BUY US! cuerpxs, consuma & trabaje

Curated by Clavel (Angela Cuahutle & Gaby Cepeda)

November 7 – December 7, 2019 at  LAGOS

Artists:  Betzamee, Tobías Dirty, Maria Emilia García, Debora Delmar, Madeline Jimenez Santil.

To be able to consume at ease — steadily and voraciously — supplies and objects are needed. Today everything is an object. Capital and the law of value infest as cysticercosis - with worms in the brain - everything we do. Everything can be extracted — with difficulty, but dirimible, like the stuffed animals machines that with a little perseverance the metal claw takes a minion out of — from its context, its meaning and its intention to become an easily interchangeable object. Lyotard said: “The objects appear and disappear like the fins of the dolphins on the surface of the sea, and once objects [are delivered] to obsolescence. ¹ ”If everything is salable, everything has an expiration date.
As far as expiration is concerned, work is an area of our lives in continuous metastasis. The status quo is the dogma of productivity, efficiency and profitability. Today we are the product, its producers and its consumers. For Marina Vishmidt, art is the quintessential domain of "speculation as a mode of production": the artist as the entrepreneur's prototype; the artist as the financial instrument collects all kinds of information, materials, objects, and reproduces them as art, in the same way that financial derivatives collect empirical phenomena and reproduce them as profits². Perhaps most serious is that for Vishmidt the logic of "speculation as a form of production" is a biopolitical device for developing subjects who not only identify with capital ideologically, but immanently and structurally. Artists who behave as capital. Art as primitive accumulation.
The artist's aspirational freedom — her supposed rebellion in the face of labor alienation — as a model that has been exported to other productive areas in the form of precariousness, artists like the perfect workers of the gig-economy.
But the resistance remains. You can always resist although at the same time we move slowly towards the meat grinder that makes us objects. There are places of resistance, grease holes, anti-heteronormativx holes, anti-patriarchal and anti-racist holes, anti-money holes — which are still governed by him, because material conditions decide who lives and who does not. Pleasure is also optimized today in time-based services or in very efficient genital abstractions with physically impossible pleasure coefficients (2,700-6,300 vibrations per second). In many of those resistance holes you learn contouring, the functioning of hormones, cosmetic technology, there are Bratz Dolls, demons, dogs, poetry and theory. These spaces coexist with the hyper-consumerist, hyper-violent reality, and although they flirt with her to make a living — her life — they manage to retain something for themselves, the little they refuse to be an object and maybe, if you wanted to buy would sell it, but yours-yours, always would be.


¹ Jean François Lyotard, "Energumen Capitalism," in Hatred of Capitalism, A Reader, ed. Chris Kraus (Los Angeles: Semiotext (e), 2001), 234.
² Marina Vishmidt, Speculation as a mode of production: forms of value subjectivity in art and capital (Boston: Brill, 2018), 4.

 Tobias Dirty’s Alma perdida performance video.

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