When civilisation reaches the stage as in the “possession” post from yesterday, plus the last one on tree-hugging, then things are fairly terminal.
This is about “the sensibilities and pretensions of a class that has come to dominate politics, culture and the media across the West.” It’s set in Sweden.
Few actually attend Christian’s gallery, however. A running joke sees members of the public tentatively enter one exhibit only to leave immediately. In the opening scenes, Christian struggles to articulate both the meaning of the gallery’s artistic jargon and the public benefit of its exhibits. The gallery – and the creative class’s lifestyles – are funded almost entirely by public money.
It is an illuminated patch of pavement outside the gallery, with a plaque that reads ‘The Square: a sanctuary of trust and caring. Within it we all share equal rights and obligations.’ This artwork-cum-safe-space is supposed to symbolise the professed egalitarianism and tolerance of the cultural elite. In reality, it seems to represent the opposite.