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| What is a Crisis? Zane Oborenko, Visual Arts Theorist | |
| The crisis has been discussed a great deal of late. But do we all have the same understanding of what the term “crisis” means? And is the financial crisis really the most important one? Politicians, economists and financiers have opined extensively on this subject, it has become a kind of habit. But the views of artists and people in art-related professions have been much more rarely heard, despite the fact that there is a long history of artworks predicting various crises. Artists are often the first people to raise hidden or ignored issues and problems. That is why we put the question: “What is a crisis and what is your formula for overcoming one?” to a number of personalities from the public and private sector, people living and working in various countries and cultures, representing diverse social and economic groups and with differing educational background and experience, but who are all closely connected with art. Barbara Fässler (artist, also curator, studying philosophy): There isn’t almost any domain or entity that wouldn’t be affected by a “crisis”. From the subjective field to the objective zone, crisis affects both people and systems, unsettling individual, as well as collective wellbeing. If we investigate the original meaning of the Greek word krisis, we discover – to our surprise – that it has a positive sense: it means ‘opinion’ or ‘evaluation’ in a situation of changing conditions. Instead, nowadays, we use the term in many disciplines (such as medicine, psychology, finance, economics or system-theories) to indicate a problematic period of poor functionality which calls for a re-evaluation of fundamentals. A crisis marks an upheaval in a settled period of long duration. The Greek word krisis originated from the verb krinein, which means ‘to separate’ or ‘to distinguish’. Of course, in a moment of crisis we have to decide whether we choose the road that goes off to the right or off to the left. In order to be able to decide, we have to separate and to distinguish clearly the two alternatives. We can conclude that in reality the term “crisis” does not have such a negative meaning after all. On the contrary, any road with a fork in it provides an opportunity to choose a new direction, and justifies the definition of a new goal. The word “crisis” has suffered the same fate as the words “problem” or “criticism”: from a neutral meaning to one with negative connotations. Yet the Chinese word for crisis – weiji can help us further: wei means ‘danger’ and ji is ‘opportunity’. Therefore any crisis situation at the same time presents the possibility for something new: a new awareness, a new direction, a new system, new solutions, new vitality or new health. How, then, to overcome a crisis? There is no need to overcome it. It should be enough to be recognizant of the strength of the shuddering upheaval, in order to analyze what’s wrong in the system, to change it and to come out of it all as if born anew. Paolo Bergmann (lawyer (royality rights)): A crisis may be defined as the breakdown of mutual trust and confidence, which can occur with the collapse of mutual ties that are too tight. The way out of a crisis is achieved through the repo¬sitioning of reciprocal expectations, and the reconstruction of new ties and boundaries that allow the new or re-established relationship to be based on judicious mutual trust. Laura Garbarino (Philips de Pury & Company, contemporary art expert): There is a crisis, but you can’t see it; for others crisis can be felt by both hands and with the stomach, because they can’t make it till the end of month. When talking about the economy, crisis is an abstract word. It scares you, whether you have lost your job or whether you are wealthy, because you never know how poor you could become. For others the crisis is an internal fact, something that can’t be expressed in words, but makes its presence felt as a feeling of discomfort. But crisis, in whatever form it may be, most visibly affects young people, because their expectations are replaced by frustration and this in turn by premature ageing, an old age of the spirit. With the onset of crisis, the first to fall by the wayside are ethical values, and the ephemeral flourishes to distract people from reality. The crisis in art is a little of all these crises put together, if it is there, then nearly everyone falls ill: artists, collectors, critics, philosophers, magnates and audiences, expecting that someone or something will bring them back their lost enthusiasm. Italy is always a bit different, in a crisis as well, because each and every one thinks as they please, and art is no exception. Collecting is solid and with deep roots, more concerned with contents rather than with prices. Notwithstanding the less speculative and more personal attitude, at the height of the boom the frenzy caught Italy also. Reaction to the crisis has not brought about stagnation, but greater caution as regards purchases, with more time being taken over making these choices. There is more curiosity and research in rediscovering talent that had been forgotten by the market; works by respectable artists, already recognized institutionally, are still available at affordable prices. This I believe to be an interesting and important aspect for the recovery of contents and for the restoration of fertile ground for emerging artists. Giovanna Canzi (art journalist): The etymology of the term “crisis” is to be found in the Greek language. It comes from