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.
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.