Sunday, July 28, 2013

Analogue; possibilities of resistance

As our taste became increasing fascinated flat polished surfaces, the cosmopolitan flatness of glass and steel; labor and the local became the biggest casualties.  The politics of digital aesthetics was such that 'contemporary' visual culture witnessed an absolute marginalization of local and labour (paralled by the dominance of global and mechanical) . Within the conventional Contemporary Indian Art production, the emphasis on manual/physical labour comes became a kind of noise, a disturbance which allegedly took away value the digital/conceptual art itself. This type of art which has come to dictate the art market for a long time emerged simultaneously with the global capitalism which swept the world two decades ago. 

Labour was sought to be omitted from the art and a clean, sterile, sophisticated, digitised practice which only projected the concept was developed. It is to the extent that the old media art practices refer to and embody forms of temporality, knowledge and subjectivity, which do not easily enter the concept of abstract labour of new media.
Contemporary art’s investment in labour, analogue* and old media assumes various forms and it is symptomatic of changes in the economy rather than expressive of a broader left consciousness in the arts. In other words, the rise of labour as a sign-reference in recent art does not amount to a political project, even if it indicates a departure from the staples of postmodernism and, in some quarters, the desire to provide an alternative to capitalist economic relations.

*please note, in this post and for our our show analouge is not technology, it is used in terms of taste and aesthetics. 

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