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 […]
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 »
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 »
Across the expansive terrain of digital art, a multifaceted mirror rises, reflecting the dazzling yet shadowy contours of neoliberal subjectivity. In this space where algorithms converge with creativity, artists shape the tensions of amplified individualism, insatiable competition, and the consumptive logic that defines our era. As they navigate the traps of digital platforms, these artists
The inclusion of digital art in contemporary museums provokes both celebration and skepticism, highlighting the complexities and contradictions of its legitimization within the cultural field. On one hand, museums provide digital art with a platform for recognition, helping to consolidate it as a legitimate form of artistic expression. On the other hand, the way these
Digital art, with its fluidity and adaptability, should be a fertile ground for creative experimentation and global sharing. However, under the dominance of the neoliberal market, it becomes yet another speculative asset, packaged and sold as “exclusive.” The financialization of digital art manipulates its essence to meet the demands of the financial market, creating a
Digital devices permeate our daily lives and are far more than neutral tools. They not only enable the production and consumption of art but also carry the ideological marks of neoliberalism, shaping desires, values, and forms of creation. In a constant interplay between autonomy and control, these technologies act as silent—and often disguised—mediators of market
How Digital Technologies Act as Mediators of Neoliberal Ideologies in Artistic Practice? Read More »
Digital art, born as a promise of aesthetic and social revolution, is now imprisoned by a paradox: while its nature is one of expansion, reproducibility, and accessibility, artists find themselves constrained by the straitjacket of artificial scarcity. What could have been a fertile ground for innovation and democratization has been transformed into a speculative game,
