Paradox logic of behavior art

Performance art embodies the democratic spirit of art society through participation, daily life and events. This nature and intention has always been a reaction to the exhibition/collection mechanism of museums and art galleries in developed countries in Europe and America, and it is the most direct ridicule and alienation of capitalist market ideology under the collusion of power and capital. In the myth of "globalization" art market, any oil painting by Van Gogh can be hyped to millions of dollars. The Dutch painter, a missionary, was penniless before his death and finally fell into a nervous breakdown. At best, the strong moral power accumulated in his life has been transformed into a stylized interest rate, which is a symbol of the middle class's "consumption suffering", an identity label of transnational capital and the winner of commercial war.

Western Marxist critics have found a different paradox from the "folk standpoint" of performance art. They think that performance art often designs both the audience and the police as elements of dynamic events, trying to find out the identity of legalization of capital and labor for the country, as well as the artistic liberalization, democratization and popularization advocated by performance art and its related new arts (process art, landscape art, video art, poverty art, etc.). ). Thus, it became the official reform strategy of Capital. Martln Damus, a German art historian, pointed out: "It is required that works of art contribute to the shaping of human life, just as the apparent freedom of art and science is used as a cover for formal democracy, but it is actually used to safeguard the rule. Both are used by entrepreneurs, who allow artists to work in their fields. [8] It can be seen that, unlike China's practical rationalism of "Confucianism and Legalism complement each other" ("Educating and helping others") which has been running through since the Han Dynasty, the terminal card of western contemporary capitalism "anything will do" is reversed: you can not interfere in the exercise of any power in the name of art, but you must ensure my "behavior". Typical examples, such as 100% Waste of Pure Artists by Italian action school Piero Mansour (196 1 year), are regarded as top works of art and collected in new york Museum of Modern Art.

During the period of 1968, the global anti-system movement centered on the "May Storm" in Paris mainly shaped its own image in the form of avant-garde art-posters, slogans and graffiti. These revolutionary posters designed for freedom have become collectors' eager collections and are displayed on the walls of new york Museum. The more avant-garde posters are, the more they are copied in batches and sold cheaply. They are no longer free media that spread freely, and the revolutionary "action" influence has been eliminated. Joseph beuys, a German avant-garde artist, was regarded as a "contemporary combination of Jesus and Shaman" by critics before his death, and all his props were collected by Boise Art Museum in Dü sseldorf. The concept of "social sculpture" advocated and practiced by him, such as green politics, direct election and university autonomy, is still an unsuccessful universal social ideal, but its remains have become a cultural code based on consumerism, and the objective casting and suppression of capital on artistic subjects can be seen in the above cases. Marx once commented that commodities have absolutely no body. They only exist in a formal exchange behavior. Production regards people not only as commodities, but also as human beings according to commodity regulations: according to this regulation, it produces people as dehumanized beings both mentally and physically. [9] In the commodity age, the "behavior" of alienation or resistance may be wrongly constituted as the "transcendental value" of goods, and this franchised art is equal to the equation that goods are greater than exchange value, which is constantly filled with the symbol resources necessary for ideological authority.