BUSY [fr. occupé]
Busy is the state of being totally occupied.
A state of no more disc space.
A state of not being able to operate anything anymore.
A state of not having space for anything else other
than what is planed in the long term.
A state of being covered and not able to manoeuvre.
A state of immobility.
Busy is a state when your life does not belong to you,
but to everything else except yourself.
Being busy is the state of being occupied to the degree
of not having space for something else
than what is part of projects.
The artist of today is busy because he has projects making him busy.
Neither the proximity, daily life or the actual
can enter in his field of vision.
The busy artist is perceiving the reality with a teleobjective.
No wide angle on his lens.
The artist is busy projecting his ghost in the future.
The busy artist can neither absorb, integrate, nor redistribute
immediate impulsive perceptions.
The opposite of the busy artist could be the flaneur.
The artist of today has changed from being a flaneur
to a busy entrepreneur.
The artist of today has radically changed his way of being.
The artist is not anymore a bohème floating around freely,
blown around and inspired.
But a busy person peering at opportunities
and running for network and fake parties.
To be busy is not like having caught a virus or a temporarily pathos.
To be busy is a voluntary and fundamental decision of how to live.
One can only be fundamentally busy.
To be busy is a strategy to close (nearly) all other possibilities
(than being busy).
Thus the state of being busy
is as close to a spiritual choice
as we get today.
Artists make themselves busy by their own will.
And they don’t even have to.
Maybe some told them business was a cool lifestyle.
Maybe they thought so themselves.
The result is the same:
business is an attitude which is more than a form.
Business also corrupt the content.
Business occupies every available space of the artistic receptivity.
A busy artist cannot even have 10 percent free.
A busy artist is occupied.
Should someone die before his feet, he wouldn’t notice.
He is looking further.
At the projected landscape.
When you are responsible of children, the school can call you at any
telling you that your daughter is sick.
Hopefully you will abandon everything
and come immediately.
If you are too busy, she will die alone in the hospital.
Business is the enemy of emergency production.
What would we say if the fire-brigade, policeman or health care were
– Sorry, we can’t take any action in your matter: we are busy with our
Business makes any urgent work impossible.
In who’s interest is it to keep artists busy?
Comme le malade imaginaire
l’artiste est busy, malgré lui, but on its own will.
The institution is delaying the artist
by not giving him an immediate platform.
Without a platform the artist cannot express.
Artists who are working today
have very limited opportunities to exhibit their works
as truly contemporary works.
The exhibitions of the art institutions have been scheduled far ahead,
and there is no room or space for an urgent work of art.
The institutions are way to slow for a fast working artist.
On the other hand, one can’t really criticize the museum for having
After all, the museum has always been for the dead, in which the fixed
gazes stares blindly.
But one could criticize the sea of contemporary institutions, which pop
up all over the world, for copying the glaring
blindness produced in the museum.
Contemporary institutions do have an obligation to be able to react
(today!) to artistic expressions of urgency.
Rarely do contemporary institutions understand this idea.
Instead they want to remain “museums of potential art”.
by Thierry Geoffroy /
Colonel ( link to