&header=ironic utopism &subcaption1=socially and politically focused art is based on an ironic utopism &subcaption2=text_4.txt &author=paul steenberghe &text=The last decade has seen a rise in art which places itself outside the formal structure of the art world, or tries to set up alternatives for the continued hegemony of the object within the art world. Strategies often involve alignment with social or political ideas. Using the possibilities offered by artisticpractice, these artists operate in the grey zone between art and the 'magical' real world. Most tend to operate less radical or rigorous than Dada or Fluxus, and there does not seem to be as much of a formal communal spirit, or commonly developed theoretical framework. There can still be traced to these groups or to Futurism, the conceptual art movement and the socially oriented art of the later seventies and eighties. However, nowadays these strategies look familiar and institutionalized. %0D Analyzing the method of working and content of this, very broad group of artists, it seems clear that though critical of the art world, there is a consensus that the world outside is worse. Protected by their artistic credentials both worlds are aimed at. Ranging from activist, anarchic to humanist or even romantic, it is not always clear whether intentions are idealistic, ironic or cynical. Artistic intentions and critical writing often seem to be based on very positive axioms, and generally expect an impact of the work in the outside world. This seems to be strange given the way the legacy of Dada and Fluxus has been embraced by the art institutions, and the socio-cultural and economic environment we find ourselves in.%0D Taking into consideration the predominant level of (art-)historic knowledge and philosophy amongst artists, one would assume that socially and politically focused art would is based on an ironic utopism. Some psychologists have concluded that most people are slightly schizophrenic. In traffic, people often find themselves being angry about not having been given the right of way, while reciprocally they would always excuse themselves for taken the right of way when they do so. This phenomenon is becoming more visible in the economic arena as well, as people are asking companies to be ethical, while demanding the cheapest products and highly profitable stocks. The artist creates and recreates his identity and personal myth. He has chosen a professional occupation based on the expression of personal ideas. The gaze of the other is her fellow traveller. How idealistic can his intentions then be? &textloaded=OK