Room, Cité Universitaire, Paris, with Al Ghazali quotation:
“I follow love’s caravan wherever it goes. For love is my religion and my faith.” (2006)
What follows is a guest post by Jeremy Bendik-Keymer & Misty Morrison. It also appears cross-posted at the Cleveland Review of Books.
We want to draw attention to a practice inside contemporary artistic practices and to suggest a set of considerations that could gradually change it, for we take it to be morally dishonest and aesthetically compromised. We call this practice “trauma-feeding.” The expression is our invention. We think trauma-feeding is enmeshed in corrupt conditions in the economy of contemporary art so that to talk about it is to talk inevitably about the institutional framing of artistic practice in an art economy that cultivates practices, habits, and sensibilities that allow artists to hustle their way to success in a neoliberal economy structured by gross inequality of wealth and of capabilities. With trauma-feeding, their mode of hustle is parasitic (from para – alongside – sitos – food) on everyday people’s moral sensibilities. The hinge in our discussion is the relation between trauma-feeding, consumable spectacle, and viability in a neoliberal art economy, predicated off of everyday people’s moral sympathy. After explaining what we mean by “trauma-feeding” and relating it to the social-economic conditions to which we’ve alluded, we will argue that artists and institutions have a moral responsibility to deal with trauma differently, particularly by following through in responding to it. They should stop being morally dishonest and parasitic.