the verb Krino, meaning ‘to separate’. Therefore a crisis is a precisely defined moment which separates one situation, thing or form of being from another. It is a transitional stage, which indicates a before and an after. At least that’s how it is from the etymological aspect. At the moment it seems to me that the term “crisis” is used very liberally, no longer remembering its original meaning. We become habituated to living in crisis, and every day we accept a crisis situation. We also speak of a crisis in inappropriate contexts. For me, this year has been no different to any other. I am accustomed to living in a precarious situation – as regards working – I am used to difficulties, a state of flux, and to change itself. I think that this constant condition of insecurity is also fundamentally a source of strength. In fact, in this year of “crisis” I have decided to bring a second child into this world, so that in any event I keep looking forward. Settimo Catalano (psychologist and psychotherapist): There are many types of crises: the emotional type with a partner, or with children, in the work environment, economic etc. What they all have in common is the experience of the breakdown of a unit and the sense of mental uncertainty and emotional insecurity that come with crisis. In the most serious cases crisis is accompanied by mental confusion and anxiety. When a crisis occurs, it should be understood at its deepest level of meaning and received in the right way. On the one hand, crisis provokes feelings, even of severe discomfort, on the other hand it is an opportunity for change which, if dealt with creatively, can make us better – and make us more free. When we go into crisis we may also feel very bad, but this is only one side of the coin. Behind it, invisible to an observer, is a vacuum ready to be filled with new things; there is hope for a change which may teach us to become better human beings. To see ahead of us as well as behind us we need a rear-view mirror, like the rear-vision mirror on a car, and so to overcome crisis we need the mirror of awareness which allows us to see both sides of the coin at once: the one that causes anxiety, and the other that brings change and compels us to become better people. Andris Kļaviņš (collector): I don’t recognize crisis. Solvita Krese (director of the Contemporary Art Centre): It seems to me that a crisis is a somewhat relative thing. You can look at any phenomenon from various standpoints and, most likely, different world views will radically alter the assessment of the object or phenomenon in question. This brings to mind the oft quoted aphorism found in Kurt Vonnegut’s work, that we should have the serenity to accept things we cannot change, the courage to change the things we can, and the wisdom to know the difference. Every crisis can be turned into a new opportunity or challenge, which encourages us to change our usual vantage point and start something new. This is what I try to do – I try out new and creative ideas, in both my professional and personal life. I try to understand the challenges of the existing situation and to develop a flexible art project and institutional platform practice, and to allow myself to enjoy daily surprises and pleasures: friends, cooking, wandering around, books and films, travel – both in my thoughts and in reality – these are things that no crisis can affect. Māra Lāce (Director of the Latvian National Museum of Art): They do say that a crisis starts in people’s minds. And it is purely in people’s minds that the low estimation of the function of culture came into being, as manifested by the government and socalled ‘social partners’, and which so shocked all those who wish to think about this country and its European system of values in the longer term. I really cannot imagine that, for example, in a country as proud as France the continued existence of national cultural institutions could be called into question. In contrast to Latvia, a mere 10% cut in state funding in France led to strikes by employees at major museums, and for a few days the crowds of Japanese tourists had to make do with looking at the Mona Lisa in reproductions. Compared with 2008, state funding for the Latvian National Art Museum in 2010 will be reduced by 53%. Yet we still have this utopian wish of continuing to exist, because we have a huge responsibility to our visitors. They need the spiritual nourishment that we can provide with our exhibitions and expositions. The creative works of artists produced in the past and the present are a source of inspiration and self-confidence which helps us to survive. I do not exclude that the next year may bring us face to face with the reality of the situation, making the government realise the real cost of everything, and also forcing it to make a choice between short-term and long-term thinking, and once again to reformulate its attitude towards culture. This process must remain under constant public scrutiny, because otherwise at some time in the future we may all wake up with everything destroyed, i.e. find that, without us realizing, the nation’s material and intangible cultural heritage has been irredeemably lost. How to overcome the crisis, each of us as individuals? We must sort out our thinking, not losing sight of long-term goals and simply, in good faith, doing what we do best. Each in their proper place. Giancarlo Norese (artist, lecturer at Carra Accademy of Fine Arts (Bergamo)): I have experienced panic attacks, financial crises, energy crises, and crises in love. In order to survive I renounced what