An Environment of Unnecessary Culture Todos los artículos de DIVUS LIVE (blog)
An Environment of Unnecessary Culture

An Environment of Unnecessary Culture

18.02.2013 13:51

Palo Fabuš | critique | en cs de

Culture must find its defense not under the conditions of the state ideology, but under its own conditions, which are foreign to the state today.

All sorts of people get indignant about the idea of a future in which the ruling political regime has taken a clear stand by officially declaring that “culture is unnecessary.” Today, this statement floats through the Czech lands like a dull echo, outlining the impossible-to-ignore fact that the only thing separating us from this future is this official declaration – an honest naming of a point of view that de facto rules this country already. This awareness is enough to rouse opposition and to cause voices of dissatisfaction to cry out, but it is not enough for people to stop acting according to public declarations and to start acting according to what we know.

We know that today’s regime is interested in art only on the level of vague declarations. We know that faith in the necessity of austerity measures serves the government as a tool for keeping the entire environment in a state of voluntary underdevelopment. We also know (but somehow avoid giving this fact too much importance) that repeated protest against this state of affairs is essentially protest in name only and that it fails to articulate any real dispute.

What we can be sure of is that this dispute can no longer be formulated while simultaneously preserving the rules of the ruling symbolic environment – an environment in which words such as affluence, need, meaning or necessity are defined by the dictionary of political economics; an environment in which we can have a completely different understanding of what culture and the support of culture mean, but as long as we express ourselves in ways inherent to this environment, it is not us but this symbolic environment that determines the meaning of what we say.

And if inefficiency and waste are an absolute taboo for this environment of tightened belts and minds (even though it is their hypocritical veil), then we must agree with this and demand not just the mere existence of culture but must accept nothing less than its flowering. Culture must find its defense not under the conditions of the state ideology, but under its own conditions, which are foreign to the state today.

We must therefore unconditionally reject the concepts of “reasonable extent” and “within the realm of the possible.” We must stop serving culture up as investment, export, employment, or source of innovation and creativity; we must not treat it like the final piece of a puzzle that simply fits into the government’s economic policies. And if we don’t want it to be a cog in the machine, but to be truly the spirit that sets it all in motion, then we must see it as something that, by definition, is long-term. We must work according to the fact that the nature of the problem and the cause of bad solutions is a short-term perspective, and that there is not the least sense in trying to turn around a long-term retreat of meters and kilometers through short-term gains measured in centimeters.

 

 

It is important to admit that it has been a long time since the state has had the kind of monopoly on things as it used to, although it likes to pretend otherwise. Public affairs today are decided by a network of influences that extend far beyond the boundaries of the state’s apparatus and that slowly and invisibly have been shaping the values of the current environment. They are diverse influences: political, cultural, and primarily economic. The state is a mere bowed regent, too sanctimonious to free itself from the despondency that it spreads all around itself. Even vocal protest is no longer an audience for it or proof that we still believe in it. Without hesitating even for a moment, it will extinguish the flame of protest by admitting that it is justified. It will seek excuses, arguing that its hands are tied and that the reality dictated by the environment is the only one possible. Like in a rite of spring, it willingly plays its role in the annual ritual of public unrest, celebrating the start of a new cycle within the old order. Antagonisms remain superficial and the barricades mere props.

 

 

If we tell each other that society needs culture, that it is indispensable, then we will understand – we will know – that it is of enormous benefit to man to be able, at least for a moment, to step out of our everyday coordinates of pragmatic thinking, to escape the machinery of objectivity, efficiency, and plans, where the purpose of rest is merely to gather energy for more work. However, it is difficult to deny that culture is not a true need or necessity in the real sense of the word, and that not only can one live without it but many people do so without feeling impoverished. We can find many examples from history when civilizations did without culture – and its absence did not pose any threat. In all honesty, there is no reason to rule out the possibility that some civilizations managed to prosper precisely because of the absence of culture.

There is no necessary relationship between culture and survival. The most vital part of culture – art – belongs to the same category as experiment. We can do without them, but any deepening of our relationship to the world and our knowledge of it becomes unthinkable. A person who wants to grow beyond himself must reach beyond the boundaries of usefulness and benefit – he must risk. The opportunity for quality culture thus arises only where the satisfaction of needs no longer takes up all of our waking life. However, the environment in which we live continues to praise and encourage us when we use words like “need” and “purpose,” even though we do so far more often than is absolutely necessary. All along, however, there has been no reason to pay attention to the question of usefulness any more than (for example) the question of what the weather will be like next week. We possess more than enough of the preconditions necessary for the emergence of something as useless but meaningful and meaning-forming as culture. Besides, why would we even call it “cultural wealth” if culture wasn’t something extra – a claim to luxury?

 

 

The only honorable option is to demand much more. Not a culture that begs or merely exists – only a strong and proud culture can be a desirable influence on an environment that is losing its ability to ascribe meaning to things that have no clear purpose. Let us therefore insist that despite the fact that we don’t need culture, we want it!






