ART-ON-STOCK [fr. reserve de l’art]
Art-on-stock is the most prohibited for an emergency artist.
Artists usually produces works for exhibitions
and occasionally sales by having a already made stock of works.
This constitutes the Art-on-Stock which awaits a rendez-vous
with a spectator
through an exhibition.
Within the work of art is inherited a fundamental delay
(or an disinterested apathy within the work).
This delay serves as fond for the intended interested pathos
in the meeting of the spectators’ observations,
and the unexpressed intention in the work of art.
Contrary to the usual production, exhibition and perception of art
the Emergency Artist does not produce works
on basis of art-on-stock.
Instead, the Emergency Artist produces works of today
for the spectator of today.
First then, at tomorrow, does the works of art go into a stock
in the form of an archive or museum of delayed art.
This stock is a kind of demi-stock of art.
Emergency art is not produced to for any Delay Museum.
Emergency art is not produced for a demi-stock.
If one exhibits art on a art-on-stock basis,the result will inevitably
be a demi-stock.
A demi-stock is a permanent exhibition.
A demi-stock is hung art.
Most contemporary art museums are demi-stocks.
They are insulting the concept of contemporaneity.
Only emergency art is truly contemporary.
ARTIST [fr. artiste]
The artist, as we know him, is delayed.
The artist, as we know him, makes art that is already historical.
The works of the artist, as we know him, are located in archives,
waiting for observations and aesthetic judgements of a future observer.
The archives could be the art-on-stock in the studio or the demi-stock
Therefore, the artist, as we know him, is busy, or, rather,
pretends to be busy.
It is important for the artist to be busy.
It means that the artist rides on the wave of success.
The typical artist has a lot of projects.
The typical artist is not living today but propulsed in the future,
where time is taken in advance.
The typical artist is obsessed by networking,
going to network parties,
spending more time in creating potential opportunities.
The typical artist does not show art, but exhibit his possible capacity
to be invited for potential future shows.
The typical artist does not have the time to make art.
A project is the platform for another project.
But what inspires the artist of today?
What motivates the artist of today?
Does the artist feels he has any role?
by Thierry Geoffroy /
Colonel ( link to