The thing of the object of art in the artistic creation of the cultural industry

Abstract

When the concept of cultural industry came out in Adorno and Horkheimer’s work, they proposed an aesthetic-critical trend that reflected on the representation of the logic of consumption with all its inherit contradictions. They looked at the reductionism and ease of technical difficulties of a work of art of their time, since such artistic productions, they argued, were intended to alienate and entertain the spectator.
Based on this premise, I reflect on the following questions: Could a work created from within this logic grow and self-criticize dialogically to release the alienation of the individual in relation to mere entertainment? Would it be possible for the (true) work of art to exist within the cultural industry? This paper intends to identify whether or not there is reflection and creativity in the works of art that is produced (and no longer created) within the scope of consumerism, as long as it is determined the self of the object of art. To issue a conclusion that avoids all conceptual fatalism, I call on the notions about the technical reproducibility of Walter Benjamin. With this, new possibilities can be established regarding art in this context of serialization, consumerism and of thinking, from its spectators, in the thing of the art rather as doubt.