Maria Lind: Well, its basic materialistic Marxist assumption that under capitalism all relationships are abstracted or alienated, because we don’t really know their value as it were, something is happening along the way that obscures the relationship between the amount of time being invested in producing something and the value and cost of that something, whether it is an object or a service or something else. What we have with economic abstraction is a sort of totalizing situation, if we accept this description then we definitely live under abstraction. There we have a sort of cultural societal condition, it is something we cannot escape from we’re entangled no matter where we go or how we turn and then that’s when it is interesting to think about the withdrawal strategies, because that is an attempt to counteract that, knowing that it is impossible to stand outside and not giving up the possibility of creating a parallel, something separate, something with other rules, with other conditions and possibilities.
I think there is almost always a value consideration, if not judgement, lurking in everything we do. Maybe you and I can agree that there are many reasons to be sceptical to how culture is developing, with commercialization, the kinds of things that are offered on commercial television, how public spaces and cities has been shaped, etc. We could probably also agree that it’s important to come up with something else, but maybe we are not really able to do that on television or in public space, but we can create arenas elsewhere, as you have done with Salón, which is also a part of the exhibition. You’re own entity where you’re more in control, where you can determine how and what is being done, where self-determination is bigger as it were. So, yes there is a value judgement in that, but at the same time I am also inclined to say that like with art, the most important question is not if its good or bad, if it’s interesting or not interesting, relevant or not relevant.