ABSTRACT
Ido Feder’s manifesto explores the complex relationship between art, spectacle, individuality, and society in our contemporary world. The artist introduces the concept of privilogos as the performative essence of artists, a power that has been co-opted by the spectacle, a regime of images and illusions. Without the anchoring influence of mythos, a fictional objectivity that transcends the self, privilogos becomes a tool of the spectacle, promoting deadly individualism and consumerism. The manifesto argues that the separation of art from mythos has deepened the society of constant inspection and moralistic surveillance, where even self-examination is monetized. It calls for a new approach called the ‘ex-spectacle event,’ which reimagines art as a palliative methodology, a means to summon the afterlife of the spectacle, and a way to reclaim the mythos of privilogos. This approach fosters collaboration and reinvents the art world as the muse-ocracy, emphasizing the conservation of the human spirit over and through material objects. In the face of impending global challenges, the manifesto suggests that ‘conservative performance’ is a means of preserving and preparing through humanity’s pre-individual sources of unity and purpose, which rejuvenate and legitimize the individual artistic act and its governing community of the art world. It advocates for a worldliness rooted in mythos and collaboration, offering care for the future of art as a transformative and palliative force.
