Diego Rivera, En el arsenal, 1928, Secretaría de Educación Pública, Mexico City
To characterise individual artworks or – art as such – as a “weapon” is not uncommon in modernity. Yet it remains exceptional enough to unsettle established beliefs about the role and nature of art, just as the enduring scandal of the reciprocity between violence and aesthetics has always done. As is well known, the avant-garde (or rather its theory) invokes a proximity to the military already in its very name. But how exactly should we understand the notion of art being addressed “as a weapon”? Integrating . . . → En lire plus
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