Repetition has blunted the art museum protests so much that the pumpkin soup assault on the Mona Lisa felt pathetic. More effective tactics are needed
How many of the 38 environmental protests staged in museums in 2022 can you remember? How many of the more recent ones only generated widespread outrage? Did any of them lead to tangible change? The protesters’ cause is serious, the threat is very real, the message is important and urgent. But is it not getting through to the public?
Sixty years ago, Andy Warhol’s Brillo Boxes and multiplied Marilyn Monroe screen-prints exposed modern repetition as an ideal of mindlessness – an inescapable capitalist pattern ingrained in the oversaturated modes of production and consumption that distract and overwhelm while nurturing an irreducible sense of modern apathy. How many times is too many? Repetition is a complex phenomenon: it can deepen or hollow out experiences depending on how it is deployed. Repeated ad libitum anything shocking quickly becomes commonplace. Aware of the risk, good artists try not to repeat themselves; instead they strive to constantly reinvent. From Friedrich Nietzsche to Søren Kierkegaard, Jean Baudrillard, Walter Benjamin, Mark Fisher, Frantz Fanon, Robert Hughes, and Amia Srinivasan, modern thinkers have dwelled extensively on the all-pervasive pacifying powers of unwitting repetitiveness. The shock of the new quickly melts into the air.
