Ascribing Meaning to a Domestic Act poses a question of art and non art and who has the right to meaning-making in this regard. By representing the mundane through the act of cooking, the piece further questions value and worth in our market economy.
One walks into a museum and is confronted with art. “Why is this art? I could have made it.” It is seemingly mundane and seemingly reproducible only until afforded its worth by a cultural elite. Through this process of meaning-making by a privileged and bourgeois few, art tends to sit in the realm of influence and excess.
Thus it is only accessible to those who bestow upon it its value. The position of the artist and of art’s consumers, here, is that of the elite—those with surplus amounts of money and resources who enable the artification of the mundane. Is it possible however, for art to exist outside of this framework?
In the capitalistic system of economy and market value, how is the worth of art measured if not by the seemingly arbitrary matrix of calculation spear-headed by the few elite? What then is the responsibility of the artist? Is the independent artist but a myth? Outside of the elite, exists a visible and growing working class whose lives are completely driven by economy—rate of work, efficiency, utility; the omnipresent spheres of industry and consumerism penetrating into even the domestic landscape. “Who has time and money for art when we barely have time and money to eat, to survive?”
Salber Williams is a Portuguese-Zimbabwean multidisciplinary artist, based in Berlin. Her work makes use of the body and spoken language in both live performance and video art, as she explores the racist and gendered identities of the seemingly mundane. Of particular interest to her is how these characteristics morph over geographies and time.
Andrija Klaric is a sound and interaction designer. From Serbia but born and raised in Botswana, he studied sound and music computing and interactive media arts, at NYU between Abu Dhabi, New York and Paris.
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