Hacking the system / Open access

Abstract

Coding, normativity, heteronomous semiotics, pathologization / integration, commercialization ... These are some of the characteristics/problems ('bugs' or errors to hack with our 'exploits') of the current Art System, a human space that due to its special characteristics should be configured as dynamic 'no place' and also as a 'liquid' space where the elements, people and works were unexpected and even unintelligible practices. All real dialogue (which is inscribed in the very essence of art as 'Academy' where practicing the 'synethesis' among equals) is buried by the orthodoxy of the internal discourse of the artwork. A Platonic inheritance (the 'idéa' that configures the 'eidos') that puts us before the reality of the centrality of the closed discourse, of the hidden narration (veiled for the eyes of the stranger) that disciplines curators and art critics explaining each one of the works that they dictate are integrable art by the system, or if they should be pathologized in the non-art World in other case. It is thus institutionalized a hermeneutics, an 'internal text' and 'true' that makes it difficult -officially- the access to the art experience to the spectator/user. These knowledge/powers of the institution displace the user and the device/artwork to the marginality of silence and the admission of an orthodox truth completely alien to their own experience with the work. As a hacker of the Art System, I have carried out an action in semiotic, symbolic, linguistic, operative and economic terms. This is an inversion of the artifact/device 'book' ending the centrality of the text in the space of knowledge / power System of Art. Eliminating all textuality not only concerns the geomentale patterns of thought (from left to right from top to bottom, in the West), but it is a cluster bomb to the empowerment of the text on the artwork. Opening thus the possibility of a free analysis of the work (and context) of art explicit agreement of mutual respect between user and work thus establishing an open model of cooperation. At the same time, rights of dissemination and distribution of rights holders have been ignored and a 'pirated publication' has been made, but in high quality. In the same way, another of the bugs to be exploited has been the transversality and multidimensionality of the works included in the publication, since although it is an 'artistic' narrative, it is full of marginal elements that are alien to the subject of art (advertising, science, leisure masses…). The book (350 pages in full color) is being printed these days before distribution to public libraries around the world and is now available online in two versions, one for download at 300pp. and another interactive enriched with the audiovisual works of the book narrative.