The art scene and the counter-scene of the market: ambivalence, body and subjectivity

Abstract

The following work proposes to problematize the configuration of post-autonomous aesthetics and at the same time contribute to discuss the implications of the supposed autonomy of artistic practices. Indeed, cultural practices show a fundamental ambivalence, that is, a kind of oscillation that requires considering them as inserts in the formations of power of capitalism, but inscribing a heterogeneous sensitivity opposite to its logic (Ranciére, 2011, Guattari, 1995) .
In the last decade, cultural analysis has begun to consider contemporary aesthetic formations in terms of post-autonomy, that is, the constitution of a culture of the arts that differs from aesthetic modernity (Laddaga, 2006). The aforementioned approach finds its foundation in the postulates of Josefina Ludmer that supposes the consummation of aesthetic modernity, or mutation of the culture of the arts (Laddaga, 2006), inaugurated by the regime of autonomy where the practices were thought in its logic internal, with the respective legitimation institutions that established their value. However, our interest is to discuss this perspective considering the political problem of contemporary art and transfers in the autonomy / heteronomy axis from the analysis of the heterogeneous objects manufactured by the artist Lu Martínez.