Karolina Kucia


WHAT IF… “WE” GO BAD? Monstrous Organizing of Arts

Who is that “we”, you may ask. Me and you? What are you assuming?
There are two “we” in this text I am going to address.
The first “we” is the artist scene, or so-called art world with all its inhabitants, that is artists, art organizers and all those who’s work in to make art happen.
Then there is “we” simply as the pronoun that it is, referring to a form collectivity that is acting together. The potential “we”, let’s say, as if “we” could have shared motion, goal or agency.

So what if both of that imaginative “us” are just bad. Let’s imagine the art scene is a bad scene; the art world is a bad world, the artists as bad artists and organizers that aren’t good either. Pick your grade: bad, worse or the worst, and imagine that “we” got it wrong, both of that “we” – what “we” are and how “we” are.

Now – Bad, what would it mean to be bad? It would mean not to be good, for once. Not good, not better and not the best. Phew, wouldn’t you at least a bit feel relieved stating so. Maybe it is just me. Ok. Yes. But don’t you also feel tired of constant necessity to affirm both the value of art and collectivity… It seems like with a current state of art funding and a valuing of the artistic profession in society; we just cannot afford not to affirm it. Like it would be a form of betrayal to do bad art or to say how bad is it. What if we could afford admitting there is bad art, and bad artists and artworld without immediately looking for yet affirmative argument for their right to exist? Because there is other level of bad, really bad: there is not enough money for the representants of our profession whether they are good or bad. Well, one could even say, there is no profession, only the professionals.

Let’s go through these badnesses one by one.