Reproduction of a short story [A Hunger Artist] by Franz Kafka
Through the eighteenth and nineteenth centuries, artists attracted attention and sympathy from supporters and donors through fasting.
Artists went out onto the streets to fast for a maximum of 40 days waiting for supports and grants that contributed to the completion of their artworks during this period.
One of those artists talked about this kind of speculative relation. He said: artists will settle in the green zone, which is a colonial settlement, under the agreement that they can have access to the books, manuscript and documents that help artists in their artistic research and projects. In turn, the colonialists will use the artists as a conduit towards a Midas touch.
Reproduction of a short story [Jackals and Arabs] by Franz Kafka and proof that Kafka knows more than me:
– Through the history of art Institutionalization, we can conceive the future of art.
– The existence of the audience is older than the existence of the artist.
– The romantic gesture in art practices will disappear as a kind of failure.
– Artists will be derailed and will be made to become more sober and pragmatic as a kind of reconciliation with the institutions.
– There is nothing called colonialism, even if you are colonist [corrupt term].
– The relation between the artist, producer and audience is an inevitable relationship.
– The institutions are the directors of the circus, without the institutions all will suffer.
– In the future, the audience will be smarter than the artists.
– Artists shouldn't be leftist, because they are part of the global financial circle.
– In the future, the audience will curate shows by themselves.
Mohamed Abdelkarim, #1, 2014, digital drawing.
Courtesy the artist.
Mohamed Abdelkarim, #2, 2014, digital drawing.
Courtesy the artist.
Mohamed Abdelkarim, #3, 2014, digital drawing.
Courtesy the artist.
Mohamed Abdelkarim, #4, 2014, digital drawing.
Courtesy the artist.
Mohamed Abdelkarim, #5, 2014, digital drawing.
Courtesy the artist.
Mohamed Abdelkarim, #6, 2014, digital drawing.
Courtesy the artist.
Mohamed Abdelkarim, #7, 2014, digital drawing.
Courtesy the artist.
