Otherwise Part II: Art & Power; The Professional Managerial Class, Administrative Aesthetics, and the Big Data Sublime

Philippe Parreno, Anywhere out of the world, Pinault Collection 2022

text by Perry Shimon

The development of art as a category in Western thought has historically unfolded alongside shifting regimes of power. The Pinault Collection in Paris, housed in the historic Bourse de Commerce building, embodies three centuries of such shifts, providing a palimpsest of ideological progression. Built in the 1760s as a circular grain hall, its form symbolized the monarchy’s role in securing bread supplies and maintaining social order. In the 19th century, it was transformed into the Commodities Exchange, trading sugar, coffee, cocoa, and other goods, capped with an iron-and-glass dome, and encircled by murals romanticizing France’s colonial ambitions—while simultaneously obscuring histories of dispossession, slavery, and genocide. By the late 20th century, the building’s economic function had faded, and in the 21st century it reemerged as a cultural landmark under the Pinault Collection, marking the shift from mercantile and industrial power to finance and cultural capital.

Architect Tadao Ando was commissioned to erect a massive concrete silo in the rotunda, the most ubiquitous material of capitalist infrastructure. Within, artists such as Philippe Pareno staged interventions articulating a Silicon Valley ethos of big data capture and biosensing. 2022’s group exhibition Une seconde d’éternité featured a Pareno “bioreactor” that controlled lights, sounds, and movement in the rotunda, with a “brain” conditioned by externally captured data—temperature, noise, humidity, and light—effectively turning the space into a responsive, sensing environment. The iron-and-glass dome itself now reads as a kind of observing eye, reinforcing the aesthetic of surveillance and technological governance.

Bourse de Commerce - Pinault Collection

The neoliberal age, and its technologies of administration, are the primary object of study in this collection of essays. The valuation and management of social, attentional, and affective energies—enclosed and expropriated by platform capitalism—are fundamentally restructuring life and producing a distinct aesthetic regime. This regime is administered by what Barbara and John Ehrenreich termed the Professional-Managerial Class (PMC): “salaried mental workers who do not own the means of production, and whose major function in the social division of labor may be described broadly as the reproduction of capitalist culture and capitalist class relations.” The Ehrenreichs noted that this class is increasingly vulnerable to the very systems it sustains, a vulnerability amplified by AI automation of administrative duties.

The Professional-Managerial artist today devotes much of their labor to evaluative, data-centered activities: producing statements, obtaining credentials, developing proposals, submitting applications, building CVs, applying for grants, professional networking, producing social media content, sending and receiving emails, designing PDFs, producing promotional videos, and filling in spreadsheets. Artistic production is often dictated by institutional mandates; demands explicit rhetorical framing, measurable “impact,” and quantifiable metrics. While these tasks have become de-facto expectations for the professional artist, many artists reflexively engage these same practices in their work, while interrogating the logics that govern them.

Taryn Simon, A Living Man Declared Dead and Other Chapters I – XVIII, Neue Nationalgalerie, Berlin, 2011

Some of the most compelling examples emerge from artists who deploy these practices with fluency while maintaining criticality. Taryn Simon’s A Living Man Declared Dead and Other Chapters I–XVIII (2008–2011) explores eighteen family lineages across 25 countries, addressing genocide, genetic engineering, human trafficking, and state propaganda. Simon employs a poetic variation of social-scientific methods to comment on how knowledge and institutional systems are structured.

Kate Crawford and Vladan Joler, Anatomy of an AI, 2018

Kate Crawford and Vladan Joler’s Anatomy of an AI is a massive data visualization that functions across galleries, a dedicated website, and contextual texts. The project maps the production of an Amazon Echo in a systemic, planetary-scale cartography, extending beyond supply chain analysis to reveal labor exploitation, material extraction, and ecological impact. In the gallery context, the immersive scale evokes Kantian awe: a sense of sublime cognitive overwhelm as viewers confront global networks of extraction, labor, and data capture. The work highlights the social and ecological implications of corporate superpowers while reflecting the epistemic and administrative protocols of the neoliberal PMC subject.

Forensic Architecture, website homepage, September, 2025

Forensic Architecture describes itself as “a research agency developing and disseminating new techniques, methods, and concepts for investigating state and corporate violence,” comprising architects, software developers, filmmakers, investigative journalists, scientists, and lawyers. Their work employs compelling evidentiary aesthetics toward counter-hegemonic social justice in legal and cultural contexts, representing an expanded notion of multi-authored juridical poetics and political intervention. Investigations address state violence, human rights abuses, environmental destruction, and corporate complicity, using tools such as 3D modeling, satellite imagery, open-source video analysis, and architectural reconstruction.

Jonas Staal Court for Intergenerational Climate Crimes, 2022

Jonas Staal explores intersections of art, politics, and ecological-social systems, expanding democratic practice through experimental public architectures and civic platforms. His projects examine how political ideologies, institutions, and infrastructures shape collective life, engaging with broader concerns of planetary governance and more-than-human agency. Collaborative and ongoing projects include The New World Summit, The Court for Intergenerational Climate Crimes, and The Interplanetary Species Society: a large-scale installation and series of assemblies in a former nuclear facility challenging neocolonial and extractivist logics in space exploration and political organization, while proposing cooperative and multispecies approaches to governance.

