Plastic Arts

“Abundant futures”: the anti-human gaze of a historically exhausted system

14 April, 2022 · Plastic Arts

Artwork by Ernesto Neto in "Abundant Futures", an artist who has spent the last few years focused on creating immersive works about fertility and the female reproductive system.
Artwork by Ernesto Neto in "Abundant Futures", an artist who has spent the last few years focused on creating immersive works about fertility and the female reproductive system.

undant Futures” of the “TBA21 Thyssen-Bornemisza Contemporary Art” collection, however, clearly shows that neither the Art of the bourgeoisie nor its most “sensitive” members can even imagine a decent future for the human species whose social work they organize. For them abundance means scarcity just as peace means war.

“Corporate Memphis”: Why do all websites look the same?

18 August, 2021 · Plastic Arts

Illustration created for this article with an online service using the "Corporate Memphis" variant made famous by the American magazine "Jacobin".
Illustration created for this article with an online service using the "Corporate Memphis" variant made famous by the American magazine "Jacobin".

We have all encountered dozens of magazines, stories, websites and commercial applications with an aesthetic similar to that of the illustration adorning this article. That style is known as “Alegria” or “Corporate Memphis.” It is a product of the precarization and devaluation of labor and has dozens of variants and versions, all equally lifeless and repetitive. But there is more to the homogenization of graphic representation than bad news dressed up in false corporate optimism.

Christo

1 June, 2020 · Plastic Arts

His absolute emptiness, his use of monstrous scales as a way of attracting capital, his pecuniary greed – only comparable in impudence to Dalí – his total, absolute and voluntary renunciation of signifying the slightest contribution to those who contemplate his works, is in itself a faithful, hyper-realistic even, portrait of the spirit of the ruling classes of his time. Classes of which he was a part from his birth. That is why Christo is a paradox. It’s not art, no. But its essence is so sterile and dead that it represents like few others the anti-human, anti-historical character of the system in our times. Bunting or tarp cover included.