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Reappropriate the Imagination

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Reappropriate the Imagination 296 IATE PR ! TEIN RO N PP ATIO LS N REA MI IMAGI today? EIN And what would we want THE T art to be in the more egalitarian, non- ILS Y M hierarchical societies we dream of? IND This I know: an anarchist aesthetic should C An art exhibit, albeit a never be boxed in by a cardboard imagination. small one, is always housed in the United bathroom of a coffeehouse in my town. A recent Pointing Beyond the Present display featured cardboard and paper haphazardly V glued together, and adorned with the stenciled or The name of one radical puppetry collective, Art and ictorian hand-lettered words of classical anarchists such as Revolution, aptly captures the dilemma faced by Mikhail Bakunin and Errico Malatesta. The artist’s contemporary anarchist artists. It simultaneously W statement proclaimed, “I am not an artist.” The affirms that art can be political and that revolution orkers, show offered only “cheap art,” with pieces priced at should include beauty. Yet it also underscores the a few dollars. Undoubtedly the materials came from fine line between art as social critique and art as V recycling bins or trash cans, and perhaps this artist- propaganda tool. Moreover, it obscures the question ictorian who-is-not-an-artist choose to look the quotes up in of an anarchist aesthetic outside various acts of “low-tech” zines. rebellion. It is perhaps no coincidence at all, then, Str that Art and Revolution’s logo design echoes the oft- There is something heartwarming about oll finding anarchist slogans in the most unexpected of quoted Bertolt Brecht contention that “art is not a (public places. So much of the time, the principles that we mirror held up to reality, but a hammer with which anarchists hold dear are contradicted at every turn, to shape it”—with “ART,” in this collective’s case, never discussed, or just plain invisible. And thus literally depicted as the hammerhead. inter seeing some antiquated anarchist writings scribbled Certainly, an art that self-reflectively vention), on makeshift canvases in a public place, even a rest- engages with—and thus illuminates—today’s many room, raised a smile of recognition. crushing injustices is more necessary than ever. An art that also manages to engender beauty against T But only for a moment—then despair set in. r Why is anarchist art so often a parody of itself, pre- the ugliness of the current social order is one of the oy , dictable and uninteresting? Sure, everyone is capable few ways to point beyond the present, toward some- NY , of doing art, but that doesn’t mean that everyone is thing that approximates a joyful existence for all. 2005. an artist. And yet it is generally perceived as wrong But as capitalism intensifies its hold on in anarchist circles that some people are or want to social organization, not to mention our imagina- Photo: be artists, and others of us aren’t or don’t want to tions, efforts to turn art into an instrument of be. Beyond the issue of who makes works of art, why social change leave it all that much more open to can’t art made by anti-authoritarians be provoca- simply mirroring reality, rather than contesting or Amy tive, thoughtful, innovative—and even composed of offering alternatives to it. And short of achieving Scar materials that can’t be found in a dumpster? More to even the imperfect horizontal experiments of places the point, why do or should anarchists make art at all like Buenos Aires and Chiapas, much less replac- fone. 299 298 ing statecraft with confederated self-governments, through the firing lines to summits far beyond the form as well as content into the everyday-made- what we share and enjoy together, in the open, attempts to make art into a community-supported fighting crowds.”1 extraordinary by creative cultural expressions. always subject to use by all, subject only to directly MI public good remain trapped in the private sphere, This is perhaps art’s greatest power, even On the other hand, when we’ve democratic structures, and always the however collectively we structure our efforts. Artistic when distorted by the present-day social order: the actually expropriated or “freed” spac- vigilant sentry of a better and better LS expression is fettered by the present, from commodi- ability to envision the “not yet existent.” es, we seem to re-create an society. fication to insidious new forms of hierarchy, and aesthetic of deteriora- It’s not that everyone TEIN TEIN hence creativity is as estranged from itself as we are The Temporary and the Trashed tion in those places needs to make art, nor should from each other. already destroyed artists offer an aesthetic of revolt or LS Such alienation isn’t limited to the aesthet- Since the 1970s, a series of interconnected phenom- by