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Artmaking in the Age of Global CapitalismVisual Practices, Philosophy, Politics$
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Jan Bryant

Print publication date: 2019

Print ISBN-13: 9781474456944

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474456944.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 21 October 2021

Still Deep in the Bones of the Bourgeoisie: Introduction

Still Deep in the Bones of the Bourgeoisie: Introduction

Chapter:
(p.9) Still Deep in the Bones of the Bourgeoisie: Introduction
Source:
Artmaking in the Age of Global Capitalism
Author(s):

Jan Bryant

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474456944.003.0014

The ‘gift of being disgusted’ is a challenge first raised by Walter Benjamin in the 1920s, insisting that each era has a responsibility to critically contest the inequalities of its time. This chapter looks at two 21st century art events, the 56th La Biennale di Venezia (2015), which had global politics as its core theme, and the 19th Biennale of Sydney (2014) that attracted artist boycotts as protest to successive Australian Governments’ treatment of asylum seekers. Venice and Sydney are examples of large publicly-funded art events that instrumentalise politics as spectacle. However, the experience of Sydney also revealed the chasm that often exists between a patron class and artists working on the ground. [113]

Keywords:   Walter Benjamin, Art Biennales, Artist Protests, Public arts funding, ‘Off-shore Detention centres’, Asylum seekers

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