A talk and guided discussion held at Left Forum 2013, at Pace University, on June 8th, 2013.
If it is true that the 'commodity-structure' (Lukacs) is the defining feature of modern capitalism down through the present, then it stands to reason that it has no less impacted the way art is produced, consumed, circulated, and exchanged. This shift in art's character happened both objectively (e.g., as in an article produced for exchange on the market), and subjectively (i.e., as a kind of experience and form of expression for the social and individual body). However, art's relationship to its status as a commodity is an ambivalent one: Art has become at once more free from past forms of domination, but its freedom is constrained when subject to the dynamics of capital. Art as a commodity is both its cure and poison, and has become a social problem for its practice. Since becoming aware of this problem, artists, philosophers, curators, and critics have taken various approaches in seeking to overcome it. How has art under a capitalist society changed from its pre-capitalist practices? What is the commodity-form, and what is art's relationship to its logic? Must art seek emancipation from the commodity-form, or is it at home in it? In what sense does art take part in the Left and emancipatory politics -- a practice also seeking to overcome the commodity-form -- if at all? By asking these questions, this panel seeks to reinvestigate art's relationship to the commodity form, and make intelligible how this problematic relationship still sticks with us today.
1. How do you define the terms ‘art,’ and ‘commodity?’ In what ways does art in capitalist society differ from art in precapitalist society? How would you posit the relationship between art and the ‘commodity-structure’ of capitalism? Is art already a commodity from the start, or does it get ‘commodified’ only when integrated in the market? Are there ways that art can resist its commodification, and if so, how?
2. Acknowledging that the issue of art and commodity is not a new question, what troubles this discourse today? How has art’s relationship to the commodity-form changed over time, and what does it look like now? Do we understand the problem better than our predecessors, or are we in a worse mode of understanding?
3. If emancipatory politics is the objective, does overcoming capitalism necessarily follow the abolition of art’s status as a commodity? Do contemporary attempts in ‘dematerialized’ or ‘process-based’ art practices (e.g., social practice, pedagogical projects, or institutional critique) challenge the commodity status of the art object, and if so, how? Should art even seek emancipation from the commodity? In what sense does art take part in the Left and emancipatory politics -- a practice also seeking to overcome the commodity-form -- if at all? 4. How do you position yourself as cultural production within this dialogue? If this is a question about the work of arts’ mode of production in society, and opens up the question of class, then in what ways specifically does your work—or other contemporary art work—respond to class consciousness? What role does criticism or art play towards an emancipatory politics?
A panel event held at New York University on April 18th, 2013.
Recently, a series of exchanges between the Communist Party of Great Britain (PCC), the International Bolshevik Tendency, and the Platypus Affiliated Society has unfolded, mapping a field of positions and historical perspectives whose contours trace some of the most provocative contemporary perspectives on Marxism, socialism, and democracy.
With this public forum speakers will take stock of the points of convergence and divergence that have emerged in order to push the conversation further on key issues such as Left unity, neo-Kautskyism, factionalism, Trotskyism, sectarianism, Leninism and Bolshevism, democratic organization and political program. The event will feature:
Please see the link below for a helpful compilation of debates between the Communist Party of Great Britain (PCC), the International Bolshevik Tendency, and the Platypus Affiliated Society.
The full compilation may be found here.
The closing plenary of the 2013 Platypus International Convention, held from April 5-7, at the School of the Art Institute of Chicago.
Transcripted in Platypus Review #58 (Click below to see):
“Program” and “Utopia” have for well over a century now sat in uneasy tension within the politics of the Left, in tension both with each other and with themselves. Political programs tend to be presented in the sober light of practicability — straightforward, realistic, matter-of-fact. Social utopias, by contrast, appear quite oppositely as the virtue of aspiring ambition — involved, unrealistic, exhilarating. Historically, then, the two would appear to be antithetical. In either case, one usually offers itself up as a corrective to the other: the programmatic as a harsh “reality check” to pipe-dream idealism; utopianism as an alternative to dreary, cynical Realpolitik.
Today, however, it is unavoidable that both program and utopia are in profound crisis. For those Leftists who still hold out some hope for the possibility of extra-electoral politics, an impasse has arisen. Despite the effusive political outbursts of 2011-12 in the Arab Spring and #Occupy — with their emphasis on the identity of means and ends, anti-hierarchical modes of organization, and utopian prefiguration — the Left still seems to have run aground. Traces may remain in the form of various issue-based affinity groups, but the more ambitious projects of achieving sweeping social transformation have been quietly put to rest, consoled with the mere memory of possibility.
Meanwhile, longstanding Left organizations, having temporarily reverted to the usual waiting game of patiently tailing popular discontents with the status quo, until the masses finally come around and decide to “get with the program” (i.e., their program), have experienced a crisis of their own: slowly disintegrating, with occasional spectacular implosions, many of their dedicated cadre call it quits amid demoralization and recriminations. What possibilities might remain for a Left whose goal is no longer utopian, and whose path is no longer programmatically defined?