Name: Alexander Thensi
Title: The Struggle Is Real
Material Requirements:
None
Abstract:
The Struggle Is Real is nothing. Literally nothing. Ok, well I guess that's a tad misleading. In some sense it's a performance piece? I'll still be there, and I'll still stand in my booth, but that'll be it.
I'll catch strange side-ways glances from people as they pass by, and maybe occasionally one will walk up and ask "So, what exactly is your installation?". And in response I will launch into a monologue about how I've thrown the book at my projects this year, and each one comes out all wrong. How I haven't been satisfied with anything and I've hit a creative wall. All in an impassioned performance that will most assuredly convey the magnitude of my struggle.
Intent:
Creativity is an abstract concept, and as such it can elude even the greatest of artists at times. Sometimes, you want to write, or paint, or sculpt, but it's just not coming to you. Generally what we celebrate at our Expos are those who have managed to overcome the creative struggle and create something that shines. As we should! It's a feat that deserves the recognition, as creating something, anything is an achievement.
However, in our quest to show the world the glory of anart, we should take a moment to step back, to recognize those who have fallen in the battle against their own imagination. Hundreds, if not thousands of artists a year find that maybe, just maybe, they've hit that wall. They've dried up. Tapped the last of it.
I hope that this installation will recognize those who won't have booths beside me.
Response: "The Struggle Is Real"
Alex,
I know you've had a bad run of it, but you caught lightning in a bottle ten years ago. Not every piece is going to be like your first, and I'm willing to bet money that's getting to you. You're not the first guy I've seen this happen to, and you're not going to be the last.
But c'mon man. You also have to have some sort of idea of how many "I'm bringing nothing as my installation to make a statement" proposals we get. Everyone thinks they have some sort of new take on "the lack of anything as art" and they never do. It all just comes across as making an excuse to get into the expo.
I'm not like, mad. I'm not even disappointed. I just want you to get back in stride. Your Freedom In Falling piece from '94 was good because it came out of you naturally. Stop trying to force your stuff.
- The Curator
Name: Alexander Thensi
Title: Forest For The Trees
Material Requirements:
- 30" x 40" canvas (in my possession)
- A palette of acrylic paints (mostly various greens and blues, in my possession)
- Bright blue chalk (needed, this color is surprisingly hard to find)
- Neurological inhibitors potency based on distance to source (in my possession)
Abstract:
Forest For The Trees is a simple installation. No performance required (thank the heavens). However, the installation will require about twice the size of a normal booth dedicated to it just to get the desired effect.
The physical piece of anart itself is nothing more than an acrylic painting of a forest. Most likely based on a park in Vermont, or maybe I'll take a trip into the Appalachians and get inspiration from there. I haven't quite decided, but the point is that it will definitely come from somewhere near the east coast, and be peppered with little details, like squirrels in the branches and carefully placed leaves that simply beg for a closer look.
However, the true power of the piece comes not from the visual aesthetic (although I will vouch for its quality), but in how people try to think about it. The eye of a passerby will be caught by the painting, and they will begin to theorize about what it could mean. What could be the meaning behind such an unassuming picture? They'll approach out of curiosity, and after they cross the line of blue chalk on the ground, they'll find themselves unable to reconcile the artistic value of the visuals. The neurological inhibitors in the painting will reduce their capacity for creative thought or artistic recognition. In their head it will lose potential, and, while they will be convinced that there must be something there, they won't find it.
But we both know that our audience is an inquiring one. As they walk away from the picture, they'll cast a casual glance back over their shoulder, and again feel all those initial speculative thoughts come back from when they first saw the picture. The right of their brain will fire up again. All of the details they couldn't quite piece together will fall back into place, and they'll find the answer they were looking for.
Intent:
Sometimes you just need to take a step back and see the forest for the trees.
Recognition
Award: The Brumstock Prize
Aim: To recognize anartists who utilize the anomalous, not just to add a layer of uniqueness to their installation, but to carry the weight of the installation's message as in through an extended metaphor made reality.
Speech Transcript: I really like this piece. Like, a lot. It's the kind of thing I really love to see at this sort of thing. Its charm lies in its simplicity. I mean, it takes a commonly used turn-of-phrase, and puts a nice literal spin on it. A lot of other artists tend to go for something more abstract and harder to grapple with but this? Nice and simple. Reminds me a lot of Thensi's piece from '94.
Speaking of the artist, the fact that this piece comes from Thensi of all people another part of this installment that makes this piece pop. You can obviously see how the man who has been in a creative drought has confronted his own struggle, and got to the bottom of it.
You did good, Alex.
- The Curator
Name: Alexander Thensi
Title: I Printed A Picture Of The Mona Lisa
Material Requirements:
- A laser printer (in my possession)
- Printer paper (in my possession)
- Bright blue chalk (not needed for this installation, but I ran out of the last stick you gave me and could use another)
Abstract:
I wanted to try a performance piece again, but this time I'm bringing props! Props always make things pop more for the audience. There's a reason we have more actors than mimes nowadays.
But yes, I will be in my booth, displaying a picture of the Mona Lisa I will have printed, probably no more than an hour before the expo opens. My composure will convey some sense of shame, but not too much. Don't want to overdramatize now, wouldn't we?
As the expo progresses, the on-lookers will shoot me sideways glances, until eventually one of them will ask me why I'm pretending that I painted the Mona Lisa, when I'm very obviously not Leonardo DiVinci. Upon this prompting, I will launch into a monologue bemoaning the terrible lengths one will go through if they are brought to the end of their rope, creatively speaking. Silly tangents about how nothing means something, convincing yourself that you will never create again, and then finally landing on plagiarism.
All in an impassioned performance that will most assuredly convey the magnitude of my struggle.
Intent:
The creative struggle sometimes makes a man do things he never would have pictured himself doing. Commit crimes, both artistic and literal, just to get another chance in the spotlight. On the big stage.
I have heard stories of artists who have stolen art from their fellow man. I have heard stories of artists who have slain their fellow man to take their art for their own. I have heard stories of artists who have slain their fellow man to take their art, and then tinker with the neurological inhibitors in said piece of art to remove any limiters on them.
I have heard stories of artists who have destroyed the future of their fellow artists just to make a goddamn point, and then win an award for it.
So, when I give my monologue about the woes of a struggling artists, unable to come to grips with their own creative inability, all of the artists in the audience who presented at last year's expo, but find themselves without a booth this year, will know they are not alone in their struggle. For, an artist's struggle is very real.
Response:
I do not understand why you submitted this. I can only assume it is to brag.
The only reason you won that award is because you fried the right-brains of all the judges, and the other artists there, so the only "artistic statement" they could even fathom was your crude "see the forest for the trees" sentiment. Even when stealing work, you did not think to steal something sophisticated.
Now I have to take over for The Curator, which is truly a shame. He loved this job.
I hope you are satisfied, as I have gotten you banned from every anartist exhibition with any self-respect. We might have a record low number of proposals this year, but your work would cheapen even a lack-luster conference like this year.
All in all, what you did wasn't very cool.
Regards,
The Patron
