I'm happy to announce that the piece Gross Domestic Product was published this February in The Amistad Journal, Howard University's literary magazine. Having recently finished Ta-Nehesi Coates' "Between the World and Me", I feel truly honored.
In "Universal Capital" Sean Smuda presents a selection of nine digital collages, which are part of a larger body of work concerned with the emergence of empire. Rooted in research of 17th-century cartography, the series consists of densely layered compositions where models of economic theory collide with photographs of street protests, the logic of global capitalism with Spinoza's ethics. Smuda's quasi-baroque information overload effectively conveys the complexity of speculative capital: unhinged from concrete, material contexts, capital has become purely relational, a nonorganic system whose energy, movement, and dynamism defeats our ability to perceive and manage its totality.
In each collage, layers of meaning sediment and settle into new alliances. Thus neoliberal faith in the infallibility of the market comes to look like a 21st-century version of animism, models of interconnected global corporate networks replace celestial constellations in predicting uncertain futures. The photographs documenting demonstrations are always already overshadowed by vast power structures poised to absorb any and all attempts at resistance. With titles such as Debt, Austerity, Social Democracy, and SuperPACs, Smuda names financial and political facts and fictions that shape 21st-century life under neoliberal capitalism.
Unlike empires of old, today "globalization has no emperor, no capitol, and no structure except for the endless labyrinths of corporate mergers, government bureaucracies, and the ever-proliferating nongovernmental organizations. It is a rhizome of networks, webs, and mediascapes where the buck never stops, the telephone trees never stop growing, and no one is in charge." "Universal Capital" grapples with the economic sublime of capitalism unfettered: mutating, highly flexible, regenerative and autotelic, it is terrifying in its disregard for human dignity and a future for all, awe-inspiring in its compulsive loyalty to profit alone, regardless of human cost and planetary consequence.
David Harvey defines capitalism as "any social formation in which processes of capital circulation and accumulation are hegemonic and dominant in providing and shaping the material, social, and intellectual basis for social life." Under such auspices, the pursuit of profit is literally what makes sense and generates meaning. Yet obstinately, life under capitalism allows for small acts of resistance: "how we live our everyday lives--our interactions with and commitments to family lives, friendships, avocations, membership in social, spiritual, and political organizations--are in essence noncapitalist or even anticapitalist, full of things we do for free, out of love, and on principle." What "Universal Capital" engages with is both the ubiquity of capital and the resilience of gestures that refuse to abide by its logic.
Dizzying and dense, "Universal Capital" operates as a form of artistic data visualization, labyrinthine and hallucinatory, never prey to the illusion that data are neutral. Tellingly, Austerity includes a white diagram of the molecular structure of LSD--along with references to the bible's Daniel, whose interpretation of Emperor Nebuchadnezzar's dream of an idol with a head of gold but feet of clay prophesies the succession and waning of empires; sheet music titled "WPA Polka" from the 1960s; and a 17th-century cartouche of a Dutch soldier, on one side of the map, and a Banda tribesman on the other, a face-off inspired by the Dutch East India Company's mercantile interest in nutmeg trees on the Indonesian Banda islands. A brutal take-over followed and the first ever establishment of colonial rule in the service of corporate profit.
The 17th century features prominently in "Universal Capital," since this is the age when colonialism paved the way for globalization. In the early days of empire, mercantile interests met religious fervor: "our objectives are the 'propagation of the Christian Religion, and the prosecution of the Eastern Traffique,'" the Earl of Arundel extolled when floating the fantasy of colonizing Madagascar in the seventeenth century. These twin objectives are also clearly present in the 1660 atlas titled Harmonia Macrocosmica, Smuda's starting point for his research on "Universal Capital." Then, celestial constellations were assigned Christian names in an effort to sever ties to Greek polytheism, while down below, commercial interests staked colonial claims on "company land." In Commodity Fetish, Smuda superimposes a 2011 graphic model of corporate entanglements over one of Harmonia Macrocosmica's maps. Colorful dots represent the 1318 most powerful and well-connected transnational corporations (TNC). The study responsible for the diagram finds that "money flows toward the most connected members." This is the logic of the network, where "simple rules governing TNCs give rise spontaneously to highly connected groups." Connections lead to accumulations of power, which in turn escalate inequality. Rather than an unfortunate side effect, this escalation is now seen as foundational to the functioning of neoliberal capitalism: capital begets capital.
As if to echo such excessive accumulation of wealth and power, each of Smuda's monstrous maps accrues excessive information. Yet the sheer sense of overwhelm is tempered by recognizing that "the religious faith in the infallibility of the unregulated market" has started to falter: even economists close to the International Monetary Fund are aware of capitalism's irresolvable contradictions.  Despite such insight, the network's imperative still persists: it "is forced to function or else risk being destroyed. It must perform." This pressure to perform is not an abstraction. It extends to people, the workforce maneuvered into a state of precarity. Jan Verwoert sums up the situation: "To provide our services we are willing to travel, so we go west to perform, we go north to perform. We are everywhere, fixing the minds, houses and cars of local customers wherever we end up staying because there is work available--and for as long as it’s available." But as cracks appear in the neoliberal consensus, a suspicion dawns "when we dimly sense that our willingness to perform might be elicited under a false premise:" instead of liberatory potential and limitless opportunity, the pressure to perform--or else--enforces conformity and control.
