Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Diedrich Diederichsen

The fact that a more narcissistic generation of artists initially seems to have no interest in generational conflict may be seen as a result of social progress, but it may also be viewed as the institutionalization and reification of that progress as a production standard in post-Fordist and neoliberal societies. For narcissistic artists, the foundation of their work is a point of stability produced by a self-relation, and that position is already in place before they begin to tackle the outside world.

Hans Ulrich Obrist

Some of the information in this tremendous field, if you look at it carefully, is faintly glowing. And what it’s glowing with is the amount of work that’s being put into suppressing it. So, when someone wants to take information and literally stick it in a vault and surround it with guards, I say that they are doing economic work to suppress information from the world. And why is so much economic work being done to suppress that information? Probably—not definitely, but probably—because the organization predicts that it’s going to reduce the power of the institution that contains it.

Suely Rolnik

In these contexts, paralyzed by the micropolitics of dictatorships, such experimentalism was reactivated with the establishment of cultural capitalism only to be directly channeled into the market, but without first passing through the elaboration of the wound in the potency of creation, which would be a condition for the reactivation of poetic-political vitality

Martha Rosler

As the vibrancy of interclass contention has been quelled by the damping off of working-class politics, a sanitized version of an industrial urban experience (or some image of one) can be marketed to the incoming middle class, who have the means and the willingness to pay for what was formerly a set of indigenous strategies of survival, of a way of life.