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EL ESPECTADOR

In Venice, The Irony Of Marxist Art For the Super Rich

As Venice's biennial art extravaganza reveals, sexual provocation is old hat, and anti-capitalism is the new means of selling expensive art to millionaires.

In Venice, The Irony Of Marxist Art For the Super Rich
Carlos Granes

-OpEd-

VENICE — Gone are the days when modern art used sex to earn your embarrassed attention. The latest Venice Biennale shows that to get international visibility these days, contemporary art must play with something much hotter: politics.

The Venice show, curated by Nigerian Okwui Enwezor, has brought together dozens of artists who, by different means and with varying effectiveness, denounce capitalist exploitation, colonialism, inequality and the destruction of nature. All human evils are on display here, as are sundry works and installations that denounce, denigrate and point an accusing finger at the vices of modern life.

Themes include the uncertain future that awaits us in the current capitalist system, and not surprisingly, Marx is a central protagonist. In one of the spaces, actors dressed in black read through Marx's book Das Kapital all day. This might initially seem disconcerting. But let's not forget that the first ones to arrive in Venice — most likely in their own yachts — were the art collectors and gallery owners who attend the Biennale's previews.

Reading Marx's Das Kapital — Photo: La Biennale di Venezia

You mean to say that pieces on display in the pavillons will later go on show, and sale, in galleries at prices that couldn't be described as "charitable"? And in addition, these devotees of art will be leaving a trail of money spent in Venetian boutiques, restaurants and hotels? Get out of here!

It's not as if visitors are traveling here to be told that the world is full of misfortune and greed. You have the news for that. The works shown in Venice don't tell us anything that someone with a minimal level of education or information doesn't already know. The novelty is instead the spectacle of Marx and anti-capitalist posturing mixing harmoniously with mass tourism, consumerism and multimillionaires.

What Enwezor's fair suggests is that criticisms of capitalism have become another cog in the wheel of capitalism. Marx and consumerism don't flee the flow of money generated by the art market and cultural tourism. It may be that many artists really believe that their art, besides pointing to the evils of humanity, must foment values such solidarity, brotherhood, environmental consciousness, collectivity and even gratuity. The paradox is that all these values, despite their anti-capitalist appearance, are extremely useful today in selling things.

In the 1960s, advertising used values such as revolution, authenticity, sex and youth. Today, judging by the luxury art market, a critical conscience, green issues and post-colonial discourse are more effective. Cities become ecological to attract tourists, post-colonial artists fetch high prices on the market, and critical theorists become international stars.

It doesn't seem so easy today to leave or criticize the system. Whoever does is more likely to be grabbing a rope that will take him to the top — the elite's nest. Is that good or bad? I don't know. I suspect it's another of the many paradoxes of our time.

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Green

Forest Networks? Revisiting The Science Of Trees And Funghi "Reaching Out"

A compelling story about how forest fungal networks communicate has garnered much public interest. Is any of it true?

Thomas Brail films the roots of a cut tree with his smartphone.

Arborist and conservationist Thomas Brail at a clearcutting near his hometown of Mazamet in the Tarn, France.

Melanie Jones, Jason Hoeksema, & Justine Karst

Over the past few years, a fascinating narrative about forests and fungi has captured the public imagination. It holds that the roots of neighboring trees can be connected by fungal filaments, forming massive underground networks that can span entire forests — a so-called wood-wide web. Through this web, the story goes, trees share carbon, water, and other nutrients, and even send chemical warnings of dangers such as insect attacks. The narrative — recounted in books, podcasts, TV series, documentaries, and news articles — has prompted some experts to rethink not only forest management but the relationships between self-interest and altruism in human society.

But is any of it true?

The three of us have studied forest fungi for our whole careers, and even we were surprised by some of the more extraordinary claims surfacing in the media about the wood-wide web. Thinking we had missed something, we thoroughly reviewed 26 field studies, including several of our own, that looked at the role fungal networks play in resource transfer in forests. What we found shows how easily confirmation bias, unchecked claims, and credulous news reporting can, over time, distort research findings beyond recognition. It should serve as a cautionary tale for scientists and journalists alike.

First, let’s be clear: Fungi do grow inside and on tree roots, forming a symbiosis called a mycorrhiza, or fungus-root. Mycorrhizae are essential for the normal growth of trees. Among other things, the fungi can take up from the soil, and transfer to the tree, nutrients that roots could not otherwise access. In return, fungi receive from the roots sugars they need to grow.

As fungal filaments spread out through forest soil, they will often, at least temporarily, physically connect the roots of two neighboring trees. The resulting system of interconnected tree roots is called a common mycorrhizal network, or CMN.

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