2017-02-06 pt.III, Lund

2017-02-06-0020Going on the countryside with Toni and Vilda.

Finaly “free”, well have to organize so that everything will work smoothly as possible, to find work in order to get my insurance for being unemployed. It’s a bit magic that it exists (the unemployment insurance), but it’s a hustle to work through (like any other insurance, that matters!). Now I think that I know how to do it. Just have to wait and see, many people think that as an artist you should work for free. This is something that is logically not possible, how you suppose to pay rent, food and other necessities? Then some people say that they know one artist that lives on some kind of sickness pension and that that is an option. Well It’s not a ailment to be an artist, this also creates an insanely price tag on artworks. And creates of cause an inflation-risk-biznis-individuals getting attracted, individuals whom aren’t even close to interested in art or culture but in making loads of money.
The structure of the system works within all layers of art and fine art, so I’m part of it even that I’m close to interested in be a part of this “art-market”. The art market strives to find new shares (artists) to invest in, this applies to what I would describe as public funded art as well. The investment that the public funded arts are not immune towards this. Why do you think museums, “NGO-art galleries” (often funded some way or another from the public), co-op art-galleries often exhibiting (in the art world) “names” whom are generated within a very (extreme!) homogeneous aura of cluster attached individual’s? This is as always a blueprint of society and different attitudes/ approaches that It has. So even if we work in a creative space- environment that are part of a cluster whom don’t know abut “the big art world” the familiarity feeling is important in order for individuals to be accepted in this environment.

For me “it” have changed (or maybe it have always been like this, but no one willing to speak out loud), the focus of how people around me that work within the art’s and culture. The market is a fact that creates a “need” for bureaucracy that do the math of what and why’s i.e does the decisions of whom and sometimes where to (with the art of artists). This is essential in many ways, not necessarily at a negative point, the structure is supposed to create a possibility for the artist to be focus on the art. The fact of that bureaucracy in its nature is costly and time consuming build’s up a market that helps to create the market (just like the police need criminality, and criminality need the police). So that art is of importance but the “brand” (artist or artists) of the art is more important. The economy that are created with art as a starting point are an hostile environment for freely made art. Borders are created, so that if your aim is to live as an artist (for real, i.e not have to have any other day job) these borders have to be crossed, you have to become a accepted part of that cluster, you have to affirm to become a part of it. The affirmation is a process (and not solely a “creative cluster” issue) that you supposed to like, that you “choose” a cluster, a context to be a part of. Or in best cases you strongly believe that you create a cluster yourself.
This is the contrary of my idea of me the artist working with the process of creating art,  welcome to the reality, Karl. The kinda harsh; chlorine clean creative-environment still   meant for bacteria’s to flourish,  all a facade or even a masquerade. For me the process of (making) art is to confront differences, that is to; smell more than a homogeneously polite (as in the fake British politeness the one created out of colonialism and still is considered as something nice!) yet nothing-new-accept-whats-already-said-within the institutions always the correct manner of behavior in thinking. This often creates a atom like, a technocratic explanation of art, as if “it” was a big research project, rigorous created so that a certain “goal” both obtainable and a hard nut to crack. The favorable idea of that you already have answer before asking the question. The clusters created within the arts and culture creates a vague and most boring attitudes towards getting insights, insights that are from a perspective that not are a part of the artists homogeneous cluster. The other perspective not as alibi for getting funding for the project, but as addition to the arts.

Ok have to stop for now, but will for sure write some more thoughts about this, I will have the time now. To think while looking for work. And if you like to give me some money please don’t hesitate to contact me 😉













Mamiya ZD / Mamiya Sekor C 80 mm f1.9
Foto/ Photo: Karl Larsson (www.karllarsson.se)


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