This is, we are told, a ‘post-factual age’. The EU referendum has seen myth collide with fact, and myth has won to devastating effect. It has been said that the UK has ‘had enough of experts’, and such a situation has proven to be fertile ground for a politics based on untruth.
In the wake of Wednesday’s attack on the office of Paris-based satirical magazine Charlie Hebdo, people appear to be clamouring, seemingly above all else, for an artistic response to the events. Beyond the rolling news, the newspaper front pages, the opinion pieces, it is art that people are turning to, talking about and sharing with one another. On social media and elsewhere there has been a proliferation of artworks – professional and amateur – taking these events as inspiration and as subject matter.
In order to fully understand the extent to which popular culture today is commodified in comparison to previous eras it is essential to recognise the various developments of capital not as distinct phenomena, but as part of a continual process of accumulation, expansion and consequent abstraction. It is crucial to note, as David Harvey writes, that:
Capital is a process and not a thing. It is a process of reproduction of social life through commodity production, in which all of us in the advanced capitalist world are heavily implicated. Its internalised rules of operation are such as to ensure that it is a dynamic and revolutionary mode of social organization, restlessly and ceaselessly transforming the society within which it is embedded. The process masks and fetishizes, achieves growth through creative destruction, creates new wants and needs, exploits the capacity for human labour and desire, transforms spaces, and speeds up the pace of life.
To gain an understanding of the way in which art can itself be an agent of cultural critique it is vital to explore the true nature of spectatorship, how this relates to the production and reception of meaning in art and, ultimately, how a lucid understanding of these two issues contribute to a recognition of art’s actual critical capacity. Here we will identify art’s critical potential through a focus on the implications of Jacques Ranciere’s analysis of spectatorship, while also drawing upon Adorno’s exploration of meaning in art, and identifying how their work relates to a burgeoning accelerationist aesthetic evident in some contemporary artistic practice. The manifestation of this critical potential in contemporary art will be explored through the works of musicians James Ferraro and Daniel Lopatin, as well as a selection of the multitude of artists following in their wake.