Frixus

Frixus seeks to show and analyze the contrast between the freedom that we think we can have when creating and how that freedom is really always shaped by already established values, whether we are aware of it or not. Each individual has their own experiences and laws that limit them when creating, which is combined with the context of what is produced and how our vision of the “final product” changes from the moment we begin a project until it ends. Navigating the same concept of freedom, I seek to investigate what it takes to make art. When is it not enough? How much is too much? Can you make art from simplicity? How much freedom and parameters does it take to be an artist? Taking into account the FLUXUS movement and what AIRA, César, raised about contemporary art, I propose these issues as the main questions of this work.

Technical, aesthetic and conceptual development

I based myself on AIRA’s text, Caesar on contemporary art. Among everything he addresses throughout his writing, I chose to focus on what we understand as art and what we do not. It is no surprise to any of us that at some point in our lives we have seen a painting, a sculpture, whatever the piece is and thought “is this art?” This thought comes from the fact that we already have a set of laws or values, as AIRA calls it, that lead us to judge what we see by passing it through that filter of what we consider art. Getting fully into the author’s opinion, we can think about how rigid the path of art is. How many pre-established rules must we break so that what we do is not considered a craft? And if it were a craft, would it be bad? or just different? How much freedom do you have to express to be considered an artist?

“In my opinion, it would be a restriction, through which the small active part of what has previously, or always, been called “art” is isolated, and everything else is relegated to the category of craftsmanship. This, craftsmanship, must be done well (so that it can be accepted, appreciated and sold). To do it well it is necessary to do it as it has always been done, adjusting to a canon that only admits variations, and these within accepted margins. Art, on the other hand, is not art if it is does well (that is, if it submits to the already established values). Art does not have to be done well - and it is a regrettable waste of time, which young people usually incur, to strive in that sense. If it is art, or for it to be art, it does not need to be good, on the contrary: if it can be described as good it is because it is obeying already established quality parameters, and it can then be placed, according to this new eighteenth-century concept reinterpreted by me, in the category of art. «craft».

I find this text one of the most interesting, since it not only allows us to talk about the meaning of art, but with the example of Magritte it also gives us space to talk about the decisions we make when we are given the freedom to create. We have those who could not be more grateful to have that opportunity to pour out all their ideas without limits and we have the others, who are overwhelmed by the power of freedom. Where we start from and where we are going would be the most common questions.

“Magritte says: “If everything is allowed to me…” The consequence remains blank, or is occupied by this wonderful ensemble, a monument avant la lettre to the “operation” character of Contemporary Art. Everything must be permitted so that what emerges from that whole has the liberating value that we should demand from art.”

On the other hand, I also took the idea of the FLUXUS movement to conceptually put together the work.

“Fluxus- art.fun: it should be simple, entertaining and unpretentious, dealing with trivial topics, without the need to master special techniques or carry out countless essays and without aspiring to have any type of commercial or institutional value”

It is often believed that to be a great artist you must know infinite amounts of tools and know how to handle all possible areas. Although this gives us endless possibilities when creating, it is proven that with little you can do a lot and very significant. We can also affirm that there is a great difference between works that are carried out with dedication and pleasure and those that are limited or with a purpose that does not arouse enthusiasm. At the end of all, what is art without essence?

Literature

AIRA, César. (2013). “Sobre el arte contemporáneo”

FRICKE, Christiane. (1999). “Nuevos Medios”