COMMERCIALE NO GRAZIE

Gli antropologi culturali da sempre hanno evidenziato la poca aggressività delle popolazioni del sud est asiatico. Nel loro caso non si può parlare della povertà come causa scatenante della violenza. Questo comportamento è giustificato dal loro dedicarsi prevalentemente ad attività artistiche compreso il ballo. Tutto questo non esiste nel nostro mondo consumistico. Tutti siamo ossessionati dal mercato. Si tende a classificare il valore di un artista in base al mercato. Ma spesso non ci si rende conto di dare all’effimero un valore contraddittorio e sostanziale. Il considerare la persona in base al possesso dei beni ci porta ad un arcaico concetto che si è perfezionato nel nostro tempo attraverso la scienza economica. Una filosofia scientifica che è più traballante di quella poetica tanto criticata di Ezra Pound. Dove la sua critica al sistema ha anticipato di alcuni decenni il problema. Se la negatività in generale ormai è nota risulta molto più sottile quella che riguarda l’attività artistica. Un sistema che ha pensato di trattare l’arte come un qualsiasi prodotto. Non riconoscendole quel valore aggiunto che da sempre la caratterizza. Il destino dell’arte è nelle mani degli artisti e non del mercato enorme Molock dai piedi d’argilla.

Since ages cultural anthropologists have been stressing how little aggressive the populations of South East Asia are. In their case, it is impossible to speak about poverty as a triggering cause of violence. This is justified by the fact that they dedicate themselves mostly to artistic activities, including dance. All this does not exist in our world of consumerism. We are obsessed by the market. The tendency is to classify the value of an artist on the basis of the market. But we often do not realize that we give ephemeral things a value that is both contradictory and substantial. Considering individuals on the basis of what they possess leads us to an archaic concept that has been perfected in our time by means of the economics science. This is a form of scientific philosophy that is more shaking than Ezra Pound’s poetics, which has been strongly criticised. On the contrary, his criticism to the system anticipated this issue. If negativity as a broad concept is nowadays well-known, negativity in art production seems a subtler concept. The system feels free to treat art like a product, without recognizing that “plus” that has always characterized it. The destiny of art is in the hands of the artists and not in the market, enormous Molock, which has feet of clay.
Giancarlo DA LIO

No Commercial Potential


Il produrre arte che risponda esclusivamente alle proprie esigenze creative senza scendere a compromessi per renderla bene di consumo

The production of an art that fits exclusively one’s own creative needs without stooping to compromises to make it a consumer good

086 - Horacio Dowbley


“This work was done as a way of collaborating to the expression of repudiation of what was to be called “la mañana de los cepillos” (“the paintbrush morning”), when students of the School of Art in Quilmes were attacked by a group of town councilors and evicted from the building.” PHALANX:
In its first stage, from the 7th century BC to the Peloponnesian war at the end of the 5th century BC, the phalanx is formed by the Greek polis citizens who combat to defend their city and their social status. The idea of phalanx in itself is not only military, but an expression of egalitarian community. Those who could stand out from the rest in combat stepping out of the row, put their life in danger, since they do not have anybody to project their sides, but at the same time they put the whole phalanx at risk having made a whole through which it could be damaged. There was no room for individual and heroic combat like those narrated by Homer. Horacio Dowbley