I started this series of exhibitions being convinced that digital content will never obtain the heavy feedback that a real… expo does.I like to use unconventional spaces, obviously, usually to easier change all object`s meanings while in a particular new surrounding
Most of my ideas come from the digital paradigm ( blame it on the CAD ) and I like to spread them around and mold them with reality in ways that they capture something of the place`s nature, and, of course, the place absorbs something from the concept behind it
With my exhibitions I like to introduce in the ecuation a 3rd or a 4th, 5th world, those of social cloud conscience, virtual conscience when it comes to individuals, and so many other partial realities that are taking form as we speak.
PARTICULAR NOTES :
My first intention to go „real life” or „public” with this small installation art / experiment, the fall of 2014, used the last place available in town for a „real exhibition”.( so many people are exhibiting these dayz , omg ! ) After aprox. 4 years of on-line „cyber-…exhibiting” I kind of found „the real world” as the next place to start working on
real or ..let`s call them…heavy issues.
That`s why I always thought installation art would be the best name for these first creative ideas to actually try and conquer new dimensions.As observed before, in this particular time, average people give everything they find on the net little importance ( some of them ) , they copy it, steal it, quote from it, etc, and in the same time „real life art” seems to be given a heavier importance / sense ( even if… „importance`s” flavours … differ, from one culture to another ).
What I actually tried to do was to mark a point in time and space and to devellop a frugal sketch around the particular situation I was in at that moment. I also thought of it as being the first „thing” I created in this space/time continuum where money / cost / was actually not involved, and the full „sketch” was supposed to at least „round-up” a few ideas / concepts / notions , without any „lucrative” purposes. This ment of course paying
for the whole thing, ( around 200 euros, no sponsors ), and stipulating, as strong as possible, that the finality of this was if not „educative” at least „informative” in some ways.
EDUCATED STYLE vs. FREE_STYLE ( is / was / will the „style” be free? )
For a while I was interrested in issues develloped around copyright, copying, etc. I guess I reached that point where a sum of demonstrative reasoning can be observed in the public space as”running ” around an idea, to calculate actually, ( mostly with desastruous results ), how much of it can draw origins from the „state / establishment / educational systems”, and how much „is left” to the artist`s…originality / creativity.But I had to „input” into the whole „sketch / installation ” a few „notions” that could in the end draw a few axes of/for further devellopement.Like I always do, I also try to inject everything with some „humour”, this time spread on different „layers” of perception.
my „inner questions” were :
1 ) Is this „public” space ready to become, from silent witness of some random „artefacts” a carrier, processed and processing item in a bigger picture ? ( to become dynamic and not remain a „clichee” ), and in what conditions ?
2 ) Is a completely non-lucrative form of installation art able to act and become something „usefull” in a bigger set-up, „to mean something” in different set-ups, paradigms, and can this result somehow be evaluted ?
3 ) can I create a multi-layered instalation in time, space, etc, or in different cultural „clouds”.( will these layers become interdependant, interconected, dependent on each-other, inter…weaved, etc ?
4 ) how will the feedback affect the creator, the public, the „establishment”, and what channels will it find to reach them ?
5 ) how will the „”lack-of-resources” invoqued here ( low-res, low-poly, low…latency, low…tech, low…everything ) affect the installation, as seen by different types of public ( and why ? )
6 ) how will average people perceive my „art”, art wich is now integrated in the collective mentality as being part of the „establishment” ( it is being taught in schools, payed by public funding, etc ?. Especially when this type of „exhibition” was somehow a rethorical interrogation
The ( challenges on the local ) STATE of the ARTS
Why this particular installation was/is…low-tech :
1 ) the challenge of „making a point” with a minimum of resources, in an environment where scarcity becomes both „established” and part of all kinds of propagandistic speeches. ( therefore „scarcity” becomes here a sarcastic response to the state of things )
2 ) the challenge of using as many elements as the „establishment” can offer while turning, its own tools against it, as a form of…cultural resistance ( an establishment that is already used to putting the biggest value on things it has under it`s
…”legal custody” rather than on its members ( the humans ).This also means actually „charging” elements that are being used in this installation with multiple meanings, symbolism , etc. In fact, my biggest (self) challenge was to create a „scheme” that will be scalable in space, and to check its devellopement in time via some dedicated feedback ( of course some different types of public were expected to offer different types of feedback )
3 ) the ambition to turn „low-tech” into „hi-tech” and maybe viceversa : ) ( challenging also the notions of cost / scarcity / resource / etc )