66 pratiques vernaculaires – is that it very quickly goes from practical DIY to domestic “creativity”. The notion of creativity has been particularly valued in recent decades, most often in the service of neoliberalism, illustrating what Luc Boltanski and Ève Chiapello have identified as the recovery of “artistic criticism” by the new spirit of capitalism.Today, the communications industries like to call themselves “creative industries”. But the injunction to creativity went beyond professional activity. Pierre Dardot and Christian Laval have shown that neo-liberalism produces new behaviour, new standards and even new subjectivities, in which the individual is “called to conceive of themself as a business” (4). However, no longer have we to be just productive, we must be creative. Not just for business, but for yourself, even at home, even in yourself. One of the great challenges of the times is to thwart the ethics (and, henceforth, the aesthetics) of self-entrepreneurship. This new status of domestic creativity puts us today – and the health crisis the world is going through in 2020 could well reinforce this phenomenon – in a situation where the vernacular has become the standard prestige, which is obviously a paradox. The movement started in recent years from a critical Morgan Courtois at the Fagor factories, or casts by Giulia Cenci at the IAC Villeurbanne, covered with a sort of expertly worked mud. Also at the IAC, Sebastian Jefford’s puffy sculptures, with their press studs and their morbid-funny designs, challenge their function, resist interpretation and, above all, make you want to touch them. Covered with mosaics in soft, pale colours, the opulent sculptures by Zsófia Keresztes give off a confused, sustained erotic charge, like a session carried out with curtain cords. Cédric Esturillo practices the baroque combination of the rough and the refined, the artisanal and the (the affected and over-played kitsch to which Susan Sontag devoted her in 1964) in his somewhat dilapidated and decadent Boudoir installations. Paintings in faux marble and neon lights, screens, black and purple filiform ashtrays are all ostensibly decorative objects, sometimes to the point of merging with the walls. We keep asking ourselves if they aren’t supposed to be used for something, while ultimately being used perspective (of cultural homogenization, legitimate culture and hierarchies of values) has grown to become an aesthetic. YouTube videos created and broadcast from a bedroom or living room have only amplified the trend. Instagram has reminded us that photography is essentially vernacular in an age where everything aspires to artification and a fifteen minutes of Warholian celebrity. Or rather, that everyone is a photographer, an artist even, without ever claiming it headon, since the others, all the have to knight you in your transient glory. Homemade or made from my living room has become the guarantee of ultimate authenticity and brings a coefficient of art, provided that peers approve (followers or agents of the art world, but what difference?). Authenticity nothing less than paradoxical since it is eminently staged, affected, made – like our fountains, basins, and other crafts at once a bit naff and goldsmithery. shi- bari followers, camp Notes on Camp CAMP AND ARTS AND CRAFTS During the last Lyon Biennale, we were struck by the attention that relatively young artists bring to the workmanship of material – sometimes to the point of preciousness. Plaster (of marble) leaves (Caucasian Hogweed) by Cédric Esturillo. Vue de l’exposition « Jeune création internationale ». IAC Villeurbanne, Biennale de Lyon 2019. (Ph. Blaise Adilon)
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