THE ENEMY: ART
Art is the enemy. Not the Art, immortal and timeless. Not the Art which crosses ages and livens up the human being in his quintessence. But the art which we know today: the contemporary art. This movement of the 20th and 21th. Because we think that it is a joke, a hold-up of the art history, and a swindle which finds its origin so much in the jack lang’s politics that in the duchamp’s mockery. This art have dispossessed us (to us artists) of the art history and the technicality, the craft, almost of the labor character, in the artistic task. They made of us in a few decades, designers (even conceptors), at the best of these names; who furthermore, are individualistic and in competition. This set establishes the new standard never doubted today: the golden and positive side of the contemporary capitalist designer artist. Spectators, Collectors and all the high society which makes the sociology of the environment of art is bored. Let us be not hypocritical, and let us dare to say that the game is lacking, as is missing the beautiful, esthetics, imagination, humor, invention, technique etc.
We thus think that what would kill this young wound named contemporary art, is a kind of revolution, or something which gets close to it. In a armed way, by the double application of the term: at the same time concrete and symbolic. So, we can go beyond the contemporary art and transcend our designer's status to take up with the craft (in the noble sense) and to know, to invent, to create, the post-contemporary art. Or a neo-contemporary. Or something quite different. In any case, we profoundly want to create an artist of a new kind. It is a challenge and more. A human adventure which will gather our herd of esthetes lost in the history. A road made by exchange, by sharing, and either by competitive individualism. Also made by discipline, obligatorily, and by training to succeed. The artistic revolution is our common objective.
This revolution is esthetic. Certainly. But its enemy exceeds the contemporary art, because it affects the current society in general. In all the strata of its functioning, its matrix. Worth knowing, a world which money governs and which the capital transforms, contaminating and destroying the mystic of Humanity. The current artist is not any more the shaman that he was. The individual is not himself any more the social animal that he was. Worth knowing, democracies which are more and more perverse and intelligent to replace the fascism of former days; multinationals in steamrollers and in tanks which kill nature, health of the peoples and their cultures, their colors. The violence becomes silent or distant. As a matter of fact, the world is insipid and monochrome under its airs of pluralism, choice in the purchase, so called freedom; and the artist walks in rows, in vain trader, blinded by the thirst to dominate in his scale: he looks for the accumulation of his own works, compliments, money and his broadcasted brand. The charters of liberal capitalist companies quoted in the ™ Death Project are only stigmas.
It’s here that it is necessary to understand the artistic company ± this sort of cottage industry of artists making an army which will make the Master piece . It is there that it is necessary to have the boldness to raise the look and to adjust it at a time which rhymes with decade, or more… 15 years, 20 years. Because the Final Work is at the same time Pharaonic, Machiavellian, and simply brilliant. It is a real Project. It consists of an articulation thought and scheduled by various rooms, quite imbricated in the unique direction of the Project. Dogs or Big Black Men de Max Boufathal are parts which later will make the Final Work. Because these bought or acquired works, are actually spread in several rooms with various points of the globe, but they plan to meet. A latent and invisible link gathers them. They wait for the opportunity to loose their sluggish and sculptural character to jump up. So, slowly, patiently, but with the determination and the fervour of the survivalist who hangs on to the life, Max Boufathal and the other artists prepare this revolution. Their army. The final Work. You understood the rule which plays with the movement of Cronos: the part and the Whole.
The final exhibition being the outcome of this revolution, in answer to the contemporary art and the company of the same name, it will resume the scenography of a strict administrative and military hierarchy, traced on the ancestor of what we want dead: fascism. The map, is the shape of this hierarchy, or this societal organization chart, is (seen by top) the silhouette of the Bird. The same which makes symbol in Max Boufathal's work, and which is the logo of the Project in question. Inside, each of the artistic rooms, as each of the artists, the historians, the psychologists, the communicators, the bankers, the investors, the collectors, the archivists, the leaders… have here their place. Everything will be thought, covered, tidied up, harmonized, in relation, following the example of a conquering Aryan army which identified its enemy. The geometry and a symmetry being logically the language of this final scenography.
This slow esthetic cottage industry needs: time, space and money. Its final explosion will have existence only in the sweat of a titanic work of artists. And of course this titanic task has a cost. It is the challenge of a commitment of beings animated by the art and especially by this revolution to share. This cost, this money, is an investment which will bear fruit by the strength of years and of patience, doing of the expression ™ return on investment, a reliable trust. Any revolution has its investors ± its believers of the shadow, and it will have here only the impact which it deserves: this one is counted in the number of bills.
LIQUID WATCHDOG
2014