2013
DOI: 10.1177/1470412912468709
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Affirmative Precarity: Ai Weiwei and Margarita Cabrera

Abstract: Ai Weiwei's Sunflower Seeds (2010) and Margarita Cabrera's Florezca (2011) are two performative works that exemplify a change in priorities in terms of the ways in which art conveys beauty and truth within the conditions of precarious life. In these works, the subject of the artisan/labourer is staged to complicate the mainstream views of China and Mexico as the derogated zones of labour, whereby the outsource worker and the undocumented worker are perpetually blamed for the loss of jobs in the United States.… Show more

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Cited by 6 publications
(4 citation statements)
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“…While I am partially sympathetic to this view, I do not find it wholly convincing. Consider as an example a scenario in which I acquire a painting by, say, Monet and then decide to burn it (lest this example feel contrived, I would direct the reader to the actual case of Ai Weiwei's exhibitionist destruction of a Han dynasty urn [46]). In many jurisdictions I would have the right to do so (notably, in the USA Visual Artists Rights Act of 1990, 17 USC Section 106A, limits this right somewhat) but I would nevertheless argue that to exercise this legal right would be morally impermissible for it would cause undue harm to others.…”
Section: Duty-based Objections To Suicidementioning
confidence: 99%
“…While I am partially sympathetic to this view, I do not find it wholly convincing. Consider as an example a scenario in which I acquire a painting by, say, Monet and then decide to burn it (lest this example feel contrived, I would direct the reader to the actual case of Ai Weiwei's exhibitionist destruction of a Han dynasty urn [46]). In many jurisdictions I would have the right to do so (notably, in the USA Visual Artists Rights Act of 1990, 17 USC Section 106A, limits this right somewhat) but I would nevertheless argue that to exercise this legal right would be morally impermissible for it would cause undue harm to others.…”
Section: Duty-based Objections To Suicidementioning
confidence: 99%
“…While I am partially sympathetic to this view, I do not find it wholly convincing. Consider as an example a scenario in which I acquire a painting by, say, Monet and then decide to burn it (lest this example feel contrived, I would direct the reader to the actual case of Ai Weiwei's exhibitionist destruction of a Han dynasty urn (Davidson, 2013)). In many jurisdictions I would have the right to do so (notably, in the USA Visual Artists Rights Act of 1990, 17 USC Section 106A, limits this right somewhat) but I would nevertheless argue that to exercise this legal right would be morally impermissible for it would cause undue harm to others.…”
Section: Duty Based Objections To Suicidementioning
confidence: 99%
“…In this nexus of late-capitalist overdeterminations and the indeterminacies of waste, the possibilities of precarity open up. While it does not offer the ‘affirmative precarity’ evident in artistic subversions of precarious landscapes (Davidson 2013: 128), new experiences, perspectives and material positions emerge.…”
Section: Bringing Waste Back To Lifementioning
confidence: 99%
“… 1 Davidson (2013: 128) speaks of the ‘affirmative dialectics of precarity’ of conceptual art, which allies devalued labour and material discards on the soft borders of the global South. The dialectical play of precarity in Ashaiman, however, is not so easily drawn, grounded as it is in the quest for material security over and above symbolic claims.…”
mentioning
confidence: 99%