Capital Intervention And Freedom Of Creation

As a pioneer in the criticism of the art sponsorship system,Hans Haacke has taken the criticism of art sponsorship system as a form of artistic creation,who has challenged the legitimate ruling relationship in the cultural field since the 1970 s,and has revealed the rule and authority of the subconscious industry under the control of enterprises.Haacke’s critical works of art have aroused our reflections on the things and concepts we take for granted in our daily lives.This article focuses on Haacke’s criticism of the art sponsorship system,focusing on the capital operation between enterprises and museums under the art sponsorship system,and uses specific works as examples to reveal the true purpose behind art sponsorship.The article is mainly divided into three parts: Chapter One,first,it mainly analyzes and interprets the development of art sponsorship,trying to explain the reasons for the rise of art sponsorship,and reveals the impact of culture as a symbolic capital on the development of art by enterprises and governments as a strategic weapon in the context of the Cold War;Secondly,based on the above historical background,it reviews the development of Haacke’s early physical and biological system art and his transformation to critical art.Through the analysis of the above two aspects,this paper tries to explain the reason why Haacke turned to criticize art sponsorship in the late1960 s.The second chapter of the article is mainly divided into three parts,the first part discusses Haacke’s criticism of the institutional censorship of art.By analyzing the censorship and rejection of his works by the Guggenheim Museum and Mayor Giuliani and the resulting social debates,it reveals that the freedom of art has been shackled under the social background of advocating freedom and democracy.The second part is the criticism of capital operation in art sponsorship.Through the analysis of the four examples of Mobil and the Metropolitan Museum,BP and the Tate Gallery,Margaret Thatcher and President Reagan,it discusses how the symbolic capital of art is transformed into economic and political capital and used by enterprises and governments,and exposes the unknown political and economic purpose behind the art sponsorship;The third part is an extension of the second part,mainly discussing the criticism of art collection.Through the research of Manet-PROJECT’ 74,Seurat’s “Les Poseuses”(small version),1888-1975 and the auction information of Haacke’s works,this paper analyzes the real purpose of corporate art investment from another angle,and points out the attitude and strategy adopted by Haacke in the face of corporate artwork collection.The third chapter mainly analyzes and discusses the critical reflection of Haacke’s art sponsorship system.This chapter first studies the problem that Haacke’s art and even the art world have and is constantly discussing,that is,the freedom of art.Finally,it deeply explores the reasons why art is in trouble and the enlightenment of Haacke’s art to solve the artistic dilemma.