Even though alimented (nourished) by the constant tension to survive for
necessity – and therefore subdued to a continues metamorphosis because
of the stimulations and the inspiration, owing to human talent and
cleverly and, consequently, to the solutions that it has to find and
make concrete from time to time (time after time) by its own nature –
the capability to transform, to modify, “to wove and unravel” (as
Penelope), to unmake and remake in order to re-create is what animate
the research of vitality of contemporary operativeness, as well as the
spirit of the nowadays Homo Oeconomicus.
In the modern world (post-modern) – having took
the place of the Homo Faber – the Homo Oeconomicus has begun to measure
anything, any product he makes, only by factors and variables purely
economic. Although flexible, these parameters are the only tools capable
to express value.
Far beyond any possible nostalgic remembrance or
moral delicacy, today what can’t be verify on economical bases, it is unanimitely labelled as “with no value”, that is it can’t be identify as
“product “.From this consideration, it is possible to infer
how - and how much – the dynamics of human actions have become more and
more aggressive. Inside the strategies of competitive markets,
aggressiveness is not just a primary element, it is the constituent
dorsal backbone, unavoidable quality and, absolutely recognizable
expression.
Nowadays social systems use several mediatic ways
(and not only them) to broadcast contemporary images of themselves that
reiterate endlessly this precise concept: what has not any sort of
economic value it is not a product. Then, to transform this product into
something popular in order to incentive people to consume it, market
strategies adopt always more and more sophisticated means of
communication – and propaganda – with the clear intent of seducing
thoughts and decisional freedom – through a subtle, subliminal
manipulation -, in order to conform values and expectations to the
market itself own advantages. Today, more than ever, economic power
means absolute power.
Nevertheless this has brought modern man to have no
other choice that to come straight into a sort of cul de sac where he
has hopelessly confined himself: an arid place where the process of
depression seems to be by now irreversible, if not definitive.
Contemporary economy is so sickeningly un-equilibrated and out of
balance that it has no other remedy to hold up on its own precariousness:
for this reason it generates a widespread climax of fears and tensions
that are not useful at all to what it would substantially be – or better,
it is – that allows economy to exist- the concept – and with it all the
ways and modalities – of production itself. The product – as final
result of the production process – is determined by an importance that
increases always more and more.
As it must affect and weigh on the
consumers choices, it prevaricates ineluctably the necessary ethic
values of all those actions meant to aim and determine its state of
being, depriving the comprehension of the consumers from what is the
real sense of necessity.
In a modern society – to make it prosperous – the role of product can’t
absolutely overcome the goodness of the rules of actions aimed to make
it, even if only we bring our analysis on a hypothetical scale of values.
It is always the quality of the action that offers to the product new
possibilities of renovation, not its mere reification.
Times and ways
with which people join together to conceive projects, the quality of
their actions in this sense are – and will always be – the priority
elements that allow whatever system, whatever civilization - and life
itself – to improve and grow better and prosperous.
Probably the answer to this question is due to our capability to
transfer our attention from the product – as static matter – to the
production process – what is creative in it-.
That is that the
production process has to be intended as a multiplicity of actions that
a group of people adopt and destine from a starting point to an end,
between form and content, animated by a desire of pure awareness and
self-conscious approach towards the methods of doing, something
absolutely indispensable to they themselves. Innovation, sustained
development, renewable sources, responsible implementing and accurate
utilization of the public – as well as the private – financial resources
will be really possible only through a far-sighted, sane, clean way of
planning useful to the producer – of course – but also to the consumer
in the same measure.
