In proposing that capitalism has died and been replaced by a techno-feudal regime, Yanis Varoufakis explains in Technofeudalism: What Killed Capitalism how the logic of competitive markets and profits has been replaced by the extraction of rents for access to private digital platforms. According to the author, what killed capitalism was capital itself in its […]
Techno-Feudalism and the Fiefdom of Digital Art Read More »
Arun Kakar, Artsy’s Art Market Editor, provides a vital—though partial—diagnosis of the challenges posed by recent U.S. tariff policies on the global art trade in 2025. In his articles “What Art Collectors Need to Know About Trump’s Tariffs” (March 25, 2025), “Is Art Affected by Trump’s Tariffs?” (April 10, 2025), and “4 Ways Trump’s Tariffs
The systematic organization of knowledge derived from artistic and cultural objects constitutes both an epistemological and practical challenge of considerable complexity. These challenges are not merely technical; they are deeply entangled with political, cultural, and ideological dimensions. In the contemporary context of museological collection management, three foundational concepts emerge as structural pillars: taxonomy, ontology, and
Decolonial Critique of Sarah Jilani’s Proposal: Beyond Universalism and Economic Reductionism What motivates me to write this text is to propose a critical response to Sarah Jilani’s article “The Trap of Catchalls”, published in ArtReview on May 16, 2025. I acknowledge the urgency of her argument: generic terms like “Global South” or “Global Majority” can indeed erase complex
In Jim Jarmusch’s The Dead Don’t Die (2019), the director does not resurrect zombies—he exposes the necrotic corpses we had grown accustomed to ignoring. Set in Centerville, a fictional town whose very name feels like a ready-made joke (“Center” of nowhere), the film’s undead do not rise by accident. They are summoned by polar fracking, a drilling operation
No filme “The Dead Don’t Die” (Os Mortos Não Morrem, 2019), o diretor de Jim Jarmusch não ressuscita zumbis — expõe os cadáveres necrosados que já estávamos acostumados a ignorar. A história se passa em Centerville, cidade fictícia onde até o nome parece uma piada pronta (“Centro” de lugar nenhum). Nela, os mortos não saem
Franco Berardi, commonly known as Bifo, offers a multifaceted analysis of art that positions creative expression as a crucial form of resistance against contemporary capitalism. His theorization of art emerges from his broader critique of what he terms “semiocapitalism”—a system where signs, symbols, and information have become the primary commodities and where cognitive labor has
Franco Berardi’s Perspective on Art: Resistance in the Era of Semiocapitalism Read More »
Félicitations au Musée d’Orsay ! Dans un coup de “génie” commercial, le prestigieux musée parisien a enfin révélé sa véritable vocation en lançant une édition spéciale du Monopoly. Qui aurait pu imaginer meilleur hommage aux œuvres de Van Gogh, Monet et Degas que de les transformer en propriétés négociables sur un plateau de jeu ?
🇫🇷 La Monétisation de la Culture : Une Critique du Monopoly du Musée d’Orsay Read More »
The Cultural Critic Who Saw Through the Veil Mark Fisher (1968-2017) became one of the most incisive cultural theorists of the early 21st century, offering a critical perspective that connected cultural production, political economy, and collective psychology. As a writer, philosopher, cultural critic, and educator at Goldsmiths, University of London, Fisher developed theoretical frameworks that
The Haunted Present: Mark Fisher and the Cultural Logic of Capitalist Realism Read More »
In a landscape marked by growing inequality and the exhaustion of liberal promises, contemporary art finds a critical compass in Art After Liberalism. Published in 2022 in the United States, Nicholas Gamso’s book offers a profound and insightful analysis of the transformative role of art. In the face of the collapse of liberal narratives and the
The End of Liberalism and the New Face of Art Read More »
