Artistic Production in the Context of Neoliberalism, Autonomy and Heteronomy Revisited by Means of Infrastructural Critique
Jack Segbars publishes 'Artistic Production in the Context of Neoliberalism, Autonomy and Heteronomy Revisited by Means of Infrastructural Critique' in PARSE, Issue 9.
Artistic Production in the Context of Neoliberalism, Autonomy and Heteronomy Revisited by Means of Infrastructural Critique
Art has been integral to recent debates and critical strategies contesting the social imaginary of work. The modernist vision of artistic labour as the paradigm of nonalienated labour has been replaced by the alignment of art with the micropolitics of work and the withdrawal from work. Artists have been regarded as exemplars of both new forms of 24/7 labour and the humane workplace. This research arc explores the intersection of art and work not only by applying theories of work to art but also testing theories of work through art.
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About PARSE
PARSE is a research publishing platform committed to the movement back and forth between analysis and creation, between meaning-making and the analytics of meaning, between construction and re-construction.
About Jack Segbars
Jack Segbars (1963, NL) studied fine art at AKV/St.Joost Den Bosch. He is primarily engaged with the conditions and parameters through which the concept of art is created. To this end, Segbars has investigated the different forms and positions that shape artproduction and that are at play in the formation of the notion of art: autonomous visual art, art in public space (including the neon text, Van Alles Is Weer Waardeloos/ everything is worthless again), the role of language and theory in the art discourse and the role of the curator. The interconnections between the different positions (critic, writer, curator and visual artist) are explored as artistic investigation. In 2009 he produced the publication Rondom-All around the periphery (Onomatopee) that deals with the overlap of positions and domains. This publication was produced in conjucuntion with an exhibition addressing the relationship between the visual image an it’s textual derivatives. In 2012 this was followed by Inertia, a travelogue of visits to Palestine in which the interrelations between art and politics are researched. Next to his praxis as visual artist, Segbars regularly writes reviews and articles on art and art-related subjects a.o. for Metropolis M.