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A new way to cooperate to finalize innovative methods
of planning can derive from what today is called “international
presentialism” and the opportunities that it can offer. Fairs,
conventions, events - supported by institutional organisms capable to
involve accurately people of clear fame that operate in culture and art
in general – offer the chance to producers and financial operators, to
give birth to synergic, strategic processes between those different
characters (actors) and the territory where they operate. The principal
goal is to address different efforts and resources towards a more
complex common activity, in order to develop already existing actions
and future projects not necessarily finalized and destined to a “product
tout court”: therefore, instead, to those products that are not
consequentially circumstantial to the single event, but rather to a more
wide-open vision, necessary to consolidate a philosophy of endurable
development for the environment and the territory. Something that is
highly civil and social at the same time. n the specific – as previously said above - the overcoming of the
actual stagnating situation can be spotted in that self-conscious,
intuitive, constructive planning, where feelings and intelligence move
together towards common goals. It is what the ancient Greek philosophy
called with the word poiesis: the art f doing. Actually, whatever it
will be the project that someone is going to do, face, make, it is
always how good and serious will be his approach and, how ethically
honest are his intents that is the real value. Whatever we can do, it
will always be needed to arrive to give an expression of course complete
and finished, but never definitive or closed in itself. It must be
somehow comprehensible – not damaging – and always open and flexible to
be modified, in order to give it new added values.
Nevertheless, to understand fully the reach of this precept, we must
re-conciliate with the universal value that culture has; a value that
has been already lately destroyed, crumbled away by a dull
distinguishing of senseless rules, fragmented in the ghetto of useless
roles, while it ought to be entirely rooted into the contemporary
dynamics of the productive processes. It is in this way that the
aspirations of mankind can be positively alimented, feeding and
nourishing the spirit of all we contemporary human beings that live in
this planet and move across it.
Therefore (so then) why art?
Wanting or not, an artist expresses always his spirit towards his
emotions, thoughts, feelings and, matters. He bears this knowledge
inside himself, more or less aware of it. It is part of his condition,
it is something ingrained in his state of being. The artist investigate
to bring to light something that it is hidden to the normal sight, as an
eye – as pure physic sensor – can’t see. In few words, the artist always
tries – or look for – a way to see more concentrate through things and
reality, inside the things, for the reality. And also for he himself the
destination of his work is equally important. To question himself about
what the public can understand, digest, appreciate or feel the most-
therefore capable of conducing the single fruiter to a more profound
reflection, it is undoubtedly a post-modernist action, maybe even a bit
spoilt if not vicious. Nevertheless, are the artists themselves that –
everyone with his own peculiar language and way of expression – are
capable to face individually these kinds of problematic and subjects,
talking of their worries, allowing their works to exist as results of
these thoughts, although in many different ways
The soul of an artist can still do a lot for him: it can push him to
choose which direction to take, or how to adapt his work and himself to
the most various and different situations, or, again, to trans-form. To
transform in something else the mistakes, the broken dreams, the
unsatisfied aspirations.
The complexity of contemporary art leads us to consider a fundamental,
determining factor that it seemed to be more and more unavoidable: the
specificity given by curatorial choices, in other words the “vision
d’ensamble” (analytic and punctual) that allows to relate the work of
one – or more than one – artist to a particular space and, a particular
situation, as it is vital to contextualize to stimulate, to diffuse to
contaminate , this in order to make art the most comprehensible to
fruiters inside a specific framework, trying to give evidence to a soul
of art which is different from what was in the past, probably more
powerful and clear in its own aims. An art that emerges because of the
fusion of the pars construes with collective intervention.
It is the context, the framework that allows art to open itself to new
territories of investigation and then overcome its partial vision of the
world. It is always the context that, in a certain sense, allows art to
find its position in this world. To look for a mutuality, for a
symbiotic relation – with a precise feedback, not necessarily only
economic – between art and enterprises it is undoubtedly a way to
perceive and follow. In the same moment that art enters and belongs to
such a context, it obviously contaminates while being contaminated as
well, it dismembers and recomposes itself in a continuous process
without loosing its own identity. Today, the deficiency that many
operations (projects) sui generis have, is inside the idea of finding a
unity at any costs, therefore neglecting possible openings to new,
unknown developments, as the one of being able to perceive a possible
sense of things that it can also be beauty beyond aesthetics, value
beyond ethic itself.
©World
Of Art magazine
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