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Evolution of Mona Lisa by da Vinci, Murciano, kAeLa and Talidari

join the ART REVOLUTION
Who else is not afraid to say that Mona Lisa painting is ugly, that Van Gogh is boring, that Rembrandt is too gloomy, that all the old master-pieces are servant-pieces of today? Who else can take a risk with us, a risk of being ridiculed by self-acclaimed connoisseurs?
We let no art-dealer-mafia to manipulate us into thinking that the older the better, only because they cash in on us believing it. We refuse to accept that the dead masters are more worth than the alive ones. They only brought new value to their own times, but that value is out of date now. There is worth in their works, but it shouldn’t be esteemed higher than the new worth contemporary artists bring to our world and the issues of today. The blind worship of the old artworks leaves not enough room for the young talents to bring something in movement, which is relevant to our days.

 
   

Just who are the people to pay hundred millions for a démodé signatured artwork and overlook the no-name talented artist? Are they art-loving fans or mere money-loving risk-hating investors? What do they know about the worth of art?

Rise to the occasion, join the revolution. Your voice counts! Show us your backbone

 
   

How absurd for a painting created nowadays, to have thousands or million times less value on the market than some old ones. But it looks better on the wall! What is it about the old that makes it worth so much more than the new? Where this obsession about old masters comes from? What about the new masters? Does anybody know them? Can you name at least one? You might have a piece of unrecognized living master hanging on your wall and not know it.

 
         

Conclusion:
art-piece itself is not relevant at all but the process of promoting the value of the creator.
Is the art then defined by the craftiness of a promoter or by the craftsmanship of an artist?
That calls for the question: What are you going to do about it?

  Rise to the occasion, join the revolution. Your voice counts! Show us your backbone
 

The art revolution

Art rEvolution is a movement that supports evolution in the arts and challenges all those that oppose art reform, which promotes the arts of today's masters as opposed to the old-fashioned works of outdated masters. It also advocates defining art by the skills of artists, not by the craftiness of promoters.
Artistic innovation is the heart of the art revolution, demanding a major shift of cultural conditions that would allow a greater exposure to the innovative artworks of living maters.

The term revolution has been used to denote both evolution of arts and revolution of approach to arts, calling for great changes in the public sphere in how it relates to the arts of our times.

 

ART REVOLUTION MANIFESTO

The Art rEvolution Manifesto is a declaration of intentions and purposes of an art reform, calling for public to

  • reject conservatism in arts by revolving towards the art of our days and age through recognizing its valuable effects on evolution of global culture
  • reject the movement towards commodification and capitalism in arts

Written by Talidari at the International Artist Union, it is an open call to support the creative efforts of innovative living artists

Slogan
There IS evolution in arts

 

The cause and the enemy of the creative
A poll showed that most of the public couldn't name even one living painter or sculptor, let alone be inspired by their work. They only know and appreciate the old masters.
This fact is shocking and intolerable, and is result of an illicit conspiracy instigated by certain art capitalist lobbies whose profits are secured as long as the public is manipulated into appreciating principally the works of artists in their possession, namely the old masters. They are funding and legitimizing an organized aesthetic crime that threatens our sense of right by telling us through various institutions what we should find beautiful and worthy.
In response, we wish to defend the evolution of creativity.
There is nothing wrong with appreciating historical works, as long as the present efforts are not undermined because of it.

 

 

The intention
The Art rEvolution is an initiative that goes simultaneously in all major art forums and public fields of the world.
Its intention is not to promote revolutionary art or the architects of the revolution, but to defend the art reform as to:

  • facilitate the public to be moved and inspired through works of artists who address the  standards and issues relevant  to this age
  • facilitate all the living masters to achieve adequate exposure and rewards and so to encourage them to continue in producing new masterpieces
 

The mission of the Art rEvolution movement is to

  • challenge all those that oppose art reform
  • aid the transformation from conservative to liberal approach to arts
  • demonstrate that there is evolution in the arts by providing evidence for the arts of today as more worthy to modern men than the arts of past ages since they relate to issues and standards of our times while the arts of past ages do not.
  • defend the rights and interests of the creative artists by providing more chances for painters and sculptors of today to grow as artists and so produce more and even better works
  • open a dialogue about what art is in the 21st century
  • define art by the skills of an artist, not by the craftiness of a promoter

Through the democratizing power of mass media and other modern technology

 

This is appeal to all

  • living artists to act from our united front in order to form favourable conditions for their arts to achieve greater exposure
  • media executives and major players alike to bring awareness to the public eye of the living masters and their works for their valuable contribution to our times
  • friends of arts to open their hearts to the innovative art and support the art reform any way they can
 

Aims of the art revolution:

  • the media would cover extensively the achievements of living artists
  • living masters would get more recognition and enthusiasm from the public
  • more visits to exhibitions of living masters who bring new values to the world than dead artists
  • art consumers would refrain from buying reproductions of the old paintings and instead go more for the original paintings of today
  • the industry would commission more new artists as opposed to using the images and styles of the old artworks
  • expose the foul art dealers who exploit and cheat the artists
  • public would have a chance for greater exposure to some valuable arts that would not be otherwise revealed to them

We are not here to judge who the living masters are; the public can decide that but only if exposed enough to new art.

