unbiased relationship to the art institution with fluid entries into and exits from the institutions.
This transpires in the different strategies of individual and collective resistance that have been accumulating over the last few years, particularly through the initiative of a new generation which does not in any way identify with the proposed model of existence and understands the trick that has been played. It is clear that artistic practices – through their very nature as expressions of the problematics of the present as they flow through the artist’s body – could hardly remain indifferent to this movement.
20 Immanent Effects That political economy is governmentality’s ‘most important form of knowledge’ (Foucault, 2004a: 162) does not mean that it is its only form of knowledge or that the forms of symbolic socialization historically circulating under the term ‘culture’ are not in need of separate attention. On this, see Bennett, 1995. On the differentiation of liberal and neoliberal governmentality at the economic level, see Lorey, 2009. 21 2 The Geopolitics of Pimping Suely Rolnik translated by Brian Holmes Powerful winds of critique have begun shaking the territory of art again since the mid-1990s.