Today Vancouver is conceived as a monopolizable totality, everywhere placed in circulation for consumption and contemplation. As every square-inch of the city becomes privatized for Vancouver’s capitalist class, the balance of forces veer in favor of profit, enjoyment, and the preservation of crisis. Beating with the mercurial blood of surplus value, the pulse of the city is tightly constricted by the developer-monopoly tourniquet — a tried, tested and true apparatus of monopoly-capitalist development that equilibrates the terms of supply and demand in order to keep housing prices impossibly high.
In the Vancouver of today, everything adds up to the realization that artistic creation is rendered impossible under the auspices of state sponsorship and ruling class culture. On the balance sheet of recent artistic production, the empty pluralism of public art – ambiguous text-based works, gardening, light projections, and billboard images – is found siding with the medium of the culture industry. All established means in the arsenal of artistic creation, to paraphrase the words of Alain Badiou on “militant art,” are mobilized to sing the praises of conservative institutions, while artistic novelty is inscribed within the continuity of the state.
For the last three years, there has been a broad increase in private and public support of the arts in Vancouver. This augmentation in sponsorship has stimulated the absolute amplification in the size, scale and diversity of artistic production. In the midst of a new prominence in the exercise of city-state power, the floating signifier of “public art” has been re-positioned, effectively usurping all other forms of artistic production. For all of its variations, none of them have equalled an increase in the production of advanced art in Vancouver. On the contrary, these newly-minted works are burnished as acts of urban ornamentation for the State’s new authority. As expected, public art’s existence is entirely dependent on state and corporate sponsorship. But what is of interest here more specifically is the corrupt notion of “public” in public art — a concept that is elevated at the expense to all that is “common.”