by renfah on 25/07/2012, no comments

Preamble: In essence, a manifesto is – compared with other ideologies, to establish a category,
as it is usually a dogma, a determination and constant, and to maintain it ad infinitum.
Therefore, exclusive, possibly even convicted fundamentalist in its approach and thus for free
thinkers from the outset questionable and definitely in the long run to failure.
The Manifistation however, is the erect middle finger towards everyone that even relapsingly
thinks so. This possibly impedes important influences from causing, like acting from the outside,
as necessary irritation result in the adaptation of systems, an intervention which otherwise
would be limited. Since art – a priori – should not be biased or determined – per se – and since
this is linked directly to the creative act, the power of inspiration evaporates. As everything flees
the “Dingbarmachung” – in the pospostpostmodern era, no logic seems reasonable anymore,
objectification, categorization and production of the archive – is this art – or can we get rid of it? –
(this also is a slogan more famous than most artists ever will be)
When art is still an expression and a as such a part of commercialism in a capitalist world order,
does it want to become marketable, because it is the resistant chic in the way, as it is
represented by shock campaigns like the famous benetton advertisements or would it be less
salable without this association?
S O !
Here, art is now clenched as fist full of questions – or is it just a striving creature beyond the
borders of any subject, a mind who is in conflict to reconcile manic self-realization and social
Therefore, no limits – Established and Outsiders – unite!
This is also the question of why something is done, which has no other purpose than to be art …
Art for art’s sake as a parasitic meme … or perhaps an attempt at divinity (for atheists) though a
part of themselves might become immortal?
Again… to manifest something and leave something that survives?
Art as Manifistation, as manic Immanation, or fisting action of the subject, where – the classical
questions arise as manipulation of mania, fisted we varied the origin of the urge:
Why is art made?
What is art – who is the judge?
What are artists trying to say?
Who is asking these questions?
With the fist clenched, padded out of the rough, art is done by the creators for free as they cant
help it otherwise, as the artist is just another person to filter the influences of society, and
reflects on the science of emotional relationships – sometimes the resulting engine is stronger
than reason, blood and guts, incest and murder, shame and scandal are often only parts of a
successful work, because in order to be recognized in an economy of attention, public
awareness has only one solemnly reason – to be pushed to have an opinion.
The message must / can / should never be delivered incomprehensible, the main thing is that it
arrives, because the attention span through the use of mass media is relatively small and short.

Phrases like: “The decline of the supremacy of the lucky few and the search for the new world
order did not lead to” … canceled
“… Freedom of class, mass, race … etc … blah blah blah” are not what is read, slogans such
as: “More Money for All” or “Why art?” are easier to handle.
Furthermore, it should be expected that the lowest common denominator equals the highest
rate and represents the largest to be achieved average.
However, it also is true that the more successful the art, the wider and usual its Gôut becomes,
the hip and the less underground it is, the more art may become too hot fresh and new, and
therefore soon become a nono. This Sellout is not necessarily the result of this in between of
avant-garde, versus achieving the utopian aim of every artist at the beginning of his/her career.
To live of what is created by the hand, to be able to really afford a life, these points mentioned
before meet here quite incompatible. But the question remains, is an exhibition, an artist, or art
only good just because many, some or a few – believe it to be so?
The practice is the experiment that each artist makes with each new work – THE work of art – is
it done this time?
And the next project might be better, since all there is – is research and experimentation until the
product and the market meet …
That existence:
sign here …
Sign here …
The worst aspect is the intention behind this ballet macabre of gallery owners, critics, curators
and other artists. They suck life, they eat time and energy. Encircled within difference, repetition,
reproduction and preparation, existence is very determined, not too much to adapt, but also not
too much out of line. Then the formalisms and their executors talk and act as the new “makers”
of art, as if without them no one could exist. As a result a system of different macro and micro
levels establishes, within which different habitats and terrariums, classic, modern, postmodern,
contemporary and recent art are just rhetorical terms or philosophical models and intersections.
Without one, there would be no other … Which curator does not keep a secret love for true
Artists. Which critics have not even attempted to make some artpieces just for themselves at
home and keep them secret?
The market wants recognizable formats and styles, this is where we can compare art with
fashion, both always want new and unseen things, hops and a new face with a new story and
hey presto, the freshly-made work is again an old hat, if not a double old hat. Who is not a
original, who has had his own style and dictated the hip – has it hard … if someone has never
been at all en vogue – even harder.
Imagination – the freedom of desire, creativity – the dissatisfaction with the current situation, the
work – the comparison of markets … Unfortunately everything costs something … and what do
the infinite reproductions of Van Gogh’s flowers on the wall serve for? So why art if it is not the
only channel of creativity flowing like a brook or stream. Because the precarious employment

