Friday, September 9, 2011

Causalidades II: Virginia Cappabianca [64]

Bina Capadia - Virginia Cappabianca
Buenos Aires, Argentina

"Causalidades II" - 2000
Oil on table - 0.60 x 1.25 cm.

The following text belongs to my work in painting titled ”Causalidades II” /“Causalities II”

In this painting, I worked many concepts. One of them is about sexual abuse and psychological pressure.

Sometimes, people –men and women, and children too- suffer this kind of troubles in the course of their lives. It can occur at work, at school, in their own homes, in the street, or in other places. The sufferers are usually considered as the “victim” and the aggressor, the “murderer”. Some situations can be proved, so they can manage with it on the laws, and others can´t be proved. The “victim” sometimes can preserve it´s life, and sometimes not.

I can remember about many years ago, in my country, there was a discussion about this topic, because of the criteria used about these situations with the laws (all this cases were based on “victim’s” testimony and the “murderer” defense, and sometimes with some “testifiers” confession)

In relation with Art, the topic “Prostitution in Art”, is a parallel concept based on the ideas explained above.

I consider the idea of prostitution in art based on the pressure used by any power instruments (it is, some organizations which operate in art) used to control the arts freedom, so the artists have to obey some rules that don´t belong to their own artworks criteria. For example, the obligation to pay with the artist´s resources for some art participation activities (art fairs, biennials, galleries, museums, etc) but sometimes the artists don´t have their own resources, so, they can´t participate. Or, perhaps, when the artist´s work and effort is used for some other´s enrichment or to some activities that the artist doesn´t know what is about, and the artist doesn´t receive anything, nor a value for their artwork as a creator (which could help to continue with it´s career)

This discussions belongs to art critics, but I consider much important let the artist express it´s own point of view, because of their direct implication on this situation.

My discussion, as an artist, as a creator, is that I have to control the ways by which my artwork is running, and I have to pay a lot of attention to terms and conditions when I decide to give my work (to a gallery, to a virtual page, to a museum, etc)

I have worked many times guided by lawyers to control some points of my art.

I hope this text could be accepted to accompany my work in painting.

Virginia Cappabianca