![]() We suggest that Marxist analysis needs to develop a more complexly-articulated philosophical reflection on the relation between economy, politics and art - and between political and aesthetic praxes - if it is to advance its longstanding contributions to considerations of 'aesthetics and politics'. ![]() ![]() The authors propose that the standard accounts of the intimate connection between the commodity and art are theoretically flawed and have become conservative and politically counterproductive. The essay ranges a consideration of the local and regional context of the Biennial's function as part of Turkey's bid to join the EU, through to a longer term theoretical perspective on the critical debates over 'art and life', artistic autonomy and heteronomy, and the revival of avant-gardism. Our essay, includes a substantial review of this important event and a substantive engagement with contemporary thinking about art. Starting from the 2009 Istanbul Biennial, with its Brechtian curatorial theme, this we consider's the Left's varying responses to art's co-called 'political turn'. It features images and texts (from numerous cited sources) exploring the work of 49 artists: Abdul Abdullah, Jumana Emil Abboud, Vernon Ah Kee, Tony Albert, Francis Alÿs, Kader Attia, Tania Bruguera, Nick Cave, Aslı Çavuşoğlu, Chimurenga, Dadang Christanto, Destiny Deacon and Virginia Fraser, Karla Dickens, Fiona Foley, Félix González-Torres, Guerrilla Girls, Julie Gough, Dale Harding, Edgar Heap of Birds, Pierre Huyghe, Guo Jian, Jonathan Jones, Jumaadi, Yuki Kihara, Glenn Ligon, Laura Lima, Teresa Margolles, Shaghayegh Mazloom, Queenie Nakarra McKenzie, Kent Monkman, Zanele Muholi, Clinton Nain, Paulo Nazareth, Ramesh Mario Nithiyendran, Fiona Pardington, Mike Parr, Ben Quilty, Imran Qureshi, Rosanna Raymond’s SaVAge K’lub, Marwan Rechmaoui, Lisa Reihana, Doris Salcedo, Alex Seton, Hito Steyerl, James Tylor, Adriana Verejão, Kemang Wa Lehulere, Kara Walker, Jason Wing.Ĭo-written with two art historians, this essay assesses contemporary debate about art, politics and commodity culture. It contains an introductory essay by David Corbet and essays and text extracts by several other writers: Susan Best, Ivan Muñiz Reed and Matt Poll. This is a midway PhD project – produced as part of an exhibition (also titled 'The Museum of Dissensus), part of a series ('Ex Libris Fisherarium') exploring intersections between plastic and literary art forms, curated by David Corbet at the Fisher Library, University of Sydney, from October 2016-February 2016. ![]()
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