Art is a prisoner of its phantasms and its function as magic; it hangs on our bourgeois walls as a sign of power, it flickers along the peripeties of our history like a shadow play- but is it artistic?

Marcel Broodthaers

In 1978 Daniel Bell, a conservative American sociologist, accuses contemporary art, and especially modernism, of being a direct enemy of the upper class and an attacking agent against the bourgeois notion of the world and the capitalism itself. From the other hand, at the very same time, Donald Judd- artist and theorist, one of the leading figures of the minimalism movement- express his deep concern about how art could make it through private interests and the market. The immoral world of business-through sponsorships and any other kind of support- had already started to raid into art’s territory.

Today, only some decades afterwards, Judd’s fears seem to be validated. The threatening disruptiveness of art that got Bell anxious wasn’t effective enough and the omnivorous market laws gained domination through the art scenery. In a society where every relation has its price the art work is considered as one more consumption product while aesthetic values have been completely replaced by economic ones. The world of art- a driving force of culture par’ excellence – has been the center of money and conscience laundering while the artistic talent is qualified or/and constructed by how much is being paid. Hence, the basic problem that arises here and that we try to examine with this project is the position and prospects of the contemporary artist facing this materialistic reality.


Gelly Grindaki




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