Franco Romano
aestheticization of politics, politicization of the art
It leads the debate Dario D'Andrea
Saturday, October 31, 2009 - hours 9:15 to 13:00 Admission free
Associazione Culturale Punto Rosso Via Guglielmo Pepe, 14 - Milan
MM2 Garibaldi)
In the 30s, Walter Benjamin, reflecting on fascism and Nazism, noted as one of the characteristics schemes was the aestheticism of the policy. Benjamin is not always clear what he meant by this process, then! However, if we integrate his insights with those of contemporary Reich about the hidden meaning or subliminal symbolism of the Nazi and the choreography of the mass demonstrations, we come to understand the beginning of a process that may become clearer to us today, when the media and the audience of the show (as he had guessed Debord), absorbs a substantial part of public policy. The German philosopher and writer saw for the first time in modern history a system of relations between art, political propaganda, mass media (radio) e thought that was planned, as never before in history. Not a new phenomenon at all, of course, but certainly so with regard to its size. But the same can be said for industrial equipment: just remember the role that the futurists had in advertising campaigns for many companies, first of Campari, now cleverly repeated in a TV ad that alludes to the 30s of last century.
So if Benjamin's insight with respect to policy is extremely topical and burning, his proposed response to the aestheticism of the political process and that the politicization of art, turned out to be nothing short of disastrous. Apart from the fervent the time of Russian Futurism and its interaction with the October Revolution, the cultural policy of the socialist states and even the poster art for free and independent and Trotszkj Breton, was not a response to the aestheticism of the least effective policy (both that the process has become macroscopic), in turn, has produced bad publicity and bad art, often marked by an aesthetics of ugliness, as is the case of socialist realism.
The problem, however, was further aggravated in the sense that the process of aestheticization policy has extended to every aspect of culture and civic life. How to stay out? How did (if they did) the artists and writers at the turn taken by the Western society? Christopher Lasch has reason to speak of narcissistic society at all levels? What is the relationship between inflation and inflation as an economic phenomenon of culture that becomes cultural consumerism, which is matched by the publication, for example, a countless number of books that no one was physically able to read? You can also speak to art and culture of stagflation, that is of such a phenomenon for which there is both inflation and stagnation?
Saturday, October 31, 2009 - hours 9:15 to 13:00 Admission free
Associazione Culturale Punto Red
Via Guglielmo Pepe, 14 - Milan
MM2 Garibaldi)
