The article is based on a frequently emphasized hypothesis which states that the Slovenian cultural space has witnessed fundamental changes in the modality of cultural policy in the last two decades. According to the hypothesis, these changes manifested themselves primarily in the changed conditions and ways of working in the field of art and culture on the microsocial level. Proceeding from this starting point and situating it within the terrain of Foucault’s micromechanics of power, we will focus only on the “pragmatistic” outline of changes at the concrete microsocial level, in particular within the field of art. Selected properties of the Slovenian cultural space will be singled out and outlined in an attempt to show that the current changes in the modality of cultural policy and conditions of work are improperly defined as merely a form of reducing culture and art to the economic sector, which is one of the key specifics of the neoliberal cultural policy according to numerous analyses of the Anglo-American space. In Slovenia, cultural and political reforms have been nominally accompanied by ideas of subjugating the field of culture and art to the logic of economic rationality, but it is more accurate to speak of a shift towards an activational social policy or service when talking about the microsocial effects.
