Page 6 - Museum

Today, in artistic and poetic activities in general, I think previously understood its content, or, worse still, without
it is absolutely necessary to retrace past paths again; having previously singled it out. Within this progressive
from a strictly objective and not a deliberate subjective exhalation of the artifice, concepts are deprived
point of view. Only in this way is it possible to express from their substantial dynamically, consequently and
the complexity of our time. The importance of recovering inevitably producing, an affected effect, rather than
the concepts of “place” and “continuity”, the necessity of the necessary debates and participation. What should
historiographical revision - avoiding any cult of trend and evolve will subsequently devolve. Art is changing its
tendency - will produce a vital, synergetic development own identity: it is becoming a way of a conceptual
and a straightening in whatever the artistic expression. communication that just produces effect however,
Ideologists subdued by the concept of “progress” requesting and soliciting an effort of acknowledgment
(material, intellectual, etc.) have partly increased a that is the exact contrary to the deceitful appearance
sense of “uncomfortablness” in the human condition. of its supposed “truths”. This, at the same time, creates
The results of this progress have contributed to the difficulties for the artists as well as for the creative
destabilization of man. He is no longer able to find his management, and definitely creates difficulties for
own center (both socially or individually) within reality. the fruition of shown art works in galleries, museums
He is constantly conditioned to achieve accumulation, or alternative spaces. The public should be totally
to acquire wealth, to pursue arid careers etc. not only free to choose “how” to view, in accordance to its
for economic safeness but mostly, to affirm his own real effective needs and desires. Contemporary art is
identity consequently he has lost a certain sense of truly art when viewed and recognized in all its passed
profound aesthetic pleasure. He wrongly tries to find meanings. It ought to have qualities such as continuity
his own legitimacy exteriorly, but doesn’t find it due to and openness, though now unfortunately, it only seems
a consumistic system solidly founded on deprivation: to survive because it has been dequalified to an inferior
a necessary assumption needed for its surviving and range, as if it were simply one of the many ordinary
affirmation. Perhaps, too pretextly, contemporary commodities. The congestion of signs and images that
art abusing metaphors even if ripe with undoubtful characterize our society and culture is subdued by a
evocative values), has focused its effort on finding constant, progressive impoverishment of the messages’
the most suitable symbol. But symbols, apart from a inner meanings, which the artists wish to profuse in
few involuntary, sporadic cases, can’t be configured their works. Today, messages only exist as mnemonic
as autonomous objects. Today, in contemporary art, stipulations, weakly reactive: they are mere graphic or
the tragic sedimentation of signs, words, objects, its decorative signs. Nevertheless, if the artists’ desire is to
addition to something that is totally contrary to what it reach an almost absolute ethical beauty, they will have
really is and being less, is due to the fact that art seems to conceive a highly ‘opener” art, and also maintain a
to become a perfect surrogate of fiction, an analogical boundless faith in the public’s fruition. In fact, even if the
simulation of imitation. Rather than conceiving forms artwork is autonomous and definite, it will still give rise
and images, we presumptuously give form to ideas, we to the inevitable, personal interpretation that renders it
communicate a sense or a meaning, without having existent to one of its possible aspects.