Movement study for THE MARKET is a performance that is part of a social sculptural trilogy of Fernando Belfiore that includes THE CAVE and THE FOUNTAIN.
Mavi Veloso & Isadora Tomasi & Fernando Belfiore & Nicolás Rosés & Maciej Sado & Rose Akras
The project has an interdisciplinary approach investigating consumerism, the ‘ruling’ of large corporations, and the accumulation of wealth. From the 2008 financial crisis that made inequality worst to current Covid-19 exposing new forms for the mutant ideologic virus of fascism. This dance practice works on counts: nearly 41⁄2 billion people, all over the world, earn less than three dollars a day as the racial wealth gap also continues, the world’s richest 1% own as twice as much as the bottom 90%
[…] practices are not unilaterally determined by the habitus; they emerge at the site of conjuncture between the habitus and what Bourdieu will call specific social “fields” where the ultimate or ultimately determining field is “the market”. Performativity’s Social Magic. Judith Butler
This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal. I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art. Toni Morrison
The continued spread of the coronavirus epidemic has also unleashed large epidemics of ideological viruses that were dormant in our societies: fake news, paranoid conspiracy theories, explosions of racism. But perhaps another ideological virus, and much more beneficial, will spread and hopefully infect us: the virus of thinking about an alternative society, a society beyond the nation-state, a society that actualizes itself in the forms of solidarity. and global cooperation the coronavirus will also force us to reinvent communism based on trust in people and in science. Slavoj Žižek
A market is a place where people go to buy or sell things. The word market can also have a more general meaning in the economy. Markets have existed since ancient times. Some historians have argued that a type of market has existed since humans first began to engage in trade. The Mexica (Aztec) market of Tlatelolco was the largest in all the Americas and said to be superior to those in Europe. Both products and ideas travelled along these trade routes. The major characteristic of a market economy is the existence of factor markets that play a dominant role in the allocation of capital and the factors of production. A graffito on the outside of a large shop documents a seven-day cycle of markets; “Saturn’s day at Pompeii and Nuceria, Sun’s day at Atella and Nola, Moon’s day at Cumae … etc.” The presence of an official commercial calendar suggests something of the market’s importance to community life and trade.
No volveremos a la
normalidad porque la normalidad era el problema
or movement Study for THE MARKET
Markets were also important centres of social life. Today, markets can also be accessed electronically or on the internet through e-commerce platforms. In mainstream economics, the concept of a market is any structure that allows buyers and sellers to exchange any type of goods, services and information.
The Modern French word bourgeois (French: [buʁʒwa]; English: /ˈbʊərʒ.wɑː, ˌbʊərˈʒwɑː/) derived from the Old French burgeis (walled city), which derived from bourg (market town). Besides describing the social class who owns the means of production, the Marxist use of the term “bourgeois” also describes the consumerist style of life derived from the ownership of capital and real property. Besides describing the social class who owns the means of production, the Marxist use of the term “bourgeois” also describes the consumerist style of life derived from the ownership of capital and real property. Two spatial constructs manifest the bourgeois mentality: (i) the shop-window display, and (ii) the sitting room.
Modern bourgeois society, with its relations of production, of exchange and of property, a society that has conjured up such gigantic means of production and of exchange, is like the sorcerer who is no longer able to control the powers of the nether world whom he has called up by his spells. … It is enough to mention the commercial crises that by their periodical return put the existence of the whole of bourgeois society on trial, each time more threateningly. In these crises, a great part not only of existing production, but also of previously created productive forces, are periodically destroyed. In these crises, there breaks out an epidemic that, in all earlier epochs, would have seemed an absurdity – the epidemic of over-production. Society suddenly finds itself put back into a state of momentary barbarism; it appears as if a famine, a universal war of devastation, had cut off the supply of every means of subsistence; industry and commerce seem to be destroyed; and why? Because there is too much civilisation, too much means of subsistence, too much industry, too much commerce. The productive forces at the disposal of society no longer tend to further the development of the conditions of bourgeois property; on the contrary, they have become too powerful for these conditions. … And how does the bourgeoisie get over these crises? On the one hand by enforced destruction of a mass of productive forces; on the other, by the conquest of new markets, and by the more thorough exploitation of the old ones. That is to say, by paving the way for more extensive and more destructive crises, and by diminishing the means whereby crises are prevented. In The Communist Manifesto of 1848, Karl Marx and Friedrich Engels described
The new political art (if it is possible at all) will have to hold to the truth of postmodernism, that is to say, to its fundamental object – the world space of multinational capital – at the same time at which it achieves a breakthrough to some as yet unimaginable new mode of representing this last, in which we may again begin to grasp our positioning as individual and collective subjects and regain a capacity to act and struggle which is at present neutralised by our spatial as well as our social confusion. The political form of postmodernism, if there ever is any, will have as its vocation the invention and projection of a global cognitive mapping, on a social as well as a spatial scale. Postmodernism or, The Cultural Logic of Late Capitalism.