Part Four: of Curators, Artists and Frustration.
Fourth important dogma: the omnipotence of the curator.
Contemporary art give a unique opportunity: to see prevail ideas about the identity of the artist at work, and therefore art itself. The equation is perfect: the editors being incontinence rhetoric, they feel a visceral need to produce texts more unlikely. The cornerstone of this is that the contemporary work of art is not entitled to anything, so we can say what we want and all the text, as is excessive, is necessary.
Whatever the imagination and intellectual baggage that will invest writing lyrics speculative and rhetorical drawings by Egon Schiele encounters a boundary. The work speaks for itself, it’s awesome and no words can ever match him.
Critical or expert to speak on their own risk, because the work is all-powerful. Descriptions, theories, however advanced, can never match the work itself. These are the constraints faced by the critic, theorist and historian. Great works are superior to their texts.
But this is not what is happening in contemporary art. The critics are all-powerful operators and appropriate it as it is created by their lyrics. They are the ones that give meaning to a few drops of paint attacked by Anna Jóelsdóttir to make “a metaphorical vision of the story of the painting that creates an abstract dialogue being outside the logical representation.”
WE ARE ALL ARTISTS
Fifth dogma important: “We are all artists.”
This dogma is born from the idea of having to do away with the figure of genius, which is not silly, because, as we have already noted, the talented artists do not need Curators.
Its consequences are felt, but on a completely different field.
The figure of the artist is destroyed.
When there was a genius, the creator of a work was indispensable and irreplaceable. In these times of overcrowding artistic, no one is indispensable and work are interchangeable because they lack originality.
Neither Damien Hirst or Gabriel Orozco, nor Teresa Margolles, and never the long procession of those who claim to be artists are. Often, by their own admission, as if their environment is not only not a problem, but even a boast or an added bonus!
Last important tenet: that arts education.
In the schools, so anything that makes the student is immediately to be considered as an art, and a table covered with rotting food or small cars stuck upside down on a panel of plexiglass.
The pedagogy paternalistic of the “zero frustrations” prevents the work to be analyzed and corrected, and how it should be in many cases, retouched. Utopia is implemented, we are all artists, the abyss of stupidity open indefinitely.
There is space for everyone. There is no difference, and everyone has the right to express themselves artistically, ignoring schools, attitudes, intelligence. Blindness or objective inability representation or technical limitations. We are all artists.
But if we are all artists, no one is.