A trend seems to be happening among young, urban activists and allies: they get easily fascinated and responsive of positive representation of politics, rebels and activists on any platform, especially on popular capitalist art. Cultural representation seems to be the name of the game. What is formerly subversive has now become a default setting. Cultural representation is easy and, in the era of neoliberal multiplicity, profitable. In fact, contemporary cultural products tend to capitalize into notions of diversity and multiplicity (rhizomes, anyone?), only to the point that what is represented is not the marginalized being presented in contrast and as alternative against the status quo, but the marginalized performing (for) the status quo. A kind of trickle-up effect: productions representing the oppressed are revaluated and appreciated with ruling class criterion and are being produced for the expropriation of value by the ruling class.
Representation is comfort food. Representation made the…
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