prospects of creators rarely pave the path for an internationally recognized career as a
superstar for everyone, most are unrecognized geniuses. They tell each other jokes like: “So the
idol Arts, and the idol Mammon both want their service commercialized and consumer society
recognized, and thats why they reinvent the rebellion in doses – beautifully packaged to hang
behind the sofa, or take the same flavored, flowered wallpaper in the deflection of the sheep
citizens … ” HAHA … Keep the fun to total satisfaction …
Alone or in a group? and all together now: we are a collective!
The minefield of artists vs. psyches. the economic pressure – I and I and I and I, and anyway –
as always happens with the “common” things – one does it to complain afterwards that nobody
else did … The outside influence, in sense of being in a market system, it is so that in the
distribution of responsibility of the oeuvre as a collective or more persons, or the establishment
of an association for art and cultural activities reduces the risk to the costs for creating a culture
technical performance. Necessary expenses (e.g. rent / publicity / drinks / etc.) do not suddenly
allow you to stand alone, whats with those who can not just bite the gold tooth on a silver spoon,
so to speak forcibly causing a mass confrontation, so only you – are poor and you’ve got two
arms, to multi-certainly much more … what can a higher rating for all revenue earned through
the pooling. Furthermore, it is added that most artists deliberately chose the art to work as an
alternative to the 24/7 hamsterwheel at the nearby shop and exploit themselves to live (which
does not mean that they would not rely on this service). These vectors point towards a better
distribution of work and flexible powers, help, advice and correction of weaknesses / individuals
– this – all in all – means that a collective is not a bad idea when it comes to use the market, but
when it comes to the creation of art itself, we are all so alone as everyone dies his/her own
What will ultimately reflect the art-historical discourse, relaxed, spontaneous and honest – this is
the most important – not as an ambitious – I want to be there – dirt. Bodyguards and offensive

commands of battle globetrotters singing the PROOOOOOOOOOOOOOO-GREE-

free eyecandies pop up globally as Seasoned special around slosh double bind-features (= the
so called curator Chinese) – when revolution and commerce finally meet, international career is
possible, or this is just the way of those, who no longer differ between me, my and I?
You can distinguish it and those who put their inside out, a process which the media and people
love to take the time to read about, talking, laughing, point with their finger, etc.
(See the examples of Amy Winehouse, Charles Manson, Mark David Chapman, etc. celebrity
kills to be famous and to live behind bars, where in all eternity Paris Hilton and the Pussy Riot
do sandwiches for … Johnny Cash and Lady Gaga …)
Now back to the Faustian pact between art and human,
what is art, why and what does it take place, and who makes them?
The space
the fun,
the frustration,
the in-between,
and cleaning up afterwards …
For the questions remain:
What may be art?

Who decides?
Where does art instead?
The artist? In the head? In the factory?
In setting apart? In the studio?
In theory? In practice?
In private? In the public?
In the exhibition space? In the museum?
In the viewer? In passing?
In the self? In others?
Whats going on in Fausts Gretchen also leads to the crucial questions …
In how many offspaces you have already tried your understanding of art?
Did someone puked on canvas?
What do you see in the spot?
Is this your first time?
Suck the Fystem!

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