 

We stand against

  • all claims to a total truth of what is beautiful and worthy in arts
  • conspiracy and machinations of conservative profiteers, who shamelessly legitimize esthetic delinquency, which threatens our sense of right and stifles innovation
  • glamorizing the old arts at the expense of the new arts.

Who stands against the art reform (the contra-revolutionaries):

  • the kind of artists
    • who oppose the innovation and invention and rather stick to the old outdated standards, who don't understand that times change and with them the standards
    • who find satisfaction in putting other fellow artist-reformers down rather than in supporting
    • who don't get it that this reform is designed to provide them better conditions for producing and marketing their artwork
    • who are not real artists but use art to cope with their neurosis
  • the kind of contemporary art dealers
    • who have history of exploiting and cheating the very artists from whose works they make own living
    • who don't understand that this reform is about protecting their interests
  • the art investors whose profits depend on public believing their collections of old masters have better value than the innovative arts of living masters
  • the members of public who are manipulated into old-school thinking and are not open to new ideas and better standards
  • conservatives
  • all those who falsely think that to create good arts artists must suffer and be poor (and maybe even alcoholics, drug-addicts, crazy and all the other stereotypes that enemy of arts like to pin to them)
 

We embrace

  • all people who are in the course of constituting a real alternative —  a model of creative life that reflects the efforts and needs of the creative multitude
  • the values of free flow of creativity supported through media coverage and funding
  • the original humanistic impulses of the movement for human progress

We believe

  • that culture should be open to evolutionary enrichments through contributions of new masters
  • in the duty of progressive artists to respect the historical achievements of old masters by understanding their place in the scheme of things...
  • that the biased veneration of old masters at the cost of the yet unknown living masters is a blow for creativity, whose capacity depends on an ongoing endorsement from the recipients
  • that great artist of past ages have no power to move and shake things nowadays, although they have created much stir and admiration in their own days. We tip our hats to them any time. They deserved all the glory for all they have done. However, it is the living artists who bring things relevant to our age in movement.
  • that there has been better art (visual) produced since all the great artists have died, so they deserve to have better coverage in the media and better place in the hearts of the public
  • that contrary to claims of certain interest groups, artist must not suffer in order to excel because if not given the right conditions their seed can't grow to great heights
 

The Now

  • the dead masters are more worth than the living ones
  • The one-sided worship of the old artworks leaves not enough room for the young talents to bring something in movement, which is relevant to our days. The living progressive artists who have the tools to bring our attention to the burning issues of today have no means to cut through the old school barriers
  • the value of an art piece is defined by how much is someone rich willing to pay for it
  • the living artists that are being given the highest profiles and greatest rewards are remarkable merely for their efforts to create a shock-effect rather than quality
  • art-piece itself is not relevant at all but the process of promoting the value of the creator. The art is more defined by the craftiness of a promoter than by the craftsmanship of an artist

The New Now

  • the public lets no longer the art-dealer-mafia to manipulate them into thinking that older is better than newer, only because they cash in on everyone believing it
  • We refuse to accept that the dead masters are more worth than the living ones. They only brought new value to their own times, but that value is out of date now. There is much worth in their works, but it shouldn’t be esteemed higher than the new worth that living artists bring to our world and the issues of today.
  • as part of encouraging artistic endeavour and in the interests of unlimited flow of creativity, we defend  evolution in art and creativity in general
  • innovative artists will always revolt against what they’ve been spoon fed and find ways to reinvent - that’s how art remains vital
 

Solution

  • we propose here an artists’ union, whose objective is to protect interests of living artists
  • educate the public through higher exposure to new arts in the mass media
  • the trend linking art of living artists to commercial brands

Conclusion
It is vitally important for the future of effective arts that people of liberal and progressive outlook should now speak openly. We must define ourselves against those for whom evolved creativeness has been subordinated to outdated creations and mere interests of capitalists. The values and goals which make up our agenda — the values of evolution, human rights, the continuing battle against unjustified privilege, solidarity with people fighting against unscrupulous art machinations — are what most lastingly define the nature of any art revolution worth fighting for.

As with any other revolutionaries/reformatories, we expect to be ridiculed and insulted by the deceitful profiteers as well as old-fashioned fellow artists and other conservatives, who rather cling to the old than honor innovations. But that's ok. Everyone is entitled to have an opinion and own taste; and as for the stones they throw at us, we build us a palace from them.

 

The architects of the revolution

Text coming soon.

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