What struck me as one of the central starting points for how this week's readings converse with each other is the complex way in which dance artists access this "art form" and in doing so, articulations have developed that situate artists either in conformity, or in refusal, or against the magnitude of the neoliberalism. Kunst argued that art no longer needs to reaffirm itself as a socially relevant and valuable movement because economics, in particular, has locked it into entrenched capitalist and populist value-making. What she affirmed is that art must rediscover its material basis and recover its power to strongly associate the capacities of the abstract (thought) with real abstractions (value, capital, time, money, etc. .). Her work has traced the evolution of the organization of work, where she has shown how the modernist assertion that "the work of art and the work of life must be inseparable" took root at the heart of capitalist society. To strengthen his claim, Kunst sought ways to reclaim “work” and liberate artistic labor from his neoliberal counterpart. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get an original essayFor me, its insightful analysis of how the artist looks at his work and his discussion of the ways of rebellion against the project of neoliberalism required the temporality of work as duration which was particularly useful in encouraging its readers to stop seeing art as something that can be measured in economic terms/standards and to stop treating art or any production creative as if her engagement in art fit comfortably within the usual framework. employment agreements. She endeavored to decompose the phenomena of interweaving of the principles of the neoliberal economy and the organization of work in the art world and she also underlined the paradoxes of the art world as well as the way including museums of a contemporary nature, seen as active spaces of experimentation and discovery, can be placed side by side with the way democratic authoritarian structures and other societies functioned and communicated in contemporary times. For her, seeing contemporary dance and performance art should encourage a fluid orientation and engagement rather than a complete whole for her. be a practice that will push an individual to advocate flexibility rather than "static" --- making the artist an active participant and producer of dynamism in the social structure. Lepecki's work reinforced the agency inherent in dance by presenting experimental dance as a mode of critical thinking to problematize neocolonial capitalist management on projections of corporeality and subjectivity. The author outlined five directions in which "revolutionary" choreography can bring together or imagine a new community that projects singularities and expresses freedom beyond liberal individualism through the discussion of thingness, darkness, animality, persistence and solidity. He showed how singularity inhabits events in which human and non-human bodies, affects, and temporalities “come together momentarily and peripherally, risking their recognizable identities to generate forms of coexistence.” "Lepecki proposed that choreographic experimentation has become a site as well as a method of deploying singularities and that through this the entire social field is generated and supported by experimental choreographic practices. More.