These artists, through explicitly political and socially engaged practices, adopt the aesthetic and administrative protocols of the Professional-Managerial Class. Their work of resistance, however, risks structural affirmation, echoing Audre Lorde’s caution against attempting to dismantle the master’s house with the master’s tools.

Why Look at Animals? at EMST Athens

Ang Siew Ching, High-Rise Pigs, 2025


text and images by Perry Shimon


At EMST Athens, curator Katerina Gregos has staged an ambitious year-long group exhibition, Why Look at Animals?, that insists on confronting the urgency of human-animal relations in an age of ecological collapse. Bringing together over sixty artists across all four floors of the museum, with an extensive public program and a duration that resists the usual velocities, Gregos opens space for more-than-human perspectives, ecological commitments, and sustained engagement.

Perhaps the most haunting image, from my several visits, came from Ang Siew Ching’s quietly devastating film High-Rise Pigs. In a long shot resembling grainy security footage, two pigs in a vast, automated slaughterhouse attempt to communicate across the brutal architecture confining them. Their enspirited distress is unmistakable, magnified by the mechanical indifference of the setting. The film examines one of the largest pig-killing operations in China, exposing the violence hidden in industrial agriculture’s scale and automation. I first saw it in the basement galleries of EMST, and later at its rooftop screening that paired the film with a BBC4 documentary inspired by John Berger’s titular essay “Why Look at Animals?”

Paris Petridis, Eye Witnesses, 2006-2022

The rooftop crowd, gathered under a balmy night sky with the Acropolis glittering in the background, constituted its own form of public assembly—though one seemingly far removed from what might constitute a public discourse, or agora, today. The juxtaposition underscored a recurring tension: the urgency of animal and ecological suffering often being sequestered within esoteric institutional spaces. Precisely for this reason, a show of this scale and depth feels all the more urgent—insisting that such questions not remain peripheral but be brought into sharper collective view.

Sammy Baloji, Hunting and Collecting, 2015

Sammy Baloji’s Hunting and Collecting confronts visitors early in the exhibition with an archive of disturbing colonial images documenting the hunting and display of animals, often in the name of science. Arranged around a minimal architectural structure recalling natural history dioramas, the images are paired with a massive wall listing foreign NGOs operating in the Democratic Republic of Congo. It is a pointed gesture, implicating museums and nonprofits alike in the colonial and neocolonial abuses that shape human-animal relations. At the center sits a book of abstracted cartography, suggesting how gridded systems of spatial control—once used to seize land and wildlife—continue today in the biopolitical regulation of lives, human and non-human.

Janis Rafa, from We Betrayed the Horses, 2025

Janis Rafa, The Space Between Your Tongue and Teeth, 2023

Power is the explicit subject of Janis Rafa’s multi-channel film and installation on equestrian cultures. Horses—long symbols of strength and nobility—are here subjected to a BDSM-inflected mise-en-scène that renders them debased, humiliated, and instrumentalized. Red lighting, metallic soundscapes, sexualized accoutrements, and statistical neon signage produce a disturbing reckoning with the ways power and libidinal desire entwine in histories of domination. If Rafa’s staging verges on spectacle, it does so to force viewers into confrontation with the brutalities often masked by cultural mythologies of the horse.

Wesley Meuris, Enclosure for Animal (zoology), 2006 - 2021

Wesley Meuris offers a quieter but equally scathing indictment: minimal watercolors of architectural typologies designed to contain absent animals. Their bureaucratic banality is chilling, exposing the violence encoded into the very blueprints of zoos. The work resonates with James Elkins’ recent experimental novel Weak in Comparison to Dreams, in which a microbial ecologist is assigned to assess stereotypical behaviors of caged animals worldwide. Both suggest how rationalized, institutional systems quietly normalize the suffering of captive beings. Meuris’s watercolors also recall the paintings of Gilles Aillaud, the philosopher-painter and close friend of John Berger, whose 2022 Pompidou retrospective broadly surveyed his decades of images of animals suffering in modernist captivity.

Radha D’Souza & Jonas Staal, Court for Intergenerational Climate Crimes (CICC), 2021

On the top floor, a reimagined setting of Jonas Staal and Radha D’Souza’s Court for Intergenerational Climate Crimes (CICC) anchors the exhibition’s political horizon. Documentation of previous trials accompanies a speculative tribunal that indicts states and corporations for climate crimes, expands legal subjectivity to non-human witnesses, and frames justice as intergenerational responsibility. Rooted in D’Souza’s critique of neoliberal legal systems in What’s Wrong with Rights?, the work demonstrates how law itself must be reimagined if multispecies flourishing is to become possible.

David Claerbout, The Pure Necessity, 2016

Annika Kahrs, Playing to the Birds, 2013

Across its many registers, Why Look at Animals? insists that the treatment of animals today—whether in factory farms, zoos, laboratories, or postcolonial landscapes—will be remembered as one of the most barbarous chapters in human history. Visitors will find their own affinities among the sixty works, but what matters most is that each piece, in its own way, speaks to the ghastly urgencies at stake: the systematic and exploitative abuse of sentient animals and the ecological implications for all life on Earth. In insisting that these realities not be confined to the margins, the exhibition models how institutions can play a vital role in amplifying what is too often silenced or sidelined.

Acropolis view from the roof of EMST

Oussama Tabti, Homo-Carduelis, 2022

Ang Siew Ching, High-Rise Pigs, 2025