Yoon Ya and Paul Devautour

Sylvana Lorenz, Galerie Beaubourg

If Theodor Adorno spoke of art as a “fait brut” (rough fact), the current danger is that it is merely a fait accompli. Art’s mediatization and distribution have engendered a condition in which its legitimacy is confused with success. If for Donald Judd, “The true test of art [was]. . . its credibility as art,” today, cynicism, hopelessness, and vacuity are its likelier modalities.

Though artists in France during the ’80s redeployed media strategies without playing up kitsch contents as did the American Simulationists, they nevertheless fell victim to the condition fostered by the intercourse of art and the media. As an antidote to the cynicism involved in these approaches, Yoon Ya and Paul Devautour revive the Situationist legacy of the ’60s (which has been totally perverted by Jean Baudrillard and his epigones), animating the crucial question of spectacle via a practice that is totally

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