Back in 2015, Escuela Moderna and Ateneo Libertario, two artistic and political groups who share the same operative platform created by Massimo Mazzone (www.escuelamoderna.eu), organized a show about crisis and the art from PIGS’ states. The exhibition structure was not focused on the “exhibition moment” rather than on the creation of a network capable of managing various issues about the crisis. The idea of making a show about crisis started in Italy, then it migrated to the other states of the acronym. Informed on a do-it-yourself politic, they specifically gathered artists and researchers uninvolved in any economical committee or in conflict of interests. Each nation showed a specific issue about the main topic, differing from the others; Continue reading ““Same same but different”: the PIGS exhibition and how originality is no more a strong point in contemporary art, rather the lack of it highlights a common feeling about an unsolved issue.”
The exhibition ‘Liquid Assets: In the Aftermath of Transformation of the Capital’ curated by Luigi Fassi and Katerina Gregos results an excellent starting point to launch the periodical column ‘Crisis explained throughout Exhibition’. The aim is analyze how the art word – curators, theorists, critics, artists – reads and interprets the theme of crisis and all his implication, given that only throughout the study of other point of views, it is possible to formulate a thinking that could fully investigate the underlying causes of the issues.
1. ‘Liquid Assets: In the Aftermath of Transformation of the Capital’
Exhibition: ‘Liquid Assets: In the Aftermath of Transformation of the Capital’
Curators: Luigi Fassi; Katerina Gregos
Date: September 20–December 1, 2013
Place: Ex-Zollamt / Halle, Bahnhofgürtel 57, 8020 Graz, Austria
Let’s start from the exhibition concept, written by the curators Luigi Fassi and Katerina Gregos. “Liquid Assets try to probe the causes and effects of the current crisis, to explore the financialization of the economy, to chart the transformations incurred by capitalism in recent years”.
It seems an enormous challenge for an exhibition, which boasts of a short catalogue edited by Mousse Publishing. In these essays, the curators unravel the morphing of capitalism, moved from tangible to immaterial or semiotic. Nowadays the products are immaterial and cognitive and the industrial production has been replaced by what has been called the ‘era of finance’ – including the growth of FIRE (Finance, Insurance and Real Estate). Capitalism has become a factor of de-civilization where ‘digital-financial hyper-abstraction’ is liquidating both the living body of the planet than the social body (Franco ‘Bifo’ Berardi). Continue reading “Crisis Explained Throughout Exhibitions”