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/the honestly, statement

LONG STORY SHORT

 

 

This domain, chamian.eu, will be used in the first instance as a regular

artist website, with a more or less academic display of a visual artist page. However, there will be a parallel version of this same website under the name of “honestly,”

 

The honestly, version is an honest platform where the truth is told about its content. This is a replication of this same website but the content is transformed. Not meaning that this content would be a different one, but it becomes some sort of a canvas on where to sketch all the ideas that are implied in the process of the final work. Notes and thoughts surrounding the process will be added, such logistics as about the art production itself. But also possible shapes that the final project may have taken, 3D sketches that remained or continue as projects, diverse explosions of brainstorming and a long volunteer etcetera to maintain its disposition opened to new ideas that may come through from all of this.

 

Click again in the square button and you will get into the honestly, version. This first version is released for the exhibition Venien de lluny in Piramidón Gallery, Barcelona. If you want to go back to the regular version, click once more in the square button while you are navigating in the honestly, version and everything will be apparently normal again.

 

Stay as long as you want and enjoy!

 

 

LONG STORY

Among the things going on, I feel I am in a rather peculiar moment in the arts. Well, let’s say this is just another one, but I guess it feels special merely because of being part of it. But suppose arts do what they say it does, and it does proper use of perception based on the real, in order to deform it, according to tastes, as many and different as there are. Then well, one of the most redundant topics that are filling the contents of the arts -the hits of the moment-, proceeds from the absolute conviction and acceptance of a world that turns out to be pretty fucked up. In fact, this is a world that generates more negative and self-destructive imaginaries than perhaps, a desire to appease it a little bit more peacefully, as the precedent of the abstract expressionism. The world is fucked up, but not as much to get completely abstracted from it. However this is not the only matter. It is not like you could measure the volume if the world is more fucked up or less, but I would say it is not necessary. I would say, in fact, that the context is exchangeable but what is unmovable is a general state of mind. Since if we come out from the analysis of the form, of the artwork itself to access to the instance that embraces it: the context, the art scene; they could be seen practically two the same.

 

This is how I find an art scene that repeats time and time again and involves to anyone who does a minimal incursion into it. I am talking about this conformism of that fucked up world mentioned above, whose origins are from this vision of the world, but also from the guild of arts. I start conversations about the work of an artist and I end up talking about this artist’s professional situation. It turns out that there are artist whose work I admire and they represent some sort of a labor mecca in the field, who are in legal procedures with their galleries because they have been months not billing the sale of their work. Then, I talk about a curatorial project and I end up listening that the curators who are in charge don’t know how to cover the charges for the babysitter whose function has emerged from the necessity of developing precisely that curatorial project. And yes, that is how my sensation is being inside a completely naturalized situation of precariousness. I would even dare to say that the word precariousness is outdated. It was accurate when there was still an active concern about its existence. Now it might be said that there is not a thorough effort to hide this situation, but it always manages to get uncovered without any trouble. Leaving, however, exposed and straight ahead the hidden face; suppressing the stigma of the bourgeois inconvenience to show this backstage covered in dust. This almost occurs more as an act of therapy than as an act of rebellion properly articulated.

 

Certainly, there must be reasons to complain, but even so and all, we carry on. Why do we carry on? Is it a visceral denial compromised to an American dream, aspiring to be the Damien Hirst to the rule? Or then, which are the drives that conforms the relentless art proposals that don’t stop generating? And it is not only that arts production hasn’t cease giving the situation, but instead, it has exponentially increased. And not only in the art scenario, but there is spread an aesthetical concern generalized in almost every daily contexts of life. People now have an aesthetic responsiveness more accurate or less, but it exists. And probably all of this has a very Darwinian logic of developing as the generation of new tools for production and consumption of approachable visual culture, added to the display of means or networks that democratize their distribution; among many other things. Being that there is increasingly art and there are all the ingredients for its rhythm of production can only rise, the context that frames it remains practically the same. A context that is structured in a specific manner since long time ago, which its supplies are recurrently labelled as unsustainable, scarce or obsolete.

 

I remember, some time ago I was told that, when visiting a video art biennial, the total duration of all the videos was calculated and they realized that this exceeded the possible time to watch them in person at the museum. It exceeded the possible time of visitation since they opened the doors at the opening until its disassembly. This might be the most exaggerated case but perhaps, it will serve as a perfect example to point situations in which, not only for economical purposes, this might result in raising other institutionalized means of display. And not only institutional, but a variety of displays that changing precisely the way that the art product is structured, they would allow to continue generating other different matter of art, marketable as well. Oh well, ideas, there are a lot. The important thing is that there are, in fact, very good ideas in the world. People is highly ingenious and with the curiosity satisfied through a thousand tools, every day are more visible these explosions of ingenuity and not only in a pragmatic matter but in forms of conceiving the world.

For all this is that facing this conformism of the fucked up world, the fucked up world represented in the arts and its frame, scene and institution that is barely capable to embrace it properly, I would like to make a statement of intent about how I want to approach this website container of my work:

 

This domain, chamian.eu, will be used in the first instance as a regular artist website, with a more or less academic display of a visual artist page. However, there will be a parallel version of this same website under the name of “honestly,”

 

The honestly, version is an honest platform where the truth is told about its content. This is a replication of this same website but the content is transformed. Not meaning that this content would be a different one, but it becomes some sort of a canvas on where to sketch all the ideas that are implied in the process of the final work. Notes and thoughts surrounding the process will be added, such logistics as about the art production itself. But also possible shapes that the final project may have taken, 3D sketches that remained or continue as projects, diverse explosions of brainstorming and a long volunteer etcetera to maintain its disposition opened to new ideas that may come through from all of this.

 

And understanding honestly, as a response towards a state of mind in the art scenario, I hope it could be sensed that there is, certainly, a drive beyond of the guild. There is a drive about a form of living together with the world behind honestly,. Not because of telling the truth only, but for pursuing a nirvana of personal integrity faced to a poor knowledge of the very being. I could tell you more about this, but I think, honestly, that we have reached to the limits of the professional distance. As well as I appreciate any quantity of time you have wanted to stay in here.

 

For all that, thank you and cheers.

 

 

 

#postinternet #postinternetart #saopaulobiennial

 

/index