VEDI TUCollective for Research on Contemporary

September 2014

BIOGRAPHY

There is no use being alive if one must work “Nadja”, André Breton

The collective " See you " was born in 2011 , on the occasion of a meeting between a group of artists and curators who wanted to do a little research on the art market and the market in general.

Each of us had , his personal experience in the field of design, art , and communication. All together we

decided that what each of us made individually would not have entered into the project. When the

collective was born we were a bit ' scattered , some of us were working in London , others exhibited in

Latin America , others were still in Italy. Then the collective has changed, altered , involving several

people and leaving others.

The group consists of anyone interested in our issues , or propose kindred.

Market such as evanescent as what we see every day, but even more deeply , as a change in

anthropological man ( and woman ) immersed in the market.

We participated in several exhibitions , always going through calls or competitions , just to check our work

without lean on the activity of each individual component.

We have directed our path , through overt provocation , to use political art . Our objective is the

actualization of the beyussian concept of Social Sculpture , or the idea of Gesamtkunstwerk (total work of

art) .

Using , then, the concept of art owned by the German artist , our collective view multiple interaction with

the public through media forms , such as our blog. In this sense, the use of social networks our

reference is Ai Weiwei .

Many of the texts offered below , and further details , can be found on our blog:

www.veditu.blogspot.it

contatti:veditudine@gmail.com3491221710 oppure 3420731462

EXHIBITIONS

2011: MA DICI A ME? – mostra collettiva diffusa – Palazzo Morpurgo(Ud)

2012 : RICOMINCIO DA TE – mostra collettiva – Teatro nuovo Giovanni da Udine

2013: LAVORO/WORK/VORE – Spazi Pubblici arte Contemporanea – Villa Di Toppo Florio – Buttrio (Ud)

IL SOGGIORNO DEGLI ARTISTI E DEI POETI – Arta Terme (Ud) - selezionato

ARTE E SALVAGUARDIA DEL TERRI TORIO – Palazzo delle arti di Paternò (Catania). Collettiva dell'associazione “Ideattiva”

➢ 2014: LA TERRA DEI FUOCHI – Real Sito delle seterie di San Leucio (Caserta)

➢ Jacopo Linussio e Jeans - Palazzo Frisacco Tolmezzo (Ud) - MINI MU Trieste

Currently, we have participated in various calls involving possibly exhibitions later this year. The occasions when individual members of the collective have exhibited their works are excluded from this list.

Also on the blog you can find various texts elaborated collectively for exhibit or intended for press.

COMMERCIAL ARTThe commercial art is the provocation , then turned out to be not at all provocative, imagined in 2011 that led to our collective. Below is the text of the Manifesto for an art trade , the spread of which propels the whole network, and End / Start, which is the final text, in which we draw the consequences of our actions . The possibility of translation in three languages (English, Italian, Slovenian) allowed us to spread it around the world to thousands of artists , intellectuals and galleries.

The presentation took place at the pre-show "Art" in the hall of the Teatro Giovanni da Udine, involved

a homeless person who distributed the poster to the audience wrapped up in their best clothes, while in

the background you could hear our work.

MANIFESTO FOR A COMMERCIAL ART

The ugliness of the present has value retroactive.Karl Kraus

1.We live in the world of the Market and its crisis with no solution. Immersed in a self-praise monologue, an uninterrupted speech that the Market makes on itself. Like the prisoners of the story "In the Penal Colony"by Kafka, we are stuck in a machine that engraves the Law all over our body.

2.We believe that artistic research is the false consciousness of those who can not take advantage of the Market, but only suffer it. Even those who spit on art, who theorize about its end, or who are very pure and socially committed, in the end enjoy it by going if they can into a small gallery, in a unknown collection, to a peripheral theater.

3.We are against any romantic idea about art. We hate the genius and unruliness, the prophetic artist, poses as an artist. Genius is rigorous and does what he can. We hate eternity and we are for the ephemeral. Only the things that pass are those that remain. We prefer to think of our work on the shelf of a bathroom rather than in a large museum.

4.1. We believe that contemporary art has no ontological knowledge of itself, but is only technical, instrumental and procedural, and that puts its greatest commitment into relathionships and technical and operational effectiveness. The greatest merit of today's artist is in removing the shame and the pride of art, denying to himself and to his work a horizon of truth. No one today can seriously imagine that art will save the world, nor understand life or replace it. This is our conquest of freedom, immersed in the Market.

