After 1989, capitalism has presented itself as the only realistic political-economic system. Is it possible to imagine a substitute to capitalism that is not some throwback to discredited models of state control? Tatcher’s slogan suggested - there is no alternative - and society seems to be resigned to not even try to imagine a coherent replacement for Capitalism.
We strive to avoid psychic discomfort. We seek harmony between our beliefs, attitude, and behaviour, and experience psychic discomfort when they are out of balance, we enjoy the ideology we live within, we are obliged to. Capitalist Realism is shaped like an empty container open to all possible meanings in order to minimise that discomfort.
Just as we seek to have harmony within our own beliefs, we also seek harmony with the beliefs of those around us. In late capitalism, predominated by affects of fear and cynicism, we all value group acceptance, sometimes even over reality itself.
PR move their target from our needs to our irrationality, they stimulates, creates our desires - mass persuasion fuelled by anxiety relievable only through purchase - alienation expanding from work life to social life.
Like in Carpenter’s They Live, Ads are a facade for the invisible order (The Spectacle of Capitalist Realism) - true ideology works without being noticed, blending to what we think to be the reality of everyday life.
These mediafacades are huge screens of thousands of m2 hiding the facades of brutalist architectures all over Moscow. There, Capitalist Realism literally wraps its Soviet version, reappropriating it for its own purpose.
Long exposures reveal the light that glides us along our journey of daily material existence, from non-place to non-place, engaging in the glories of the free market while narcotising ourselves to discomfort. The nonhuman eye exposes what human perception fails to grasp under Capitalist Realism - Ads sum up leaving nothing but a blank space we urge to feel with consumption.
Its surrounding subculture is sometimes associated with an ambiguous or satirical take on consumer capitalism and pop culture, and tends to be characterized by a nostalgic or surrealist engagement with the popular entertainment, technology and advertising of previous decades. It also incorporates early Internet imagery, late 1990s web design, glitch art, anime, 3D-rendered objects, and cyberpunk tropes in its cover artwork and music videos.