A world of slaves
Which art toward freedom?

by Jizaino, 20 May 2016




Apart some brave outcasts, and excluding residual tribal societies still uncontaminated by the modernity, human society is founded on slavery. The modern man is subjugated by a dependency to the system that makes him a slave. His metaphorical chain is money, problem and solution to the problem, alfa and omega of his existence, the one only god.

This may sound like the typical argumentation that Jehovah's Witnesses bring to favour their cause, but indeed that is the reality, we all know this, after all. Perhaps some people are unaware, or prefer to forget, but many recognise that is a fact, although we all do not know how to avoid this curse. The reason is simple: to escape from that, first of all we should agree jointly all together, otherwise if a minority of people quit the game, those would end in raising the number of brave outcasts, heroes, saints and martyrs; an arduous choice indeed, that is preferably delegated to the actual superhero or christ, but who can not definitely wipe the basic problem anyway, although they set an example of higher stoicism and wake consciences. For this reason, in a moment ruled by the Profit god, it is possible and necessary to work all together on divulgation, in spreading the though for the building of a free world.

I founded this site also with this vision: to use the reactionary, symbolic and evocative power of art to emancipate from slavery the human being, either the artist-maker or the onlooker-beneficiary, as also the name of the site originated from the word Freedom. Freeing the individual from the schemes that makes him a slave, at any level and of every social class, even who believes to be wealthy, but indeed even more slave of that system monopolising his life and brain, which now can think about nothing but profit.

The topics I propose in this site had always a peculiarity: they are directed from art toward the public, introducing critiques, examinations, interpretations, yet always something going from the makers to the beneficiaries; some kind of an imposition, or maybe euphemistically an advice or suggestion.
This time I want instead to be even more direct, editing an article that straightforwardly speaks to the public, the beneficiaries of Art.

The speculation and exploitation, characteristics needed by the world of profit that makes us slaves, have inevitably generated a bubble that has exploded since some time, leaving the so called economic crisis, that is to say they finally have unveiled the visceral lack of equity typical of this system of exploitation.

So, the world has get to know the real face of profit, that pulling off its mask changed its name in “financial crisis”, the miserable locution with which hypocritically define the social unfairness, or the extreme difference and separation between wealthy and needy people.

Surely, it is true that in times of crisis many needy people tend to loose interest on anything not strictly necessary or functional to own subsistence or survival, forgetting about art, culture, ethics and knowledge, considering them superficialities, preferring instead the pragmatism of a job, money and food, the same concerns that throughout history distressed the slaves, the class ruled by the over-powerful, the serfdom, those who work for food, which nowadays is called food voucher. In many cases they are even unconsciously searching for self-destruction, in alcohol, in drugs or in gambling, perhaps in the false hope to solve their problems, but surely searching an escape or an reason for their chagrin. Indeed, those do nothing but to strengthen their chains or cages imprisoning them: it is not a wage that makes you free, but knowledge.
But also the wealthy people do not feel better, because for the most part they are the ones who have took advantage of the parasitical social system exploiting the others, who have thus neglected their own ethics, crushing human dignity in exchange of money, just like you squeeze grapes to get wine, at the call of “mors tua vita mea” and under the squalid sign “arbeit macth frei”, nazi docet. Such kind of people do not have a real interest for the human being, thus neither for his expression, his culture, his art; at most they admire his artisan virtuosity in manufacturing luxury objects to be flaunted as status symbols. Those kind of people care just for themselves, for lust, thus linger right on the same vices of the miserable ones: gambling, drugs and prostitution.
This is not mankind, but a system dominated by intellectual impoverishment, by the lack of respect, where both the ruler and the submissive worship the same god: money.

The world facts that anyone can get everyday from news, push this epoch toward the ravine always more in a runaway manner, at the point to make me doubt that it is still possible to change this state of things by the means of the sole sensitivity and elegance of an evocative art, that could wake sleeping people and make them to think, or to make over-powerful people to get a conscience. I do not give up, but it is necessary something more; that is the reason why I am now straightly speaking directly to the public, not without a bit of reproach, to collectors in particular.

The artists, the true ones, are the ones who do not have much of the guilt, instead in large part they are among the oppressed and the outcasts of the system.

The true artists are there: martyrs of the system, who self-immolate risking their own destiny in the name of freedom. Through them the spark of self-determination survives, their works are crystals, jewels where the soul of mankind is preserved inside, like swallowed in the amber, where we can read everything that is not written elsewhere, neither in the latest trendy novel, movie or commercial product. The true artists are the ones who are really free from the logics of market, the troubled, the delusional and dreamer, the naÏf, the bearer of a sincere inadequacy to marketing. Their works represent the essence of their times and characterise the true immortal artist of any epoch, he who has participated with struggle and genuine engagement to the representation of the events, pioneering searching the way to improve the society.

But the times are ripe, soon or later the world will jolt suddenly, as always happens, archiving this critical epoch, historicising it into a prospectus that will make it comprehensible to everyone. But we must act so that the culprits will be exposed and the big speculators will not repeat again their lies with which they inflated the many bubbles, the art one first, shilling art-goods that was functional to their short-sighting market logics. The big slaves of profit, ministers of lust foisting ethical annihilation, shall not find an incompetent and naïve public anymore.

The audience have to know that many collectors have been enmeshed and mislead by this system of flogging merchants accompanied by artists who are only searching for money creating works made on the purpose of marketing, without a personal or genuine feeling from the soul. You can understand well that in the long term such system is not maintainable, because founded on the speculative exploitation: a depleted plot of land at last is being abandoned.

Right the disappointed collectors could reopen the eyes, and work hard with personal intuition in order to oppose and invert the trend, subverting, rather making to crumble the speculative system, the art system that deceived them, favouring a personal supportive patronage guided by own instinct in the search for those puzzle tiles that compose the true history of the mankind free from schemes, that are those artists who love art more than themselves.

Only this way the large puzzle of art history will be a portrait of the free man, not the slave man.


Jizaino -





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