In Circulation

The term is inspired by theories of Paolo Virno [1] who uses the category of opportunism when analyzing post-Fordist production systems, oriented at flexibility, mobility and individualism. Following Virno’s traces I refer to the structural, non-moralistic definition of opportunism. Here opportunism does not mean an attitude that is morally doubtful, a lack of principles or the atrophy of one’s ethical spine. This notion rather connotes the fundamental dependence of individualized culture producers on the never-ending lookout for possibilities (moonlighting, projects, exhibition opportunities, orders or temporary employment). The thesis that I propose here is as follows: structural opportunism in a form of fundamental dependence of the otherwise independent (not undergoing the formal discipline of contract work) art producers on a permanent search for opportunities; it is the source of systemic pressure that leads to the popularization of competition, the instrumentalization of social relations or, last but not least, the atomization and self-precarization of art workers. In the conclusion of this article I shall draw your attention to the resistance originating from structural opportunism. Its key aspect is a contestation of individualized dependency on the flow of opportunities.