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Graw surmised returns of sculpture’s figure as inalienable from its subject as commodity, particularly Harrison/Genzken's:
THESE SURROGATES thus reveal the embattled subjectivity at the heart of what Luc Boltanski and Eve Chiapello have famously called the "new spirit of capitalism," which demands the exploitation not only of labor but of personality, emotions, social relations, and other noneconomic aspects of our individual lives. Since this new regime works on and within subjectivity itself, even absorbing it into capital's own flows, Harrison's and Genzken's recent sculptures could be seen as delivering what is currently most in demand: subjectivity as a product. It is hard to decide, in fact, whether these works merely satisfy the current desire for staged subjectivity, or whether they exaggerate it in order to point to its problems.4 years later human invasiveness find artists still struggling to refoot it in view, depicting it not in the commodified space of the real but in virtual space of video/painting where desire is the limit to treat it like a grotesque punching bag, finding glee in its horror.
See too : Andro Wekua at Sprüth Magers
