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ontological capture

Sunday, 21. October 2012 | 15:15 (tz: Europe/Amsterdam)

Up Against the Wall Motherfuckers


The defining characteristic of the art-historical present is, arguably, art's impulse to escape from itself. This escapological drive has nothing to do with some flight of fancy from unpleasant realities. Quite the contrary it is motivated by the will or even need to directly confront, on the 1:1 scale, those realities -- something art has by and large proven unable, or unwilling, to do. This drive is not characterized exclusively by the desire to escape ideological capture, though that is surely part of the motivation; nor even to escape institutional capture, with its debilitating prescriptions of visibility, though that too is a key factor. As art seeks to self-extract from art itself, sundering itself from being art per se, art seems to be trying to operate without being performed as such -- escaping performative capture, giving itself space to take action without being performed as just art. One might go a step further: the current escapological moment appears to be driven by art's far more profound concern to escape ontological capture. In other words, to escape having its being in the world immediately cordoned off, and hence written off, as mere art.