The project presented by the Margaris Foundation / les yper yper at this year’s Supermarket – Stockholm Independent Art Fair, responds to the fair’s theme “Happiness”, through a question on the nature of Happiness derived from the artistic practice and experience.
The question was inspired by a recent lecture given by well-known Greek writer Dimitris Dimitriadis. Having reached a certain age, the writer looks back at his life and recounts the love stories he experienced. He realizes that he had lived all of them a priori, through the letters he wrote to the objects of his desire. In those letters, the writer had the habit of prescribing in detail the upcoming date with his lover – something like instructions of use for the rendez-vous. The narration was so detailed and precise, so that at the time of writing, the author almost fully and satisfyingly experienced the meeting. As a result, the experience itself became reduced to a mere execution of the instructions he had already laid out beforehand. Years later, the author asks himself whether his experiences have actually been true; whether he actually lived his life.
Hence the question: is the life of every artist the Chronicle of a Death Foretold?
Does the artwork acquire so large a part in the artist’s life (not simply subsequent-interpretative, but mostly preordaining-prophetic), so that without it, the artist’s experiences are questioned?
What is the role of Happiness in this schema?
Is Happiness related to the enjoyment (jouissance) derived from the artwork’s production process? Or does the enjoyment reach its peak at the moment when the idea is born in the artist’s mind, so that production becomes the mere execution of that idea?
Looking at things from the opposite side, when does the artwork offer Happiness to the viewer? Obviously, a pleasant image is hardly enough to convey the feeling of satisfaction – in the same way that in love, pleasure often comes from the fantasy of its fulfillment.