18.02.2013 13:51

Comentarios

Actualmente no hay comentarios

Agregar nuevo comentario

Artículos recomendados

Contents 2016/1 Contents 2016/1
Contents of the new issue.
MIKROB MIKROB
There’s 130 kilos of fat, muscles, brain & raw power on the Serbian contemporary art scene, all molded together into a 175-cm tall, 44-year-old body. It’s owner is known by a countless number of different names, including Bamboo, Mexican, Groom, Big Pain in the Ass, but most of all he’s known as MICROBE!… Hero of the losers, fighter for the rights of the dispossessed, folk artist, entertainer…
Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy Intoxicated by Media Déjà-vu / Notes on Oliver Pietsche"s Image Strategy
Goff & Rosenthal gallery, Berlin, November 18 - December 30, 2006 Society permanently renegotiates the definition of drugs and our relationship towards them. In his forty-five minute found-footage film The Conquest of Happiness, produced in 2005, Oliver Pietsch, a Berlin-based video artist, demonstrates which drugs society can accommodate, which it cannot, and how the story of the drugs can be…
Malvado Malvado
“La persona debe sacudir tres veces la mano de alguien mientras mantiene fijamente la mirada en sus ojos. Así es como es posible memorizar el nombre de una persona con certeza. De ésta forma es como he recordado los nombres de las 5000 personas que han estado en el Horse Hospital”, me dijo Jim Holland. Holland es un experimentado cineasta, músico y curador. En su infancia, sufrió al pasar por…
ArtLeaks
27.07.2014 19:39
¿A dónde ir ahora?
fuera
S.d.Ch, Solitarios y Cultura Periférica   (una generación nacida alrededor de 1970)
S.d.Ch, Solitarios y Cultura Periférica (una generación nacida alrededor de 1970)
Josef Jindrák
¿Quién es S.d.Ch? Una persona de muchos intereses –activa en varios campos- la literatura, el teatro, conocida por sus cómics y sus collages en los campos del arte. Un poeta y dramaturgo principalmente. Un solitario por naturaleza y determinación, su trabajo no se encajona en las corrientes actuales. Siempre antepone la enunciación personal, incluso cuando su estructura interna puede volverse…
Leer más...
fuera
Revista THC: Revisitando el Condenado Pasado
Revista THC: Revisitando el Condenado Pasado
Ivan Mečl
¡Somos el quinto partido político global! Pítr Dragota ys Viki Shock, Fragmenty geniality / Fragmentos de carisma, mayo y junio de 1997. Cuando Viki llegó de visita, fue solamente para mostrarme algunos dibujos y collages. Sólo como un pensamiento tardío me mostró la publicación checa de finales de los noventa, THC Review. Cuando vio cuánto me fascinaba, le entró el pánico e insistió que…
Leer más...
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Leer más...
Dolores de parto
¿A quién le asusta la maternidad?
¿A quién le asusta la maternidad?
Zuzana Štefková
La pluralización de las definiciones de “madre“ es, a un tiempo, un lugar de represión recrudecida y de liberación potencial. (1) Carol Stabile Corría el año 2003 y una mujer en avanzado estado de embarazo estaba de pie al borde del camino en el matorral del bosque Lapák de Kladno. En el marco de la exposición Artistas en el bosque, los transeúntes podían vislumbrar el destello de su vientre…
Leer más...
Libros, video, ediciones y obras de arte que podrían interesarle Ir a la tienda virtual
Back to Roots Issue
Más información...
6,50 EUR
8 USD
American Issue
Más información...
6,50 EUR
8 USD
Nevíte jak volit? Jste vyděšeni chmurnými průzkumy, ztraceni ve volebních slibech a zmateni mnohoznačnými analýzami expertů?...
Más información...
3,80 EUR
4 USD
1995, 43.5 x 28cm, Print
Más información...
132 EUR
153 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Cita del día El editor no se responsabiliza por los estados físicos o mentales que puedan generarse después de leer la cita

Enlightenment is always late.
Contacto e información del visitante Contactos de la redacción

DIVUS NOVA PERLA
Kyjov 36-37
407 47 Krásná Lípa

 

Gallery, Bookshop and Cafe
open from Wednesday to Sunday between 11am to 10pm

and on appointment at shop@divus.cz, +420 606 606 425
 

 

Divus Perla
Gábina Náhlíková, gabina@divus.cz, +420 604 254 994


Divus Publishing
Ivan Mečl, ivan@divus.cz, +420 602 269 888



Design, Pre-Press and Printing Studio Divus
studio@divus.cz


Magazine Umělec
Palo Fabuš, umelec@divus.cz


Cafe & Bookshop Perla
shop@divus.cz, +420 606 606 425

DIVUS LONDON
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

news@divus.org.uk, +44 (0) 7526 902 082

 

DIVUS BERLIN
berlin@divus.cz


DIVUS WIEN
wien@divus.cz


DIVUS MEXICO CITY
mexico@divus.cz


DIVUS BARCELONA
barcelona@divus.cz

DIVUS MOSCOW & MINSK
alena@divus.cz

SUSCRIPCIÓN AL NEWSLETTER DE DIVUS
Divus We Are Rising National Gallery For You! Go to Kyjov by Krásná Lípa no.37.