ADDICTION [fr. addiction]
Once an artist starts to participate in an Emergency Room
the artist gets addicted.
The artist discover himself experimenting.
He becomes a new artist
the artist is free from his stock
free from what he learnt at school.
The artist coming to Emergency Room
is addicted to show his burning reflection.
To a real public.
The artist is happy not to be isolated
The artist becomes more addicted to the public
than to himself.
The artist is now free from repeating himself.
The artist is now free to be a cliché of himself.
Himself already a cliché of other artists
The artist starts to enjoy to do mistakes
Mistakes that after all are no mistakes.
The Emergency Artist is an active artist.
An Emergency Room in one country
can not wait for another Emergency Room
in another country.
When one Emergency Room closes
the artists can not wait to open another Emergency Room.
Emergency Room should not close.
Expressing yourself is like running.
It is difficult to get started
But when you get addicted
Your awareness muscle exude an opinion hormone.
Opinion hormone is strong stuff
There is positive and negative addiction.
We consider the addiction
To Emergency Room
AESTHETICS OF EMERGENCY [fr. esthétique d’urgence]
This chapter will be the subject of an entire book
and we are looking for an art historian
that would like to work further on this material.
please contact firstname.lastname@example.org
It is fascinating to observe
how artists create a new aesthetics in the Emergency Room
especially abstract painters joining
We don’ t have the time
nor the resources to work on that chapter
But as everything is documented and most art works are in the delay
the working potential is great.
However a beginning of a classification is given here:
From experience we have noticed four types of aesthetic approaches.
The first could be called Vox Pop.
Vox Pop means instead of the artist answering the question
The artist forwards it to someone else.
The second could be called Show It Again.
The artist has extracted a piece from the media.
Exhibiting it in Emergency Room.
And thus pointing at it.
“Did you really see that?”
The third form would be the feuilleton.
Or the novella.
The artist follows a case throughout the exhibition.
Or follows a person.
Or observes a street.
A fourth case would be readymade face lifting.
We don’t like it.
But some artist bring art-on-stock.
Lifting it to look fresh.
Even when it is not from today.
Some artists mimic the media images.
but transform the way the medias function.
Like when Sonya Schoenberger is sewing images from the papers.
In so doing Sonya Schoenberger changes the speed of the media images.
And make us aware of how the images of the media are functioning.
When an Emergency Room has to close
The artists’ are hanging around
Like junkies looking for fixing place.
They hang around
And we have to open Penetration places
We need Emergency Rooms
Open all the time.
Restless artists can be dangerous
Restless artists cannot contain what they have to show
Restless artists jump around burning
Without finding a recipient.
Addicted artist without immediate expression space
can be suffering.
We don’t want that.
The goal of Emergency Room is to give them space.
To collect their precious thoughts and visions.
No to do so is a terrible waste
by Thierry Geoffroy /
Colonel ( link to