Ontologie polityczne sztuki. Lenin, estetyka relacyjna i produkcja biopolityczna / Political Ontologies of Art. Lenin, Relational Aesthetics and Biopolitical Production

POLITICAL ONTOLOGIES OF ART. LENIN,  RELATIONAL AESTHETICS AND BIOPOLITICAL PRODUCTION
The entanglement of art in capitalism makes the artistic production particularly interesting from the perspective of the Marxist analysis. On the one hand, art is a place where you can really see the  mechanisms that constitute the logic of the entire system. On the other hand, it can become a field of a possible resistance. To understand today’s  discussions about the relationship between the contemporary art and politics, the author proposes to look at the ontological-political presumption of this dispute. One of the theses of this article states, that political results (if any) may be obtained by means of art only through art theorisation in context of  changes in the contemporary capitalism. A good example of the theory remaining close to the changes that make the work performed by us based on the production of knowledge and affects is the Nicolas Bourriaud’s relational aesthetics. The transitions in art diagnosed by Bourriaud, which have been taking place since the 1990s, referred to as  relational art prove, that political art does not have to be based on direct and controversial interventions, but on a different shaping of our political imagination. Hence, not only is the contemporary art understood in such a way a place of constantly increasing (unfortunately) exploitation, it also holds within a potential for performative production of new political ideas and egalitarian subjectivity.