EN|LT
Untitled Print
Written by Laszlo Beke, [1972]   
Wednesday, 11 February 2009 12:49

 

In consequence of a law enacting the eternal preservation of the works of art to the end of the …eth century there had been gathered together such a large heap from paintings, sculptures and applied art objects all over the world, that strict measures should be taken to restrict production. The symptoms of the crisis first appeared at the surroundings of the museums: the depots became too small and the works had to be stored in the streets and they made obstacles against the traffic. Then these districts were to be reached only by air-liner or in tunnels pushed through the hills of “nudes”, “landscapes” and “busts”. Some people moved to the country, who could do it. Soon the quays and the suburbs became full of works of art which slowly began to cover half of the country. It was a strange and intolerable situation.

 

 

A small group of artists were to be going to juggle in order to save art from growing too wild. They framed several white boards but not more as it had been allowed for a year, and they put them to those parts of the city where people hadn’t been infected by art-disease – which was a strong psychotic malady caused by art-saturation – and which had serious genetic effects. The white boards dominated the territory of art for several years and they have had no special effects. Nevertheless later psychosociological researches were to prove that the members of the society influenced by the boards began to be in want of art and that was a healthy sensation. When some of the artists have put down pure signs, geometrical figures, coloured spots on the boards, the public was able to comprehend them more than they had thought it before (and it was very similar to the reaction of children).

 

These new discoveries were far from solving of the problems of the great hills of art and “art-disease” as well, nevertheless they occurred a great development in social life of art. After the first pure boards there came more complicated plane and space figures (formerly they couldn’t be comprehended), then several constructions, what could be handled as a toy. The people knew them, liked them and there were researches who got some ideas from them as well. There was increasing the number of ones who didn’t laugh at them and didn’t become indignant because of these little strange mirrors of their pity life.

 

I could tell you even more interesting stories of these jolly old times, but you can read them in every schoolbook yourself, I wished to remember you only the history of the white boards and their significance. They taught us in a way.

 

[the text sent by Ivan Ladislav Galeta (Zagreb, Croatia) as a sign of solidarity in a fight against "fast comming global art(e)fact pollution".]