5.We are not interested in taste, sensitivity and culture because we are not interested in the narrow circles, art lovers, beautiful magazines. We are interested in talking to many people, staying on the street, being accessible to all. We do not care about elevated discussions, we are interested in selling. But the two things coincide in the Market. Against any type of intellectualism, the immediate sensitivity is our land and the Market is our language.

6.To reach everyone we accept the Market forms of communication, to profit from our work we adapt to the image of thedominant. We want to describe as simply as possible, cynically, what is around us, which we breathe from our birth: the Market. What our Customers do does not interest us. If it is used for their own pleasure, to praise the market or to counter-attack it, or if it is used to prop up a table or cover a stain on the wall, or as an ashtray, we do not care.

7.We want to be in the Market like fish in water and claim that we do not to want to hide this, it’s our choice. We are prepared to contradict ourselves, not delude ourselves.

end/start

Our research tells the story of a failed provocation. We started our experience as a collective, imagining

that art was nothing more than a sector of society, with its professionalism and its being immersed in the

Market. Paraphrasing Debord,we thought “(art) isn't a set of images, but a social relationship between

people, mediated by images”. We never thought we would have been right.

“As far as art is concerned, it is clear that some of its golden ages lack any type of relationship with

the general development of society and therefore with its

material basis, the backbone of its organization.” said

Marx in 1857 and as such today it seems to be a

concluded project. Like any instruction manual for an

electrical appliance we can say “Being an artist has

never been so easy or enjoyable.”

We thought there would be an angry reaction to our

“Manifesto for a commercial art” instead, we never

imagined that the annoyance of the artistic pose and for

the sublime romantic would lead many artists to take up

our thesis as a liberation or at least as something of

interest, neither did we expect some galleries to welcome

us.

"Fortunately art is a market, we deify the former because in the first place we have especially deified the

latter.” said Regis Debray. Now that art, if it still has an excess compared to the rules of the Market, is

left to the taste of people paid by the Market itself, and we are no longer ashamed to immerse ourselves

in it.

We have written the Manifesto as a liberating experience, we have spread the word through the usual

means of the Market (blogs, mail, social network) seeking an audience in a completely anarchic

waythrough the archives found in specialized web sites or scavaging through our book shelves. Does a

measure of the results of our work exist? Maybe not, but we have the data from our blog: in three

months there have been 1800 contacts, of which 100 from the USA, 66 from Germany, 21 from the UK,

20 from Russia and even some from Singapore and South Africa.

Our Manifesto is like the philosophy of Merleau-Ponty which “recognizes having inseperably the taste of

evidence and the sense of ambiguity”. The performance that we have drawn from this experience is also

ambiguous and evident, an almost baroque work on art and its Market. The project was presented in

Udine in a collective (restarting from you), and was composed of an audio installation with readings of

some of the responses added to the manifesto (anonymous readers with deformed voices reading

anonymous authors), the distribution to the public of the Manifesto by a homeless person employed for

the event, the sale of a cd with various versions of the audio at a symbolic price. Commercial art

shouldn't be expensive but accessible.

Sartre said “You know that falling in love with someone is an enterprise. You need an energy, a

generosity, an acceptance. There is even a moment at the beginning in which you need to jump the

precipice, if you reflect on it, you don't do it.” We want to extend our experience and produce a

participative movement which knows how to jump into the Market with love. So Jump!

And for the next experience, seeing that fundamentally our biography starts from here, “Catch me if you

can” as Natalia Molebatsi once said.

video (italian version):

http://www.youtube.com/watch?v=tz9ToMd3sX g

http://vimeo.com/38007748

TODAYToday was created for an exhibition entitled Work / work / vore . We thought three times , video , performance and installation to define the work in contemporary society.

Understood as a fundamental human right , is not

the case that Italian is a Republic founded on work ,

or ambition for many young people , and not only

that, we were not interested .

Or rather we have interrogated as narrative required in times of crisis , leaving all that reveals the hidden work the same as exploitation or self-exploitation and manifestations of this truth.

Lafargue in 1887 published the " right to laziness " in which the passion for alienated labor , as even

then in front of the machine revolution assumed were needed only three hours of daily work to meet the

needs of humanity , is seen as the cause of intellectual degeneration typical of capitalist societies ,

generating individual and social miseries .

The alienation of labor has its perversions and that we investigate .

