Pin Pan Ban Din By Gag Ocean Website, Pin Pan Ban Din, Biography - Lightbox Artwork

I have been inspired from the typical art world fakeness. It is a grotesque imitation. It is a paroxysmal and ironic reworking of some contemporary art and the way this is promoted. This artwork belongs to the Project Artist series which represent a fake reality, inspired by the real one, made up of the most highly esteemed artists but strictly fake: the HCIA (Hyper Conceptual Interstellar Artist). The names of these imaginary artists and the images of their works are inserted into reworked graphic reproductions of the websites, of the most important galleries, museums, foundations, biennials, fair, auction house, magazine, intermixed with the real famous and well paid great artists of contemporary art. Even the HCIA biographies as well as critical texts of their works, are mocking parodies created by exacerbating the way art criticism is made. However, the context is sufficiently good to generate a doubt that this all may be true. In Project Artist the parodied subject is that part of the art world that revolves around the "conceptualized pretext". It is something that can arouse curiosity for its weirdness and strangeness, for the traditional elements involved, for being provocative or other compelling reasons, but that is fundamentally unfounded. It is something not based on solid research, a project that has recognizable and significant meaning, an interesting vision, a discovery or real novelty. Sometimes it feels like being in front of a advertising endeavor, a spectacular sales operation covered by a dense network of slogans and functional critical models. Art history is full of false, perfect false, and false resold even to museums. However the false that project Artist points to is a more subtle one. It is essentially that false critical fabrication which assigns significant meaning to a negligible artistic production. Items designed for the market, even with the complicity of the artists themselves, are enabled as art objects with a definition, indeed more noble, of "conceptual work", for a necessary and forced critical justification. That is the possibility of bluffing to assign value. Self-interested people that make up the art world, such as art dealers, curators, critics, collectors, merchants, art historians, museum directors, auctioneers, financiers, can ensure, through operations, that an art object is given high credit and high economic value. Some of these objects, called masterpieces, quickly reach high, and sometimes astronomical prices. Objects that truly have no value except that acquired through the market which introduces them. This happens because a percentage of this type of operations is tolerated by a self-credited system. The result is an art unit contaminated by foreign bodies which reduce quality and credibility. Project Artist is an ironic antibody in contrast to foreign bodies to which it paradoxically belongs. In fact it can't be classified as a work of art, but rather as a kind of parody placed in the body of art to respond to the need to distinguish between true and false who lives in it.