{"id":3507,"date":"2020-12-17T17:14:30","date_gmt":"2020-12-17T08:14:30","guid":{"rendered":"https:\/\/kiaf.org\/?post_type=events&p=3507"},"modified":"2021-01-29T15:42:28","modified_gmt":"2021-01-29T06:42:28","slug":"contemporary-art-business-the-new-orders-of-contemporary-art","status":"publish","type":"insights","link":"https:\/\/kiaf.org\/en\/insights\/3507","title":{"rendered":"Contemporary-Art-Business: The New Orders of Contemporary Art"},"content":{"rendered":"

2020.12.11 – 2021.3.21
\nSeo Dongjin, Hito Steyerl, Kim Soohwan, Anton Vidokle, Boris Groys<\/p>\n

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Anton Vidokle, Sills from Immortality and Resurrection for All!, 2017, HD video, color, sound, 34min. 17sec. Courtesy of the artist. MMCA Collection<\/figcaption><\/figure>\n

The exhibition Contemporary-Art-Business: The New Orders of Contemporary Art is organized with an intent to examine the new conditions and orders through which contemporary art becomes \u2018art\u2019 in relation to the operating logic of \u201cabsolute capitalism\u201d where everything in our world is dominated by market principles. The exhibition also attempts to critically investigate the power dynamics inherent to the \u2018politics of attention\u2019 practiced by museums today. As one can see in phenomena where economic terms such as \u2018attention economy\u2019 and \u2018experience economy\u2019 intervene in the art market and become commonplace, capital is already making deep interventions in our visual life to reorganize its structure. In such a situation, we encounter the reality where exhibitions \u2013 which name \u201cmajor trends\/emerging artists\u201d to reflect on the diversifying aspects of contemporary art within the historical, social, and cultural relationships \u2013 are losing their essential purpose and function to become spectacular events. The current exhibition delves into the objective examination of who museums function within the trend of contemporary art practice. At the same time, it attempts to rethink the genuinely internalized reference point to which exhibitions shall request in order to restore and re-execute their original purpose and function.<\/p>\n

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Anton Vidokle, Sills from Immortality and Resurrection for All!, 2017, HD video, color, sound, 34min. 17sec. Courtesy of the artist. MMCA Collection<\/figcaption><\/figure>\n

The exhibition is organized in three chapters: \u2160. Contemporary Art Museum: Finance-Capital-Art, \u2161. The New Orders and Conditions of Contemporary Art in the Age of Absolute Capitalism, and III. The Newness of Contemporary Art Museums: Art\u2019s Autonomy and Sovereignty. Chapter I examines the key characteristics of contemporary \u201cpresent time,\u201d which refers to the spacetime of neoliberal capitalism at its peak, as the basis of the order of contemporary art. Chapter II focuses on the reality that today\u2019s art system is faced with, engaging questions such as how art can actually function within the world dominated by the neoliberal capitalism that is driven by privatization, financialization, and militarization and how artists and art institutions conspire with capitalism while being aware of the substantial power of capitalism. Such questions are examined through the works by Hito Steyerl, an artist who has been exposing the actual changes within contemporary art. Chapter III raises a question on \u201cwhat museums we imagine and demand and how we can materialize the new order and structure\u201d once again within the new order and conditions that have been established by the capitalist system.<\/p>\n

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Hito Steyerl, Sills from Duty Free Art, 2015, Three-channel HD digital video, sound, sandbox, 32min. 21sec. Courtesy of the artist<\/figcaption><\/figure>\n

The chapter finds answers to the question by observing the historical pieces of radical\/revolutionary museology that have been contemplating the values, functions, and roles of art and museum at moments of crisis. This process allows us to reconsider the value of \u201cnewness\u201d in its true meaning, which has to be pursued by contemporary museums that perform the \u2018politics of attention\u2019 \u2013 the initial question of the current exhibition. The \u2018politics of attention\u2019 that contemporary art museums attempt to exercise is not entirely autonomous. Nevertheless, it constantly repeats the process of taking and revising its own political, social, and historical attitudes within the operation logic of cultural economy \u2013 functioning as one of the essential conditions to reflect the identity of the museum as universal history. In this sense, it can be said that museums are the only place that strives to face and accept their own limitation within the capitalist system. At the same time, museums are the only place that takes efforts to find the signal of new life after capitalism through artworks that produce the very radical possibility of detecting that signal as \u201cnewness.\u201d This is why today\u2019s museums do not cease to rethink the present and the role of art in it \u2013 often repeating to conspire with, invade, disassemble, and transcend the autonomy of art \u2013 although it is not possible to discuss the pure autonomy of art within the operating structure of absolute capitalism.<\/p>\n

Image Credit
\nContemporary-Art-Business: The New Orders of Contemporary Art, Museum of Contemporary Art Busan, 2020<\/p>\n

Museum of Contemporary Art Busan
\n1191, Nakdongnam-ro, Saha-gu, Busan, Korea
\n82 51 220 7400<\/p>\n

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