The title of the big group exhibition at the Kunsthaus Bregenz Love is Colder than Capital has been filched: it comes from the play of the same name by the controversial post-dramatic stage director René Pollesch, whose works deal with the neoliberal exploitation of the private and the personal by economic interests. More clearly than ever, the progressive dwindling of manufacturing production and the steady rise of service-oriented industries call on the emotional commitment of workers, and make feelings—purportedly genuine or merely feigned—an increasingly integral part of immaterial, commodity-like products.
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