Art sociologique en ligne

Changing money into art
Here is the final painting concluding my Kickstarter experience. During one month of crowd funding (September 9/October 9) 66 contributors have taking directly part with amounts ranging from $1 to $500 online or otherwise and reaching a total amount of $3,011 – 120% of the minimal pledged for success.
I received many comments and tried to give them echo as well as to my own feelings in this painting. You may see my efforts to publicize the proposition and the kind of social alchemy resulting from the artist’s energy and contributor’s implication merging into the accumulation of small touches converging towards the summit of the diagram. Starting from the sea level, the unknown mountain raises day after day, by successive stages, up to the dreamed summit, allowing finally the artist’s hand to open the collective safe box and see the money of the contributors appear. It shows the social commitment in favor of art creation. It was for me a reward after moments of doubt.
This parody of the financial and speculative diagrams of stock exchanges gave me a great pleasure – as well as to the contributors, according to their comments, in our business and profit minded societies. This demonstration of sociological art on line is also worth its weight in gold!
Réf : Blog Avenir de l’Art 11/11/2014
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Geld und Kunst
Ich zeige ihnen hier die Malerei, die mein Kieckstarter Experiment gemeinsamer Kunstfinanzierung in September-Oktober 2014 darstellt. 66 Teilnehmer haben dazu mit Beiträge zwischen $1 und $500 on line oder anderer Weise teilgenommen. Das Total hat $3,011 erreicht (120% der $2,500 minimal Summe).
Wie ich erbitten hatte, habe ich viele Kommentare empfangen, und ich danke sehr dafür. Ich habe versucht, sie wie auch meine eigenen Gefühle in diesem Bild zu schildern. Man sieht die Bemühungen der Künstlerhand, um das Projekt kennen zu lassen, wie auch diese Art sozialer Alchimie, wo die Energie des Mahlers mit den Verpflichtungen der Teilnehmer sich verbindet. Die Verwicklungen der Beiträger erscheinen in der Ansammlung kleiner Pinselstrichen, die nach der Spitze der Geldkurve zusammen hinrichten. Diese Kunstlinie steigt während 30 Tagen von der grünen Meereshöhe durch aufeinanderfolgenden Stufen unbekannten Landstrichen bis zur gesehnten blauen gekrönte Spitze auf, wo es der Künstlerhand erlaubt wird, den Geldschrank zu eröffnen, und das Gold des sozialen Engagement für die Kunstschöpfung zu sehen. Es war für mich nach vielen Zweifeln ein Belohnungsaugenblick.
Das Abenteuer hat mir, wie auch den Teilnehmern, wie ich in ihren Kommentare lesen kann, insgesamt viel Spaß gegeben. Es ist uns gelungen, eine Parodie der Diagramen spekulativer Variationen unseren Geldbesessenen Gesellschaften zu schaffen. Und dafür gilt auch diese Beweisführung soziologischer Kunst on line sein Goldgewicht.
Réf : Blog Art et Economie 16/11/2014

Exhibition Art et économie humaine at HEC High School, France
HEC Contemporary Art Space | 20 November 2014 to 6 March 2015 |
Directed by Anne-Valérie Delval | Coordinator: Maxime Chevillotte |
Scenography : Maxime Chevillotte & Hélène Maslard |Guided Tour : Hélène Maslard

“Economie humaine”Opening: Wednesday November 19 // 6.30 pm| Curator: Paul Ardenne | Associate Curator: Barbara Polla

Invited artists:
Burak Arikan | Conrad Bakker | Yann Dumoget | IKHEA©SERVICES | Hervé Fischer |
Sean Hart | Marc Horowitz | Joël Hubaut |Pierre Huyghe | Ali Kazma | Florent
Lamouroux | Tuomo Manninen | Adrian Melis | Deimantas Narkevičius |
Lucy + Jorge Orta | Jean Revillard | Camille Roux | Edith Roux |
Benjamin Sabatier | Julien Serve | Zoë Sheehan Saldaña | Paul Souviron |
“ECONOMIE HUMAINE”
Contemporary art through the prism of economic actualities

This exhibition sets out to explore the way today’s artists relate to the world of business, and to the economic sphere more generally, in the age of globalization. Two kinds of approach are evident:1. Artistic capture of the world of business, the economy and production.2. Games with economic indicators and the world of business.The emphasis on creativity and the vision of the artists contacted for this show help humanize the world of work and the economy. They reinstate human beings as conscious, lucid and concerned players.But why this exhibition? To demonstrate that the economy is not absent from the concerns of many contemporary To show how the artistic vision of the economy eventually “humanizes” it. By imitating it, bysubverting it, by broadening its practices sometimes to an absurd extent, by making it a subject not of tension but of relaxation.In the symbolic systems obtaining in our societies, a great deal of importance is accorded to politics, but much less to the material economy. If the economy does not, or not always direct politics, the fact is that the economic dimension is never secondary. Materialism doesnot exist as such: the economy, too, “writes” its symbolism, and never fails to be inscribed in representations of the world, beyond its concrete reality. It is normal, in this light, that artists should be interested in it – the artists we have chosen for this exhibition.Curiously, however, the history of art is sparing in works on economic themes. And when such works are found, moreover, their main point is to damn the economy, arguing thatwork and material exploitation degrade humanity. This banishing of the economy is one of the themes of early Christianity: Christ drove the merchants from the Temple and, in so doing, affirmed the primacy of the symbolic over the economic.As we know, Protestantism deeply changed our relation to the economic. For Protestants, economic success was conditioned by religious morals: success at Beruf (work) was a sign of election. This positive redefinition of the economy did not, however, mean that art suddenly started paying homage to it. Only a handful of works were produced on the subject of the economy before the 20th century: a few portraits of bankers in Flemish painting, a few representations of merchants, of cities and human activities; views of markets, fairs and ports.
It was not until the coming of modernity that the economy began to be more substantially and also incisively represented in the field of art. This representation took two directions: a sibylline direction (playing with the economy) and a critical one (its role was devalued, it was stigmatised). On the sibylline axis, we might mention Marcel Duchamp, who in 1919 paid his dentist with a cheque that he himself had drawn, and Yves Klein, with his Zones of Immaterial Pictorial Sensibility – gold leaf exchanged for a simple piece of paper mentioning the transaction. And of course, the famous Merda d’artista series by Piero Manzoni, some 90 cans which the facetious Italian prankster filled with his excrement and sold for their weight in gold. As for the critical axis, this put forward the idea that the economy was the root cause of material and therefore social inequality between humans. A whole world of “social” painting, driven in part by the communist ideology, grew up on this concept, depicting exploited workers in degrading workplaces. The economy as a human calamity.
And what of the economy for today’s artists?
Artists’ views have matured. They are wary of caricatures and simplifications. Lucid, often measured, sometimes engaged, artists today are concerned above all to show the nature of the economic sphere. Going beyond clichés, they also enjoy playing with economic themes, subverting economic principles, and also creating parallel economic circuits, notably by means of participatory art. This is art that produces a singular mutation in contemporary man’s relation to materialism. It rematerializes the economy in deviated forms. It invites us to look more closely at the real economy. The artist here demonstrates that he is neither hypnotized nor mystified by the economy. His position is active, on his own scale, using his own weapons.
Paul Ardenne, curator of the exhibition
Barbara Polla, associate curator
Réf : Blog Avenir de l’Art 18/11/2014
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