I had, and counted on the things that remain when you have nothing left any more. Nothing remains when you have nothing left, except the things that matter. With those you survive until the next crisis. Laura Rutkute (business manager at the Vartai Art Gallery (Vilnius)): “Crisis” is currently one of the most popular words around, present in the vocabulary of almost every person. Not at any stage, since the beginning of this famous crisis, have I had fear – and I still don’t. Certainly not because I am very brave, or because I don’t believe that it will affect me. Of course, I know that somehow it will, maybe even quite seriously. But I do know that it will not destroy me. And I know that I just have to continue believing in what I do and doing what I believe in. [Working] even harder and smarter. Crisis is a driving force to be better, to improve, it’s a big challenge. In order to endure, one needs to focus and not to panic. Panic never helps! It’s the same with swine flu – big panic everywhere, all in fact artificially created – but even if it were true, the same rules are valid: stay calm, take care and don’t stop thinking for yourself. Norberts Sarmulis (owner and manager of the classic art gallery and auction house 'Antonija'): For me, the most relevant definition of a crisis is: “An event of a negative complexion, which threatens general safety, the environment and products”. Right now I don’t really feel threatened, so for the present I am not thinking about how to overcome the threat! Domenico Sedini (art hostorian, art advisory and art consulting manager, lecturer of 'Economy of Art' at New Accademy of Fine Arts of Milan): In my opinion one must distinguish among the diverse scenarios of varied nature that have colluded together to create the “crisis”. The first and the most banal consists of the difficulty in one part of the world of collectors to continue collecting works of art. In fact the economic crisis has hit a considerable proportion of the upper and middle-class bourgeoisie, until the end of last year (2008) the natural player in this particular market. The second, and tending to be more dangerous in its consequences, is determined by the fact that in recent years the contemporary art market has been swept over by a wave of a speculative activity, and because of this works of art have appeared on the market valued at prices much higher than their actual value. The rise of certain artists whose works have, in a very short period of time, reached estimates of several mil¬lions hid from view speculative manoeuvrings, very similar to those which caused a disaster in the financial world. That in reality capital is still circulating in the art market is testified by the fact that, as far as Old Masters and art of the Ottocento is concerned, they continue to attain record auction prices. It seems to me that the interest on the part of certain collectors is moving away from contemporary art towards safer shores. This factor, if it were to turn out to be the case, could reveal itself to have a negative impact on the contemporary art market. Besides, it will be necessary to understand what effects will be produced by the crisis in the Arab market which many dealers were relying upon. If this tap, too, were to be turned off, then the repercussions are likely to be considerable. How to get out of it? One natural solution would be a revision of values, which would establish the true worth of artists and would provide an opportunity for more “secure” purchases. I see the role of gallerists as being very important: they should collaborate in clarifying matters and making the market more transparent. If these factors are present, and the economy picks up, at least partially, then there may be hope for recovery. In any case I maintain that the role of art advisory must increasingly assert itself. Being careful to avoid passing fads, which can then collapse and run out of steam: it is true that one should not collect artworks for speculation, but it is moreover true that one should not squander money on ill-considered acquisitions. Norbert Weber (curator): Five months ago, A & M Records issued a double album with re-mastered versions of two early Super¬tramp recordings: ‘Crime of the Century’ (1974) and ‘Crisis? What Crisis?’ (1975). Quite possibly this did not happen by chance. The combination of the two titles encapsulates pre¬cisely the ambivalent reaction to the recent financial crisis – on the one hand the cry of someone who has lost their job and assets, and on the other hand, the downbeat comment of the smart guy as shown on the cover of ‘Crisis? What Crisis?’, who is sunbathing under a yellow parasol in what looks like burnt out wasteland. It seems that the financial crisis is accompanied by mental turmoil. Is there a way out? “Well can you put your hands in your head, oh no! … So now you put your head in your hands, oh no!” is a quote from the lyrics of Dreamer, the super-hit of the album ‘Crime of the Century’. The dreamer is representing a special capability of the human brain to comprehend reality. Dreams stimulate development of the creative functions of the human brain. They are a source of imagination. And it is art that provides the most wonderful means of expression for the imagination. To conclude, let me continue quoting the Supertramp lyrics from Dreamer: “Take a dream on a Sunday Take a life, take a holiday Take a lie, take a dreamer Dream, dream, dream, dream, dream along...” /Translator into English: Terēze Svilane, Filips Birzulis/ | |
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