|Ok, so, these are a couple favorite scenes of lots of cavalry riding all over the place.|
|–||I think the one from Waterloo is the biggest scene ever filmed, like most extras or something.|
I created an event called “Do Nothing or Do Not Do Anything.” (the rules are self-explanatory.) When it came time to document me doing this event, I became cautious of documentation due to the nature of the event. But if I didn’t document it there would be little record of it ever happening. This inspired my thinking about selling intangible ideas (for example if I was to sell the instructions of the do nothing event as a work of art) outlined below.
It is very hard to sell an idea. In particular I’m talking about a conceptual art idea. You are selling an abstraction that can only be realized with imagination but nevertheless will always remain in ephemeral form. Someone may decide to execute the idea and it’s execution may, (depending on the idea) or may not create a product. But if it does not create a product it becomes even harder to sell it. On top of these difficulties lies the challenge of finding a willing buyer—not necessarily in terms of money but more in terms of believing in the art, the artist and the art theories which create value for the idea that is being offered. In order to put this idea up for sale, it must not be known. This means the idea is kept secret until the buyer pays for it—only then it is revealed to the buyer much like Tino Sehgal’s work. The buyer must therefore be convinced that whatever he is buying is valuable. In the “real” world—outside of conceptual art we inspect products before we buy them to know what exactly we will be paying for and to compare it to other products. The packaging largely assists in this along with branding and the company’s marketing. However, ideas do not have the same kind of packaging or marketing. Their packaging and marketing are controlled by the artist, the person representing the artist or work and the venue representing the artist or work. If you have a name like Gagosion behind your work telling the buyer how significant and important this idea is, the idea will increase in monetary value. On the other hand if you are just entering the art scene and have not made a “name” for yourself—your name is not a brand—then the value of your idea is very low. It can be very difficult to start out as a conceptual artist who makes ephemeral art because you will have a hard time finding an audience, buyers, making money and finding a venue to display your work. A big factor in being an artist who sells ideas is gaining popularity and a celebrity status. In order to make decent money selling paintings you need to be a decent painter, but in order to make money selling ideas you need to be an excellent idea originator, entrepreneur and marketer.
IN SHORT, if you document the idea and present it to the buyer, then there is no reason for the buyer to buy it because you just gave him the product (the idea). But if you do not show him the product, or idea, then how do you get the buyer to believe in it? And by revealing it to more than one person you are making it less singular and less precious in a way which could drive the price down. Help me think out with this issue. What is your take?
For those of you who are familiar with the Japanese game show “Takeshi’s Castle” (Most Extreme Elimination Challenge, in the US) I think it’s fair to say that one game show may have provided all of the elements pivotal in today’s contemporary art movement. This is an internationally syndicated program adapted in several languages including English that actually adds to the level of Post-Modern theory leaking from every pun, joke, and broken knee. Whether you’re a fan of art theory or not, this is the moment where mass-media manipulation opens up a broader context of psychoanalytic query in it’s adaptation. Whether in violent opposition to the show’s overt racism and sexism or a big fan of the same qualities, stop and think about the last biennial you attended or the last studio visit you made and ask yourself, did I see that on MXC?
For a more detailed show history, go here.
Found this in an old Journal of Medicine (JOM November 1962):
You have the ache in your body.
Maybe a brand new sore throat.
1. Do not hesitate. A cold moves quickly.
2. Do not cry. Crying wastes a lot of energy that you are gonna neeed.
3. Drink one sixteen ounce container of Kombucha.
4. Find a clean, body-sized spot on the floor. Do 15-20 push-ups.
Lay still for a moment. Think about a time when you were breathing clearly and your muscles were strong and then realize that…you are going to beat this thing, “champ”!
5. Drink a gallon of distilled water in two hours.
6. Find yourself 3-4 pieces of fruit noted for their high levels of vitamin c. (Oranges are great in the winter.) Do not forget that red bell peppers have more vitamin c than any citrus fruit.
7. Eat them.
8. Create soups. Eat them.
9. Spit on the ground as you remember people who made fun of you and your family and your pets.
10. You are strong. Like iron.
11. Listen to Danzig and punch walls.
12. Listen to Lisa Loeb and dress your knuckles.
13. Sleep for 13-28 hours.
14. Drink another gallon of water.
15. Now you’re better!
16. Open your window (best if you break it open) and yell to the doggies of the neighborhood…”Bark Bark, Motherfuckers!! Let’s take this town over because we are healthy now!!”
17. Serenade the cats and squirrels of your neighborhood with strange glances and low hums.
18. More push-ups.
19. Small Dancing.
20. Shower for an hour. Now you can cry. Cry.
Guy like supplies and other kits in intent (infer)
A guy in his wood-paneled
Once I painted a dresser; ashamed, not sure what became
for instance, bluffs
in the way land (in)forms our architecture
many people find that they prefer this over the original
in the flat files were:
wants, needs, desires
everything left over and come-acrost
a guy contains and “dreams”
leaving her to loaf in shammy sets;
NOT MY WIFE, 1977
This could be considered exploitative except that his name is never used; although, one can imagine. In some way it is like a crest, obligatory and glaring, a hairshirt. His name is that of one thought asleep, one rocking in Williamsburg, one ransacked. There would be more but for my own lack of understanding of various imaging studies. I have an uncle, a technician. The guy had wanted, on a rocky shore, a beach cliff; something like a Round House, something akin to contemplative or solitude, something gained or to show; to bear witness. To be mocked, sincerely.
collection of the artist-ish
and yet; and yet
flat dog; round bottom
the things we pat
things we dream and copy
and mock, sincerely
trucks grow larger into specks
monsters loom with blue arms (trucks taketh, bear witness(es))
I Know This
I get side
er on the edge
of losing it
circle a few rods or ords
or hard wide meanings
squeaking high pitch
in with tered
floating ICE CHUNKS in muddy rivers
between cities clouds
of light floating over
parking lots and grasses where
queasy children soak up in airs
on strips of seats and chairs
jump off in mid air hit
I Can Only
let the room
fill up w the day
it’s clear and still
say u only like
still in this sense
even the breeze
whipping thru trees
spring winter wind
pushing window panes my
nose pushing cheeks
I’m always all over
between things of
tracks and things stick out
I want a star not a man
a unicorn in unison
cords so discordant
or melodic whale
hearts skip throb
like a porcupine
forgot to hop
things get stepped on
collide with other things
companions make colorful
outer patterned layers
bloated red flowers
push off in space