The complicity of the arts and the state in the mutual legitimation of corporate market practice is addressed in this critique of the so-called culture industries and 'Creative Class' of late capitalist imagination. The certification of the state-market couple as the dominant ideology of national, transnational, and post-national politics and economics is examined through an analysis of the Frieze Art Fair between 2006 and 2009. I contend that the decline of a culture-debating society and the rise of a culture-consuming society herald the waning of a habit of independent rationality and informed argument that characterized Horkheimer and Adorno's 'Enlightenment project'. The managerialist moment in the arts (as in education) signifies the diminishing status of culture as the cornerstone of an enlightened social formation.
The Art Fair, the Culture Industry, and the ‘Creative Class’
Art, Infrastructure, and Eduardo Chillida's Unbuilt Monument to Tolerance
it was showing at Madrid's International Contemporary Art Fair (ARCO). Meanwhile, the official imagery of the Monument has been subjected to repeated détournement , and activist collectives have created their own visual counter-repertoire. Clearly