state and capi- a revolting aesthetic—that is, mere ic arena, of course. But precisely because creative ena loosely drawn together by the term “globaliza- tal, racism and fear, negation or else nihilism. That’s “freedom” appears to defy any logic of control—in almost reveling in not what makes art revolutionary. MI tion” have transformed the world. One of these “doing-it-yourself” (D-I-Y), one is supposedly craft- changes is the rise of “global cities” as nodes of the rubble. The deg- It’s that everyone needs to routinely ing a culture that seems control, and over time, this has become embodied in radation foisted on the experience critical-utopian art as commons, 2 1. Sadakichi Hartmann, “Art and Revolt,” The to be utterly of, for, and by the designed/built aesthetic environment. In City poor, the marginal, and commons as a critical-utopian art. Blast 1, no. 22 (December 1, 1916): 3; repr., The us—it is especially seduc- of Quartz, Mike Davis wrote of the “fortress effect” the forgotten is gleefully Blast, ed. Alexander Berkman, intro. Barry tive as a space of resis- picked up as some sort of pirate sensibil- Pateman (Oakland, CA: AK Press, 2005), 181. behind a free-market maneuver in the aftermath of The Art of Value tance. Our aesthetic tools the 1960s to reoccupy abandoned (read: poor because ity. All too often, capitalism’s trash is the 2. The term “global city” was first coined in Saskia Sassen, The Global City: New York, should be able to help us abandoned by capital, whites, and so on) downtowns. blueprint for own trashed creations, as if To some degree, whether self-consciously or London, Tokyo (Princeton: Princeton University build new societies just as New megastructure complexes of reflective glass artistic expressions modeled on a better, not, anarchists’ artistic impulses get to the Press, 1991). much as demolish the old, rose up in city centers, hiding elite decision-makers more visually pleasing world might just heart of what makes capitalism so deplor- 3. Mike Davis, City of Quartz: Excavating the 3 Future in Los Angeles (London: Verso, 1990), but our renovations will and their “upscale, pseudo-public spaces” inside. make us too comfortable to swashbuckle our able. “Value” is determined by how much 226, 229. likely be forever askew Several decades later, with global capitalism seem- way to revolution. Garbage, along with the one has and can continually exchange as 4. Obviously, many artists use free or discarded when set on an already- ingly triumphant, brazenly transparent architecture shoplifted and the plagiarized, are all romanti- well as accumulate, whether in the form materials because they don’t have the financial damaged foundation. is replacing secretive one-way windows. Just take a cized as somehow existing outside domination of money, property, or especially control resources to buy art supplies, and hence their aesthetic can simply be chalked up to a lack And no matter how shod- peek at the revitalized Potsdamer Platz in Berlin, by anarchist artists who thoroughly inhabit a over others. We anarchists, and billions of means. But also prevalent among anarchist dily constructed, they will Germany. Corporate office-apartment buildings of social structure (as does everyone) where the of non-anarchists, know that value can artists is the notion that trash is valueless from the standpoint of capitalism, and so by utiliz- always be sold out from see-through glass reveal lavish interior designs, and best of peoples’ cultures are tossed aside, stolen, never be measured by piling quantity ing such material, one is creating something under us to the highest are ringed by airy public plazas featuring cheerful or plagiarized for profit and power.4 on top of more quantity; that how we of noncapitalist value. Or at least throwing capitalism’s excess in its face as some sort of bidder. Still, we have to sculptures, artsy ecological waterways, and multi- Whether conceived of as circus or chaos live our lives, and especially how we incriminating evidence. This reduces capitalism be able to nail down some- media installations. (or both), however, these types of civic artworks treat each other and the nonhuman to economics, though, and ignores Karl Marx’s thing of the possibilities are as evanescent as the latest iPod updates; they great insight: that capital is first and foremost Since anarchists today are by and large world, is what matters. a social relation. Whether one uses expensive or ahead. merely frolic on built environments instead of Ar neither city planners nor architects, nor those com- As a political philosophy, t free art supplies, the social organization behind Art at its best, missioned to produce public art, we’ve had to make collectively shaping them. Such artistic strategies anarchism aspires to the ongoing and them both remains the same.
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