Submission
Ariel Helyes

Duties of the Artist

It’s the duality - with which art copies methods of efficiency from everyday life, and the bourgeois world takes models of great flexibility previously developed in the art world, that couldn’t have come from anywhere else but the contemporary state of capitalist paranoia, where great whirlwinds of self-justification and of dreams of influence are forever entangled with the rationalized institutions of production and selection. It’s the efficiency - with which the creative industries incorporate the deconstruction of the Artist that was previously gained in the arts, and, with the very impulse, the Artist is re-concretized through their civic duties as a singular entrepreneur ; that couldn’t have come from anywhere else but the sand-castles of excitement and expectations where all artist ought to reside in.


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Ariel Helyes, Imagination = Employment, 2021, acrylic on canvas, 60x80cm
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Ariel Helyes, Imagination = Employment, 2021, acrylic on canvas, 60x80cm - closeup
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Ariel Helyes, The Creativity of Fredrikson Stallard, Neri & Hu, Moritz Wldemayer nd Mathieu Gustafsson 3D digital re-enactment of four designers previously invited to Wallpaper* Magazine’s Handmade series, presented as digital print, framed 151,5x186 cm
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Ariel Helyes, Voting Booth (an angel told me to vote yes), 2021, aluminium, feathers, wood 100x74x33 cm
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Voting Booth (an angel told me to vote yes) aluminium, feathers, wood 100x74x33 cm 2021, detail
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Ariel Helyes, Interns’ call (Fanta version), 2021 wood, Fanta, ceramic bowl, artist’s phone number, aluminium hardware, paper 80x60x6 cm
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Ariel Helyes, Interns’ call (coffee version) 2021 wood, coffee, metalic bowl, artist’s phone number, aluminium harware, paper 80x60x6 cm
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Ariel Helyes, Duties of the Artist, exhibtion view
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Ariel Helyes, Duties of the Artist, exhibtion view 2
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Ariel Helyes, Duties of the Artist, exhibtion view 3

It’s the duality – with which art copies methods of efficiency from everyday life, and the bourgeois world takes models of great flexibility previously developed in the art world, that couldn’t have come from anywhere else but the contemporary state of capitalist paranoia, where great whirlwinds of self-justification and of dreams of influence are forever entangled with the rationalised institutions of production and selection.

It’s the efficiency – with which the creative industries incorporate the deconstruction of the Artist that was previously gained in the arts, and, with the very impulse, the Artist is re-concretized through their civic duties as a singular entrepreneur ; that couldn’t have come from anywhere else but the sand-castles of excitement and expectations where all artist ought to reside in.