For all its hyped-up networks of invention and elaboration, the contemporary art world stands at a critical juncture. The essence of artistic endeavor, which thrives on freedom, spontaneity, and the unbridled flow of creative energies, is suffocated by a burgeoning culture of bureaucracy and commodification. Artists today are ensnared in a relentless cycle of drafting proposals, filling out applications, and paying fees for residencies and exhibitions, all under the guise of opportunity. This system, far removed from the objectives of artistic creation, not only undermines the dignity of artists but also erodes the foundational pillars of a creative community and curator-artist and artist-artist relationships.
In decades past, in its imperfection, the art world thrived on the subjective, the intimate, and the communal. As the vital link between the artist and the public, curators ventured into studios and engaged directly with the creative process. They built relationships, understood nuances, and fostered environments where art could be experienced in its most authentic form. This hands-on approach nurtured a sense of community and collaboration, where artists and curators worked together to bring art to the forefront of societal consciousness.
Contrast this with the present scenario, where open calls and impersonal applications have become the norm. In their quest for visibility and recognition, artists are forced to navigate a labyrinth of bureaucratic processes that demand their creativity, time, money, and energy. The personal connection between curator and artist has been replaced by a transactional relationship, where art is judged not in its lived context but against a checklist of criteria. This shift not only dehumanizes the artist but also commodifies art, reducing it to something that can be quantified, judged, and traded.
The indignity of this system lies not just in its impersonality but also in its exclusivity. The financial burden of application fees, coupled with the opaque nature of selection processes, often sidelines talented artists who need help to afford to participate or enter the conversations sought by curators and galleries. This stifles diversity and innovation and perpetuates a cycle of elitism, where only those with the means or the right connections can hope to succeed. Almost a quarter of the way into the XXIst century, we are still reproducing tired, exploitative circumstances for artists, whom publics argue they stand by and support, even though the art market reflects that people rarely, if ever, buy art directly from an artist when they can afford it.
Moreover, the focus on applications and proposals diverts artists from their primary purpose: to create. The time and energy spent navigating these administrative hurdles could be better invested in the studio, exploring new ideas and pushing the limits of their craft. The essence of art is exploration and expression, not administration. When artists are bogged down by the latter, the art world suffers, settling into stagnation and conformity.
The call to action is clear: we must challenge this paradigm and advocate for focus on the principles that makes the art world a thriving ecosystem of creativity and innovation. This means fostering direct engagement between artists and curators, eliminating prohibitive fees, and creating more inclusive and transparent selection processes. Curators and institutions must step out from behind their desks and re-engage with the artistic community, not as gatekeepers but collaborators and facilitators. We can no longer settle for the way things were before or during the pandemic.
The future of art depends on our ability to recognize and address these challenges. We must strive for a world where artists are free to create, exhibitions are born of genuine connections, and the art world is accessible to all, young and old, rich and poor, not just the privileged few. Only then can we restore the dignity of artists and ensure that art remains a relevant and vital force in society.
Ángel Rafael Vázquez-Concepción 