What is the lie when art is turning into a mela toy?

 Glass Facade - Acrylic on canvas,2014

“..though the manifestations of every lie remains an inconclusive decision between beholder and beneficiary but when our comprehension turns into apprehension, the  intend for a lie strongly emerges in every mind…”

If we consider, a lie as a perpetual state of denial of facts, the idea of experimentation will then become an act of perjury since quite often than more iterative minds need to deny rational facts for the benefit of experimentation or the exploratory imagination.   This complex metamorphosis of human adventure operationalised under perceived notion of ethical and moral societal rule of law;  will result at times as a counterproductive interruptions in cohesive social order, as the lie becomes an empirical fact of life than the subjective notions of  truth.

If we consider society as a regimented order of civilisation, from time immemorial, society’s fear for lie and obsession with truth and rule of law tells no other story. Society while emphasizes on truth and rule of law through stagnant structuration of citizenship and religious morality, the evolutionary process society unfortunately shapes up through a pattern of experimentation, where breakdown is expected and failure is embedded.

This complex layering of human life: the need for adventurous to be progressive and stagnancy of structuring for existence, better understood as  the conflict between orthodox and liberal, unfortunately survive on our apprehension or fear. Moreover  though the manifestations of every lie remains an inconclusive decision between beholder and beneficiary  but as and when our comprehension turns into apprehension, the intention for a lie start strongly  emerge in every mind.  Complexity of this layering become many fold,  when we realise that the apprehensive society also  appropriates lie for its sustenance. In human history, there are enough evidence where state and religious establishments appropriating these cards of imaginatives; a constructive narratives of myth,  where “human adventure of truth triumphing over the destructive evil lie “ first as a methodology and then to propel a regimented social structure of stagnant society.  Considering myths are to society is  axioms to science, where rationality of truth  only a means of practicality,  lie  becomes a subjective truth.

Even if we  leave these complex layering of truth and lie to philosophical interpolations, the unstoppable nature of the evolutionary  human progress does not allow us to   overlook  the   essentiality of adventure in liberal imagination and  the need of moral orthodoxy appropriate a lie to sustain the notions of truth.   

This is not different from the issue of relationships in human life between one to one, one to many and many to many, where structuration of locating oneself from individual, one of the many and one among many to our and collective through the narratives of myths about faith, believe and trust.  This is a negotiated space where one has to confront with oneself as an individual and community through either structure or adventure that are defined by a context.  Here the context can be defined as individual, subject, object, objective, collective, community, any one of them or all of them together.  Considering  adventure need not rely upon narratives of facts and truth, the differentiation of truth and lie becomes evidently blurred and vulnerable. From time immemorial, construct of human expression-the art,  has always been playing this major role of subjectivity of truth and lie in societal structure and its challenge.  

Leaving aside the narrative ritualistic forms of  aboriginal art, art during the last hundred years has been  a life of an orchestrated narrative. From Dada movement during early nineteenth century onwards the art is said to have been undergoing through many experimentations and manifestations raising the question of what makes art and what is not!

 Critically  we assess the art scene of 20^th and 21^st century, we will find  the curious aspect of art practice that has emerged around the world that  the scenario of art practice  is  not  same as the holy gospel of art prophecies about art viewer, art and artist.  There are these  multiple layers of establishments, Galleries/Museums, Agents, printers, fliers, catalogues, news media/art magazines, internet and social network, critics, Exhibitions, auction houses, art fairs, biennales, funding agencies, bankers, residencies, academics, market and its curators stand between the  work  of art and the viewer.  Moreover quite often than more, owing to their delivery commitments,  these days mainstream artists  mostly outsource the production of their artwork to artisans specialised skill sets  and the same are presented as genuine and original with authorship by segregating the authorship of idea and creation.  For the benefit of this process, it is theoretically argued that authorship of idea is the  art and the authorship of creation  is only a secondary craft.  This issue of authorship becomes even more complicated when curators are involved in the artistic production, as curators develop and outsource the artistic idea to artist who in turn outsource the production  of work of art to artisan and who then  creates the work of art . Here the layers between the artwork and art viewer becomes highly complicated and blurred.

Art viewing also does not remain the same anymore.  From the easily accessible mass circulated books and computer monitors to the crowds of art fairs, art viewing now has the range of paradigm shift between intensive Internet viewing to the crowd gathering at art melas. 

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