Many performers are linked to this contamination between flesh and technology: from Chris Burden, Vito Acconci, COUM Transmissions, Leigh Bowery, Stelarc, Marcel.lì Antunez Roca and Matthew Barney.

[6] The term Postculture (2002) indicates a syncretic journey through the International art of the last decade and post-colonial studies, dwelling upon the artistic declinations that have taken form in those geographical territories (Africa, Latin America) where the process of decolonization is sensed as the reconstruction of an identity.

Their relationship, examined through the work of two artists, Jeremy Deller and Francis Alÿs, reflects an unconventional and dissident attitude within the contemporary art system.

The correlation between politics and poetics is explored through a network of multiple connections that include situationism, Marxism, pop music, rock, surrealism and dadaism, psychoanalysis and visual studies.

By affinity, artists like Phil Collins, Mike Kelley, Allan Kaprow, André Cadere, Group Material, Vito Acconci, Hélio Oiticica, Akram Zaatari, Santiago Sierra, Bas Jan Ader, Lawrence Weiner, filmmakers like Elia Suleiman, Harmony Korine and Alejandro González Iñárritu are connected to each other as well as to Stuart Hall and Antonio Gramsci, Hannah Arendt and Guy Debord, and Cinéma vérité.

The concept of failure, removed from the sphere of contemporary consciousness and based on the efficiency of performance and on the conformity of standards, is reinstated through the work of art as a stimulating and vital energy, as well as a reference to the metaphor of the ideological, political and cultural bankruptcy of consumer society.

The study focuses on various artists: Cesare Pietroiusti, Chris Burden, Iggy Pop, Maurizio Cattelan, Bruce Nauman, John Baldessari, Marcel Broodthaers, Bas Jan Ader, Tacita Dean, Fischli & Weiss, Francis Alÿs, Robert Smithson, Jeremy Deller, Walter De Maria, Sislej Xhafa, Superflex, Francesco Arena and others.