Smuda's performances put a different spin on this imperative. They eschew capitalism's foundational logic and embrace an exuberant absurdity instead. In seven videos that document processions and performances, Smuda foregrounds the image as fetish, as an artifact vested with excess meaning. Thus Gross Domestic Product was carried down Nicollet Mall in downtown Minneapolis, in a march part ritual, part protest. With Warming, an alarmingly red collage that incorporates a map of the highest temperatures measured on earth to date, Smuda walked into a lake. SuperPACs accompanied the artist and a group of collaborators to the Minnesota Capitol in St. Paul, where they recited a text collage that included fragments of an exorcism meant to levitate the Pentagon in 1967. Animated by performance, the work opts out of a predictable logic of protest and instead enters uncertain terrain, where the commodity fetish meets idols of old. This is an intersection of interest because it reveals that, whether pre- or postmodern, people still fall for golden calves.
"When Marx looked about for a figure to define the magical character of Western, capitalist commodities," he chose the fetish, a concept invented amid burgeoning 17th-century colonialism, to describe the beliefs of other people: specifically, their belief in artifacts holding "the real presence of an animating spirit." Commodity Fetish explicitly engages the mutation of non-European spiritual belief into colonialist coinage into a defining symptom of capitalism: use value alone does not explain the monetary exchange value ascribed to the commodity fetish. Something else animates belief in its superior value, just as intangible confidence and faith can make the market soar or plummet.
As a work of fine art, Commodity Fetish refers to its very own cultural status. Its excess value metaphorically congeals in the central figure, a blob of considerable conceptual density: it resembles a quasar, "believed to be powered by accretion of material into supermassive black holes in the nuclei of distant galaxies;"a Congolese nkondi, a figure pierced by countless nails and believed to house a spirit capable of hunting down evildoers; and Sputnik, the first satellite to orbit the planet in the Soviet Union's reach for the stars. Smuda thus layers colonial and imperial histories without exempting fine art: after all, "aesthetics as a quasi science of artistic judgment is a separation of the redeemed from the damned, the purified from the corrupt and degraded object." Aesthetics is "imperial practice."
Art as commodity fetish retains the premodern belief in a mysterious added value, a belief only slightly less mystifying, perhaps, than the neoliberal faith in the market's capacity to regulate itself, just like a beneficent organism animated by an ineffable spirit. But faith changes; hegemony has to be won. And there comes a point when capitalism's foundational feature of producing extreme wealth and poverty becomes the locus of crisis formation and social revolt. "Universal Capital" shows the mounting tension between those with faith in the cult of capital and the disenfranchised whose bodies take to the streets to insist that they too matter. Rather than produce "endless maps and graphs" as gigantic corporations do, Smuda mashes up data. He is not trying "to upgrade the reader's mind" with uplifting constructive information but "melt it." His art takes us out of the "persuasion business" and into the "magic business," where chanting incantations and staging processions perform a belief in the power of images no less absurd than faith in capitalist fetishism.
Christina Schmid thinks with art and writes as critical practice. Her essays and reviews have been published both online and in print, in anthologies, journals, artist books, exhibition catalogs, and digital platforms. She works at the University of Minnesota's Department of Art in Minneapolis as an Assistant Professor of Interdisciplinary Art and Social Practice. Her teaching focuses on contemporary art and critical inquiry, ecology, ethics, and queer theory.
 Rita Raley, Tactical Media. Minneapolis: University of Minnesota Press, 2009. 116, 147
 W.J.T. Mitchell, What Do Images Want? Chicago and London: University of Chicago Press, 2005. 150.
 Rita Raley, 134.
 David Harvey, The Seventeen Contradictions of Capitalism. Oxford, London: Oxford University Press, 2014. 7.
 Rebecca Solnit, Hope in the Dark. Second Edition. Chicago: Haymarket Press, 2016. Xvii.
 Rita Raley, 23.
 W.J.T. Mitchell, 155, 161.
 Andy Coghlan and Debora MacKenzie. https://www.newscientist.com/article/mg21228354-500-revealed-the-capitalist-network-that-runs-the-world/
 Noam Chomsky, Profit Over People. New York: Seven Stories Press, 1999. 8.
 David Harvey, The Seventeen Contradictions of Capitalism. Oxford, New York: Oxford University Press, 2014. Paul Mason, Postcapitalism. New York: Farrar, Straus, Giroux, 2015. For recent studies supporting this effect, see, for instance, http://www.businessinsider.com/imf-employees-write-article-questioning-the-effectiveness-of-neoliberal-economics-2016-5
 Rita Raley, 134.
