ABSTRACT
This essay examines an innovative approach to the Marxist concept of reification by the contemporary art collective Claire Fontaine, who I argue joins historical materialist and radical democratic strands of critique in their artistic and textual practice. I argue that their work responds to a conceptual impasse in contemporary theory between a radical democratic sensory micropolitics on the one hand, and a critique of political economy on the other. Their work synthesises these approaches, taking into account dynamics of commodification, financialisation, and the neoliberal reconfiguration of the relationship between politics and economics.
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No potential conflict of interest was reported by the author.
Notes
1. For a reconstruction of the concept of reification and its application to the critique of contemporary neoliberalism, see Chari (Citation2015, 5).
2. For a further selection of radical democratic perspectives see also Laclau (Citation1996), Marchart (Citation2007), Keenan (Citation2003) and Lummis (Citation1997).
3. See Chari (Citation2015, chapter 4).
4. For a discussion of the intellectual background of Tiqqun see Smith (Citation2010).
5. For a discussion of Claire Fontaine’s work in relation to Italian Marxism and feminism see Mansoor (Citation2016, 167–206).
6. Claire Fontaine. 2014. The Trickster. Plinth, mannequin, make-up, false eyelashes, shoes, socks, underpants, vest, trousers, shirt, jacket, top-hat and silver make-up and paint. https://www.clairefontaine.ws/item/2941/2941.
7. Claire Fontaine. 2017. Evil/Good. Frameless LED lightbox, perspex and metal. https://www.clairefontaine.ws/search/evil%2Fgood.
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Notes on contributors
Anita Chari
Anita Chari is Associate Professor of Political Science at the University of Oregon. She is the author of A Political Economy of the Senses (Columbia University Press, 2015), and her recent work has appeared in Claire Fontaine: Newsfloor (Walter Koenig, 2020), Somatic Voices in Performance Research and Beyond (Routledge, 2020), Catalyst (Noxious Sector Press, 2018), and The Hysterical Material (Smart Museum of Art and Soberscove Press, 2017).