Contemporary Art (today) brings with it the fault of his own presumed contemporaneity, because all that he can prove it was a perfect example of anachronism. Various Venice Biennale, along with countless events that revolve around the new art, are examples of hypertrophy of languages, which despite the acceleration, the sophistication, the alleged complexity of the issues that they want to treat, convey the same the same blank, and provide confirmation of the static global in which counts.
several years wandering in the air we see the names of Cattelan, Koons, Pistoletto, Abramovic, etc. One
children hanging from trees hung up, or show up at the thesis dressed like a donkey, is another heart-shaped balloons or hires porn star to be used as furnishings, the more broken mirrors, and the other spends hours to move around itself up to tire.
What I wonder is: what they have to tell these gentlemen?
Before answering this rhetorical question (because the answer is "nothing") would like to do a small part of those who were the avant-garde and what is their role.
In the twentieth century there were several art movements (in fact part of what are commonly referred to as historical avant-garde) that had as main interest to communicate their content through the form of their expression, thereby mold a search for technical or expressive precisely. The culmination of this research, we can say it has been touched by Duchamp, who with his work "The Bride mise à nu par ses célibataires, mem" inaugurated what is the conceptual phase of art.
The point is that later, so-called post-Duchamp (which would better define dushampisti post) turned out to be just more of the heirs dadaist crap (which was then moved by a sincere need for negation) and did not consider that to be artists must also possess a spirit, not just mischief, or the claim of a vague discourse on art (today very useless, and that nothing at all interesting).
So we see so many works, often tedious, and fascinated by the apparent seriousness of those we do catch and eat for that reason.
what is the fundamental problem in all this? I believe that today in art totally lacking any interest in facing the actual content, and we ask only more to form, still relegated to the centrality of 'appearance, to the point that the glacial ice is to move to the very existence of those who need them (collectors of toys) , with some I do not know what spiritual frigidity, where the eye is drawn from unnecessary details, without anything actually being said.
Art today speaks only of art, ie nothing.
Some say there is nothing to report. Of course, this is the current state of affairs so-called postmodern era, because we are living in a world that will even say goodbye to the statement, and welcomes the increasing hypertrophy of information by making the pad ready for the walk of widespread panic.
But what you can earn up to visiting a beautiful exhibition, you (if you're lucky) a 'emozioncina maybe positive, maybe negative, but always empty, almost conclusive in awareness of an end in itself, immobilizing.
artists or are interested in selling, and then prepared to find new ways to surprise, shock, investing the money they had earned in the previous show (basically comparable to normal business) or you are told that they do it for passion, and perhaps content with little, agreeing to do so as second job, find a term to address and develop and go on like this until you get tired, because "I was an artist because it's beautiful because you get fucked."
The point is that you come to this, because today it seems to have become puerile state of art as a profession. Perhaps
actually always been the greater part of 'art was just junk, courtiers, artists, and that's fine, nothing has changed.
But today that art is so widespread, is even more obvious that the primary expectation we place in it, and do not claim some kind of miracle: we expect that it trivially tell us something.
The point is that only who truly has something to say, can afford to do so. Who decides if a person can say something or not?
's urgent. What then should use all means he wants (and quite frankly can also find solutions cobbled together). Instead we
the usual, the usual desert.
need to understand that as long as the art world will go on with this competition to see who gets the bum before enrichment, beyond the economic gain and a nice pat on the back you will not get anything for sure.
You need to put the Spirit over the economy and the blind material plane on which they move these mercenaries bent on worship of anything. We need
someone tell us something. It is not necessary today to overload of ideas, often only harmful, but rather must move in the world with the attention it would remain in balance on a raft in search of a voice that moves a cry that stands between many of the songs of thousands of these sirens.
We no longer need to hallucinations, ask reality.
Luca Atzori
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