Abstract

Most critical studies of consumerism denounce the deceptive images produced by commodities, but what happens when consumer goods are rejected as waste? Instead of considering garbage disposal as a merely technical and hygienic issue, this article investigates the “aesthetics of disappearance” of waste. The structural reasons for the invisibilization of waste and the political effects of its manifestation will be analyzed through Jacques Rancière’s notion of “distribution of the sensible.” The central thesis is that material consumer culture, based on a continuous process of devaluing and replacing items, needs organizing the perceptual field to make waste disappear and thus create the illusion that, once discarded, an object vanishes. Therefore, making waste visible is interpreted as a rapture of the normative configuration of the sensible, disturbing habitual modes of experiencing and signifying reality. This hypothesis is investigated through a paradigmatic artistic work: Matta-Clark’s Garbage Wall (1970). The American artist exposes waste in the public space to challenge the established distribution of spaces and functions in the urban context, displaying waste’s stubborn resistance to the imperative to disappear.