Introduction by Marc Herbst
Art World as Zombie Culture: Excellence, Exodus
Culture and the Communist Turn
Alterglobal Allegory: Condé and Beveridge Against
the Commodification of Water
By Any Means Necessary: From the Revolutionary
Art of Emory Douglas to the Art Activism of
Afterthoughts on Engaged Art Practice: ATSA and
the State of Emergency
The Non-Productive Role of the Artist: The Creative Industries in Canada
Protesting Degree Zero: On Black Bloc Tactics,
Culture and Building the Movement
The Québec Maple Spring, the Red Square
Globalization and the Politics of Culture:
An Interview with Imre Szeman
- I am happy to see that Léger has not held back in his approach as presented in these documents. I am sure it will raise quite a few hackles from people working in the area of contemporary art and politics. There is much to be admired, and much to disagree with in Léger's analysis, and with more and more focus on precisely these questions following the Occupy movements I think, and hope, the book will garner exactly the debates that it seeks to elicit.
- Tom Jeffreys | Editor The Journal of Wild Culture: Art criticism as institutional critique in this series of essays by Montreal-based artist and writer Marc James Léger. Largely produced between 2009 and 2011, Léger’s writings here have a strong focus on the Canadian art scene and its relationship with a broader culture and politics. Whilst some of the names and references may not be so well known outside of the context in which they operate, Léger’s forceful arguments around the oft-uneasy relationship between art and activism will chime for anyone tangentially involved in the Western world’s subjugated ‘culture industries’.
- The Neoliberal Undead reads very much like a report from the 'front lines' and as such has the feel of a users' manual. These kinds of books are important at the moment because they offer a quick retort to events. This book's work on art's advance into the 'creative industries' and the artist-as-entrepeneur is absolutely salient to any defence of autonomy now. And this is why the inflation of the artist as the paradigmatic post-Fordist worker today is so risible, for the semi-proletarianization and underemployment of the artist within an expanded global casual economy highlights how feeble the mantra of 'creativity' is under these conditions.