“In The End of Capitalism, they make a compelling (and often very funny) argument that we should stop focusing on capitalism so much (seeing it everywhere, spending lots of our energy critiquing it)—they call this tendency “capitalistocentrist” and say that such a focus is self-defeating in that it sustains a notion of capitalism as ubiquitous, inevitable, or as super-powerful. Instead, in a queer theory vein, they argue that we should develop our eye for the diversity of economic life, and recognize the extent to which non-capitalist transactions (household work, lending practices, stealing, for example) mark our lives and relationships.”

User: Cricket from goodreads


Same goes for the art world. Less talk about the art market and more about what works move you, what didn’t. Art always win in the end.

“…capital operates through the production of subjectivities and thrives on extracting surplus value from the generation of social difference and individualization, not to mention the important ideological role played by self-actualization over and against collective identifications.”

Rory Rowan, “SO NOW!: On Normcore,” e-flux journal #58, October 2, 2014.

“As Deleuze and Guattari had it, the problem with capitalism is not that it breaks up reality; the problem with capitalism is that it isn’t schizophrenic and proliferating enough. In other words, it frees desire from traditional libidinal patterns (of family and religion and so on), but it will always want to recapture these energies through profit.

According to this conclusion, one way to circumnavigate capitalism would be to encourage its semiotic excess and its speculation in affect. Capitalism is not a totalitarian or tyrannical form of domination. It primarily spreads its effects through indifference (that can be compared to the zombie’s essential lack of protagonism). It is not what capital does, but what it doesn’t do or have: it does not have a concept of society; it does not counteract the depletion of nature; it has no concept of citizenship or culture; and so on. Thus it is a slave morality that makes us cling to capital as though it were our salvation–capitalism is, in fact, what we bring to it. Dramatization of capital through exacerbation and excess can perhaps help distill this state of affairs.”

Lars Bang Larsen, “Zombies of Immaterial Labour: The Modern Monster and the Death of Death,” e-flux journal, Are You Working Too Much, 2011


“…growing role of the visual – and its relation to spatiality – in modern capitalism, and thus the complicit role of art in systems of exploitation.”

Martha Rosler, “Culture Class: Art, Creativity, Urbanism, Part I,” e-flux journal #21, December 14, 2011.