In capitalist societies, most art is commodified, produced not for its cultural value but for its ability to generate profit. This commodification leads to an abundance of artistic production that is devoid of significant meaning or intention beyond its market value. Thus, reducing production costs becomes a priority, yet paradoxically, its relatability must be increased.

However, in times of crisis, it is crucial that such relatability does not foster proletarian union towards disruption, as this could challenge the capitalist framework within which the art is designed to function, and threaten the class privilege of the bourgeoisie for whom it generates capital*.

*Capital is material gain that can be interpreted through fame, status, opportunity, and all forms of wealth.

1. Art As Preservative: Akin to meticulously sketching a crime scene while neglecting the opportunity to prevent the crime itself.

In times of crisis, limiting art's role to merely documenting and preserving the culture of those facing atrocities reveals a perspective of privilege. If art serves as a form of documentation, its intended function is to act as a reference for future generations about the atrocities it depicts. This raises critical questions about its audience, which cannot include those in crisis, as this perspective implies that art does not aim to halt the crisis but merely to observe it. Thus, the audience is those who, through class privilege, observe from a distance, expected to survive the ordeal.

The act of documenting and preserving a culture should ideally occur alongside its flourishing, not amidst its destruction.

2. Art As Solace: Akin to sheltering in a wooden hut amidst a forest fire, forgetting your walls were once trees.

In times of crisis, framing art as a spiritual healer offers solace, yet raises questions about its audience. It becomes a pacifier, distracting from grief and anger, and lulls people into comfort, preventing engagement and dulling the impulse for change.

This perspective diminishes art's potential and undermines its ability to inspire action and prevent atrocities. By relegating art to mere pacification, we overlook its transformative power. Art should challenge, provoke, encourage and drive societal action. It must transcend temporary comfort, aiming to stir the human spirit and inspire collective movement towards a more just society.

3. Art As Inspiration: Akin to a spark before a fire, if the spark doesn't ignite the lighter fluid, it remains only a spectacle; it becomes useful only if it lights a flame.

In times of crisis, art must not cater to the comfortable; it must reject the bourgeoisie and serve the affected – the workers, peasants, and soldiers. Therefore, artists must immerse themselves in the lives of the people to create art that is accessible, relevant, and mobilising, directly contributing to the material and ideological struggle.

Inspiration is the first step of mobilisation, not an indulgent state that ends once the initial engagement is over. It must ignite a continuous burn.

–

In conclusion, in a time of crisis, art must abandon any notion of passive roles and become an activated force for change. By engaging directly with the struggles of the masses and rejecting commodification, art can reclaim its transformative power, serving not just as a reflection of society but as a potent catalyst for societal and cultural change.