a 37 scenes/statements webfilm/manifesto
La Société Anonyme*
a few excerpts:
1. […] Nobody is author: every producer is an anonymous society – indeed we would say: the product of an anonymous society.
2. The figure of the artist is living on borrowed time. […]
3. “Works of art” do not exist. What do exist are labours and practices that we can call artistic. They have to do with meaningful, affective and cultural production, and they have specific roles in relation to the subjects of experience. […]
7. Artistic work no longer has to do with representation. […]
9. The transformations of current societies determines the complete inadequacy of the presently hegemonic regime of public circulation of artistic production. […]
10. In the societies of the 21st century, art will not be exhibited. It will be broadcasted.
12.The more the new artistic practices move away from their objectives of object production, the less pertinent such traditional articulations of their marketing and their collection will appear. […]
13. In the societies of the 21st century, artists will not receive their income from the appreciation associated with the merchandising of the objects produced by their work, but instead […]
20. The work carried out by the artist as producer is situated in the orbit of any other activity, of whatever activity. […]
21. Art no longer belongs to the order of a symbolic economy presided over by the anthropological figures of waste […] In the new economies of false sustained opulence, artists cannot accept that their practices be inscribed in any way in the registers as any updated form of luxury.
22. The transformation of the new societies puts in the forefront immaterial labour , the production of meaning and emotions, the making of intellectual and affective labour. The most important challenge that the contemporary artistic practices face is the redefinition of their anthropological role in relation to this great displacement.
25. Intellectual property and authorship rights, as such, will become the main battle horse of this contemporary re-centering of the relations of production. […]
26. It is necessary of find formulas that respect authors” rights while simultaneously respecting the collective right to public and open access to the totality of knowledge and practices of symbolic production, profoundly revising the concept of intellectual property. […]
27. The refocusing brought about by the immaterial labour at the very operational core of the new economies supposes a great transformation: the whole spectrum of a production that used to be considered “superstructural” has now become the nucleus of the contemporary anthropological commerce.
28. If the new societies can nowadays be defined as societies of immaterial labour, societies of knowledge, it must then be recognized that the practices of symbolic production […] take on a leading role, one that is absolute and of utmost priority. […]
29. First responsibility: that acquired insofar as the production of forms of socialization and individualization. […]
30. The artist as producer is a) a generator of narratives of mutual recognition; b) an inducer of intensified situations of encounter and socialization of experience; and c) a producer of mediations for their exchange in the public sphere.
31. The artist as producer intervenes, more and more, in the real time of the dominion of experience, not in the deferred time of representation. […] More and more, the artist is a producer of “live”
32. The second great responsibility of the artistic producer in contemporary societies: the one that concerns her in relation to the process of diffuse “aesthetization” of the contemporary world without which the new capitalism would not be thinkable. […]
33. The religion of our time is called: aesthetic justification of existence-worshiped under an evidently cheapened, trivialized form […]
36. What is at stake in the new societies of advanced capitalism is the process by which it is going to be decided which are and which are going to be the mechanisms and apparatus of subjection and socialization that are to be constituted as hegemonic […]
37. Resisting the effect of deintensification, qualitative impoverishment and expropriation of what is authentic in experience inherent in its management by the entertainment industry, could be the leitmotiv of a new politics. […]
* La Société Anonyme is a fluctuating group of artists and theoreticians who work specifically on the relations between critical thinking and artistic practices.
LSA was founded in 1990 and has so far produced 45 works, including texts, videos, installations and web pieces.
La Société is currently working on the problematics of the web, as related to a critical extinction of the separated existence of art in contemporary societies.