Case study # 20 1000 white negations No Less, NO + Men in Black

 

The last interview with Chilean Artist, Lotty Rosenfeld (1943-2020) in Art Review (2020) succinctly summarizes the Cultural Industry's distortion and justification for Leftwing violence and destruction through art activism. If you don't know anything about the reality in Chile, read this introduction and tell me if your prejudices have been confirmed.

"The protests that spread across Chile last year (2019), violently and often lethally suppressed by the police and army, were sparked by a rise in fares on Santiago public transport. This issue was a pretext for expressing long-simmering resentment towards a political system and constitution with roots in the dictatorship years of Augusto Pinochet, together with an underlying fury at a pervasive inequality that had allowed a tiny elite to control one-third of the country’s wealth"

I have made a little homage, not to Lotty Rosenfeld (RIP), but to all art activists who confuse life with art. It is based on Rosenfeld's two works. One of Rosenfeld's works as a solo artist called 1000 Crosses (1979), and the most famous for art activist aesthetes, with the art collective she co-founded called CADA, and the work NO+ (read as no more) 1983-1984.

The homepage is called 1000 Negations (after Ernesto Laclau 1935-2014) NO- (read as NO Less). If you remove the most basic common agreement you have complete carnage on the road to peace. This is what happened on 18 October 2019 when the attack on 20 Metro Stations in 6 hours was called a protest for social justice and then this new normal applied the city wide looting, arson, vandalism and assault that spread to 11 of Chile's 16 regions and could only be suspended by a global pandemic in March 2020.