Interdisciplinary Critique of Cultural-Industrial Creativity as a Bio-Necropolitics of Contemporary art

Since the turn of the 21st century there have been debates about the condition and future development of art theories and visual practices that acquired the status of global contemporary product in a post-Fordist society of quasi-consumption, when cultural-industrial ideology of transnational art market conquers the creative intentions of artists, transforming the artist, and his work on the product. An important aspect of this discussion is the problem of biopower, which determines the necropolitical paradigm of contemporary culture, depriving the absolute freedom of creativity by instilling servile commodified consciousness, manipulating the imagination in favor of art business, spreading across public globalized art space re-reified patterns. Dominant in the field of popularization of contemporary art, private capital denies adherents of transcendental aesthetics the right to freedom of expression outside the recognized brands legitimized by the World Biennale events. The anarchy of consumerism contributes to the eschatological predictions of the death of art and art criticism, the end of art history, the final annihilation of traditional art life through the socio-political turn of performative activism. Still, interdisciplinary critique, based on the theory of catastrophes, offers another way out of cultural entropy: transcendental aesthetics’ experience and judgment’srecycling as a way to overcome the hysteresis of art theories and practices.