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