 Jan Verwoert, "Exhaustion and Exuberance." Center for Advanced Studies at MIT. 2008. http://www.artsheffield.org/2008/pdfs/exhaustion-exuberance.pdf
 W.J.T. Mitchell, 161.
 Quasar on Wikipedia: https://en.wikipedia.org/wiki/Quasar
 W.J.T. Mitchell 147.
 David Harvey, 177.
 "We need to get out of the persuasion business and start getting into the magic business, or the catalysis business, or the magnetizing business, or whatever you want to call it. Using reason isn't wrong … it's not enough simply to use art as candy coating on top of facts. We can't just be in the PR business." (Timothy Morton, Hyperobjects. Minneapolis: University of Minnesota Press, 2013. 181f.)
(The Last Unregulated Market)
Dec 9, 2016 - Jan 20, 2017
Opening Reception/Performance Dinner
Friday Dec 9, 2016, 6-8 PM
In conversation with critic Christina Schmid
Saturday, Dec 10, 5 PM, in the gallery
Traffic Zone Gallery
250 3rd Av N
Mpls, MN 55401
Monday – Friday, 9:00 am – 5:00 pm and by appointment
Sean Smuda is a fiscal year 2016 recipient of an Artist Initiative grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.
Minnetonka Center for the Arts
Opening reception Thursday Oct 1st, 6-8 PM
Through Oct 28th
with Pete Driessen and Jehra Patrick
Weds, Oct 21, 7-9 PM
Through Dec. 31st, 2015
7161 France Av S
IN MEXICO COLORS NEVER DIE!
uper-8 transfer, 15’, 1995
Saturday, August 8th, 4 PM
Square Lake Film and Music Festival
Monday, August 10th, 8 PM
with Leralee Whittle FORCES and Paul Sprawl
Monday Live Arts
Curated by Laurie Van Wieren
SOO Visual Arts Center
2909 Bryant Avenue South Suite #101
Minneapolis, MN 55408
Friday, August 14, 1 PM
Winter the Winter
Fallout Urban Art Center
with Leralee Whittle FORCES. Paul Sprawl and Blacki (Sharon and Daniel Kaniess)
2601 2nd Ave. S., Minneapolis, MN 55408
The Brunswick Window
Curated by Roger Sayre
Jersey City, New Jersey
August 7 – Sept. 11, 2015
Mark Miller Gallery
On and On
Curated by Elizabeth Keithline
New York, New York
Thursday July 9th
940 Nicollet Mall
Please join the BodyCartography Project as they perform one-on-one dances from their new dance piece closer. closer lays bare the power of physicality and presence through a series of one-on-one dance performances for one dancer and one audience, in public spaces across the Twin Cities all summer. closer multiplies into an expansive performance experience and dance party at the Red Eye theater mid August. Together we will play with how the meeting between performance and audience generates the possibility for something new. Participants are encouraged to RSVP with the gallery to reserve a spot.
Gross Domestic Product is a highly layered, multi-camera video document of Sean Smuda’s performance, which took place immediately prior to the opening of the Art On Air exhibit. Work from his Universal Harmony series was taken from the gallery and into a procession throughout downtown Minneapolis. Six performers brought the framed pieces to sites where photographs that were collaged into the series were made. These were the sites of Black Lives Matter and Occupy marches and of the abstracted essence of transnational commerce along Nicollet Mall. Socio-economic proclamations were read through a megaphone in direct competition with those of fundamentalist street preachers.
Gross Domestic Product
HD Video, 7’30”, 2015
Please check out the Art On Air show, up through July 11
940 Nicollet Mall
612 208 0696
Gross Domestic Product
performance at Instinct Gallery, May 16, 2015
photograph by Michael Gallope
I will be part of a panel discussing documentation, final formats for work, distribution, and when these forms override the work itself. Part of a new series activating our cultural scene’s most intriguing, hot-button conversations. Presented by Mn Artists, a program of the McKnight Foundation and the Walker Art Center. Weds, Feb 11, 7 PM at the Bryant Lake Bowl.
Interview with Nick Vlcek, former editor at City Pages
An exchange between artists Sean Smuda and Nickelangelo (a.k.a. Nick Vlcek, a longtime art director of City Pages) on the intersection of language, contemporary art, kung fu and everyday visual delight .Read More
Spanning geographies, generations, and media, newly acquired works in the Walker collection help present this institution’s thinking about the changing nature of art as well as its responsibility to continue to support artists through acquisition, preservation, and exhibition. This notable selection from the Walker’s acquisitions over the past year includes first-time commitments to artists—Allora & Calzadilla, Lee Kit, Keith Edmier, and Sean Smuda, among others—as well as works within movements or by artists we already collect in depth.Read More