The work useless Today1 The video, with a child who breaks the stones, reminiscent of the fields of work

in which he finds himself a well-known intellectual told by Errington de Luca . The atrocious working

conditions are exceeded during the search to bring forth a spark from stone , for no reason except his

own suffering , he must break with a bat every day. In the gulag unnecessary work served to demotivate,

fatigue , making inhuman inmates through its repetitiveness.

As more and that " The Stone Breakers " Courbet action is useless and time to dehumanize and deprive

the star of the will to change his condition.

Video on

http://vimeo.com/61654083

http://www.youtube.com/watch?v=uWZjZ2NaFL0&feature=youtu.be

The reference is to the battles of English Left in the Thatcher years .

Footage of the performance can be found on the net along with photos taken from the same

Video on

http://vimeo.com/73137712

http://www.youtube.com/watch?v=RHH-J9A7U2k

2)On this occasion we have also produced a performance, Today2 , inspired by the poster that we list on the right , in line with the experiences of other artists and performers .

The performace , with a sedated woman who slept

during the inauguration of the exhibition , will refuse to

work as exploitation , calling into question the concept

of " glorification of labor and, consequently, the right to

control their own time and their own lives.

The technology already exists today would allow us to

regain control of our lives and live for pleasure and not

pain.

3) The installation plays a banner supermarkets that proliferate everywhere, with " sunday open ." It 'a momentous difference to the idea of work and rest and marks the end of the idea of free day dedicated to prayer by religious and lay people to re-energize. The human and material costs of such denial are at the heart of Today3

MATER(ZOOPOLITICA)

The idea was born when ours friend has cut all his hair off, for the first time in 40 years. Turns out to have traces of signs in the skull of his childhood, due to some fall in very small age.

The market and the family are the two institutions that we pierce from birth, in which we are immediately immersed and that influence us not only from a cultural point of view, but it does impact in our "bare life."

The fashion and education, for example, are the superficial signs of the market and the family. How we dress, how we speak or behave at the table are the manifestation of this influence.

But in zoè (in what Agamben calls "the simple fact of living common to all living beings), the non-conscious or obvious, we have deeper scars. Our mutation to a different body synthesized by decades of market, and families now more different than ever because different shaped in the market, is in these anthropological deformations .

For this reason, the pervasiveness of the conditioning, exploded by Focault's total institutions and even from Panopticon (prison designed in 1791 by the philosopher and jurist Jeremy Bentham), of which Foucault also took charge, arrives at our bowels , our sex, our bodies .

There are three images, such as the trinity of a religion that, is said softly, has less and less chance to condition.

MATER(ZOOPOLITICA)1

mater(zoopolitica)2

the physical impossibility of peace in the mind of someone sportingThe work evidently refers to Hirst's shark. The frequent visits of sport places has convinced us of the impossibility of a fan or one that makes sport not to be agonist .

The work recalls the aggression and frustration inherent in every sport. Like In Ballard's " Kingdom

Come ", we think there is plot between Politics, Communication and Sports Wearing A violent regression

of men and perception of reality , as demonstrated directly (embodied we might say) by the ex Italian

Prime Minister .

MINIMA MEMORIA space, time, dimension, becoming, future, destiny, being, non-being, self, non-self,. are nothing to me

Artaud

In the small memory that Christian Boltanski wanted to keep, compared to the anonymity of the death of the majority of people , remained the artist's need to recover images , pieces of biography , stories. Archives of lives that would have been forgotten , stock of new lives .

In the crisis it carry with us . The market has produced new identity , data scattered in a thousand streams of the network or stored in the memories of the big companies that govern it (our continuously updated biography on google, so that the publicity couldn't be a surprise ), but also a return to the archaic . The Statute of the disappearance , death , change swaying between the posthuman and the old .

Nothing is natural in the death , only the collective narrative of its necessity. Nothing good is in the arrangement of the organs that are put in order only to decompose , blocked , distorting the fate of the bodies. There is a natural desire to persist , while the necessary symbolism of burial practices want to drive you out and get away with rituals of separation.

"The story is the subject of a construction whose place is not the time homogeneous and empty , but full of the ' topical ' " says Benjamin . We are in the current crisis , because our actions emerge from the usual and cause us to be in life on others. In the growth our things remain such, in the crisis they give

themselves and in them we recognize.

No need to explain too much, not worth telling what has become normal , we are only witness .

The archive is created spontaneously between the mobile and reuse . It happens to find ours friend with the clothes of one of his relatives died ,or that others should try the coat of his father, who died recently.

The minimum memory is created naturally , the little stories continue independently, in need , reliving , delaying , refusing anonymity declaring themselves, in clear words or silently .

