Hate is a strong word and maybe we should try harder to be positive as the scene requires it but what is not to hate? You look around and reality offers you indefinite reasons to hate and it doesn’t stop; the media stream drowns even the smallest drop of… lack of hate. It is maybe too obvious but we couldn’t keep our eyes from rolling over when we stumbled upon the words of “Grimes”, “AI” and “communism”. It shouldn’t have been the situation, and maybe we shouldn’t waste another second on this subject, but this may be a good starting point for unraveling our present frustrations.
It is comforting to see fragments of our views in the streams of pop culture, to see the so-called idols taking a stance against the harsh reality of living, even if they only offer words in their obvious hypocrisy. But even if we don’t want to knowledge it, our pop idols are ignorant, if not dumb, and this is true for most of them. Even though we do understand that she or he is a product of an elaborated marketing mechanism, it is almost impossible to not build a bio-armor of social layers, building a collage of altruism, beauty, originality, and all the other clichés.
In the lyrics and melodic rhythm of “New Slaves”, one can see in Kanye a manifest of the precariat, an anthem under which a now global social and political movement can recuperate the “means of production”. But this was not true… The confusion grew higher when Yeeze backed Trump’s presidential campaign, back in 2015, while also appearing in public with a “MAGA” hat. We knew that Kanye Omari West was challenged by mental health and an over infatuated ego, but ignoring the racial implications that come whit this political position was not the marketing action to take in order to attract some fading spotlights.
Always closing an eye, especially when it comes to our male idols, from Arnold to Allen, and from Jackson to Kanye, always trying to ignore and bleach our pop idol’s image. Struggling to protect the integrity of that fairy tale, the only happy place that we can afford. And maybe that is their only purpose, to produce lies for us to enjoy and nothing more, as their power-driven bodies want us to believe. Even though they may be charismatic and we can giggle to their humor, cry on their songs and feel empowered by their art, we should not give them the space, the time, the faith, and have our common future be shaped by their puerile vision of the world.
Nor Grimes, nor Kanye. Nor Rogan, nor Peterson. And definitely not Musk and Bezos. Politics should not be in their hands as their vision is not our vision, their future is definitely not our future and their reality is far from our reality. Not when you build your power on a business model that only accelerated the devastation of the world, promotes hyper-exploitation, dismantles labor protection and social securities, all while ignoring the actual slavery and child labor that stands right at the beginning of the chain production.
And no, we don’t believe in democracy and free speech because our words here are not equal nor will ever be to the ones of Grimes and her followers reach. Pseudo-scientific knowledge has marked our recent past and still strangles our present, we should not indulge into the cheap comfort of easy solutions as such thing is only naïve to believe in.
We dream of a sharp guillotine that could cut through the bubble of this financial elite but unfortunately, no revolution has been carried out by the poor and for the poor. Let’s just hope that we can inseminate some socialist points of view near the ecological (American style neo-) liberalism, ensuring a minimal social protection in exchange for our entire energy and time before they turn their robots against us...
19/06/21. Published 20/06/21.
SABA - Silvia Amancei and Bogdan Armanu (b. 1991, Iași and Timișoara / Romania) is an artist couple working together since 2012. Their artistic practice could be positioned at the border between social studies and visual art, researching for methods and examples where art and artistic means can be instrumentalised in order to overexcite the ability to look beyond capitalism and create a (common) future. Among their recent solo shows are “s.a.b.a 1979-####” (2020, Ljubljana, SI), “It was always in plain sight” (2020, Bucharest, RO), “If Then What After” (2019, Baden, AT), “What Past? What Future?” (2017, Linz, AT), “Depression, Uncertainty and other symptoms of Mortality” (2016, Lodz, Poland), while their works have been present in many group exhibitions among which “Rewriting Our Imaginations” (2020, Basel, CH), “Go, Stop, Stay” (2019, Debrecen, HU), “STRIKE GENTLY AWAY ____” (2019, Salzburg, AT), “Displacement and Togetherness” (2019, Brussels, BE), “Capital’s Time Machine” (2018, Bucharest, RO), “Baywatch” (2018, Berlin, DE), “Alternative Facts” (2018, Stuttgart, DE), “Odessa Biennial” (2017, Odessa, Ukraine), to name just a few.