So it seems that there are many things unsaid, yet very well known. But it is important to ask: Subversive of what? Since we know very well - as the same newspaper article makes clear - that Maurizio Cattelan is supported by such collectors as Francois Pinault in France, Eli Broad in the USA, Dakis Joannou in Greece, who are the real patrons behind the financialization of the contemporary art system. About the show, the French newspaper, Le Monde, printed an article titled, "Maurizio Cattelan, Patron Saint of the Subversives". Meanwhile, the Guggenheim Museum in New York celebrated the retrospective and last exhibition of 51-year-old Italian artist, Maurizio Cattelan. After receiving a 30 million dollar gift from millionaire Ely Broad for its 30 th anniversary, the Los Angeles MOCA, by now vulnerable to the irreversible financial crisis, defined its leadership model as an unprecedented union of marketing and art, contradicting the conventional appointment protocols. The previous year, one of the most recognized art dealers in New York became the first gallery owner to be appointed director of one of the major contemporary art museums in the US. But today, in cognitive capitalism, a statement such as "the business belongs to you" can be all but indifferent to current knowledge-workers.īack in Venice, once again, on the occasion of the 2011 edition of the Venice Biennale, the Swiss curator Bice Curiger not only chose the title ILLUMINATIONS for an exhibition whose main sponsor is a multinational energy corporation such as ENEL, but awarded a Golden Lion to Christian Marclay's work The Clock, in order to comply with the marketing needs of the Swiss brand, Swatch.
The aim of current creative industries is to obtain the unquestionable identification of their employees, in a way that was unthinkable within the previous frame, in which the mere existence of a contract acknowledged the separateness of the two parties. "Le monde vous appartient" is an outright ideological mystification of the new subordination between the governing and the governed, so as to make the latter’s exploitation unrecognizable. We are faced with the evidence of a typical situation of capitalist valorisation, in which one is allowed to participate in forms of expression and creation only as long as she or he accepts to be barred from their ownership.Ĭreative industries spur the ideological and political nature of the subjects to capitalise on their desires, over-determine their social roles and functions, and ultimately restore disciplinary dispositifs (devices) and hierarchies. What is "Le monde vous appartient" if not a "governance of the public" brought to its paradoxical consequence? In this paradox, the promise of redistribution - as stressed by the title - is turned into the form of ownership of a single collector: Francois Pinault. But in a wider sense this slogan also applies to the art audience, to the public of tourism and communication: a new workforce that - while it produces value, economies, and consensus - has to be controlled in order to, on the one hand, discourage it from enacting a social reallocation of commons, and on the other hand encourage a new, restricted and competitive channelling towards the business and wealth of the upper classes.
The title has been chosen to identify a blockbuster show held in Fancois Pinault's Canal Grande headquarter, Palazzo Grassi, devoted to artists from emerging countries: the banlieues of the globalized world. It is hardly a coincidence that this takes place in Italy, but it's a sign of a more global attitude.
Now, some years later and in the midst of a global financial crisis, the French tycoon of art and finance launches again, in Venice, a populist challenge: this time the buzzword is "Le monde vous appartient" (The world belongs to you). La Haine is from 1995, ten years earlier than the riots that shook the Paris banlieues in 2005. By deleting and replacing a single letter with his spray paint on the billboard text, Saїd enacts a radical détournement, turningthe sentence "Le monde est à vous" (the world is yours) into "Le monde est à nous"(The world is ours). The image on the original poster represents Earth against a black background-the same one on which a Molotov bomb explodes in the opening sequence, a sort of leitmotiv in the whole film.
#LA HAINE TRANSLATION MOVIE#
One of the most intense moments in the 24-hour long dérive (journey) of the three inhabitants of the Paris banlieue in the masterpiece movie La Haine (Hate) by Mathieu Kassovitz is when Saїd, the Moroccan guy, comes out of the group and - filmed from behind, at night - intervenes on an advertising billboard.