LEGGERMENTE CONTEMPORANEO"My working method more often is a subtraction of weight; I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of the narrative and language, "said Calvino in American lessons . And so there comes to mind after reading some texts of important curators, experts (scholars no longer exists, you know weight) of contemporary art .

But why when they do the same, perhaps by introducing a catalog of their shows become "heavy", structured, and when they give their overview of the contemporary feel lighter? And why our dear philosopher, Agamben, is convincing when as to what the contemporary is, but it turns out if writes about contemporary art?

When he is Writing about a thinker valuable as Sismondi , Marx said , "He judges in a convincing way the contradictions of bourgeois production , but does not understand it ." The contemporary shows , if

anything, can be assessed, but you don't investigate it, not understand it . Not because it is incomprehensible , but because it is thrown forward in its objective reality , perhaps, is bound ( a quote does not refuse anyone) but you can not think .

Not only in art, but such policy . Those who do not have better things to do try, as did Alexander Leogrande ( the stranger ) and as we did , to compare two writings that compete with the same thinker nearly 30 years later : Matteo Renzi introduction Right and Left of Bobbio and Bettino Craxi in An Essay on Proudhon (1978). " How it ended the parable craxiana is known to all . But if we were to remain on the only textual aspect ...... well , the comparison is really pitiful . " The difference is not between different levels of quality , but structure and speed , the heaviness and the lightness in the interpretation of decisionism.

Maybe things are deeper . As we are immersed in a joyous or melancholy superficiality, and depth , if anything , appears to be only an interlocking of surfaces. The poor Lukacs , in his bad article, helps us . It takes a learned of his time , Max Weber : economist , sociologist , historian , philosopher and politician. Expert in all , at ease in all fields of art and its history. " And yet there isn't in him, not even the shadow of a true universalism ... because never realized a synthesis of this sociology with this economy and with this history , it was necessary that the separation of these specialist science remained intact even in his head " . How come we are faced with this dissociation ? L. says that the social division of labor not only affects the exploited, but also harnessing .

Conditions them , even if their lives are, of course , different . 99 posse says " my head is a hotbed of subversion ." Outbreaks satisfied with uneven move into our brains sprayed from the Market. Could each of us , like say Sir Bradley Wiggins ( a cyclist who won the Tour ) : "I've Always Been a bit of all trades , master of none"?

Our divided brain also divides languages . Only a language that technically ever more specific , with focused haughtily who reduces its terms, as to become esoteric . Involuntarily arises as understandable to others who speak in the Babel of many microtechniques , incomprehensible to most people. But it 's interesting to be understandable to most people ? Depending on the market . If you want to talk to my equals, then use a language system , if you intend to sell another . From the purity Creole passage is short , millimeters of my brain. The mystery that veils the secret profane its truth , that is the simple life ( Magris ) .

There is some truth in the legend that says that sleeping next to a book, we take their content . We had already written these lines when we happened to read " Heroes and anti-heroes in German art " by Marco Minnini . We quote : " We could say that Feldmann is a mannerist , while Kiefer is the muscular Michelangelo of our times. Medardo Rosso against Rodin. Monsieur Hulot against Schwarzenegger. And of course, an old story : ... David and Goliath . " A text that makes the slight Feldmann collide with the heavy Kiefer . As ever , though, when one of the highest density's works of the heaviness of the hard Anselm , " 7 celestial palaces " , is photographed everything is being done to lighten it ? We thinking the same for a more raw performance that we have seen recently . the video of work could easily be a trailer for a movie with Brad Pitt.

But speaking of lightness , while under our office , a resurgence in the twentieth century offers in library a discussion on Baudelaire, secure heavy, and for us, not to be heavy , it is best to take advantage of today's shining sun .sLight is the slight who does.

Photos, videos , work

commercial art: audio track - performance with video , homeless , copies of the poster,

space bourgeoisA.Sleep ( Today2 ) : 30x30 cm photo . Printing on various materials

Today2 : Performance sedated woman . Variable duration - 1 hour video

Today1 ( without the words ) : photo printed in various sizes and supports ( original

10x15cm ) -Video 7 minutesToday3 : banner , PVC adhesive film . Black Track 100x600 cm

Mater ( zoopolitica ) : photos processed - 50x75 cm various media

Tpiopimoss : intallation - wood, glass and soccer ball

Slightly contemporary video , 40 ' ' various formats

precisely because our idea of using the web , some work has been used only for the blog .