Art We Are, thanked everyone who participated in the selection, applications and certificates of esteem were many, it was difficult to choose between all of you, but for the month of September, these are the artists.
- list September ‘09
 The editors of Two x Four publish this message that the teacher Momo Calascibetta, wrote to Albert Births for movement ART WE ARE
Great Alberto, I agree with your way of thinking and I appreciate your genuine passion for art and especially for artists … …
The art is certainly the common source of evidence of values that have become eternal and the temporal artistic product is certainly a subversive act of creativity.
L ‘artwork still survives its creator, it embodies its values resulting from the observation that stems from purely personal experience on the social reality in which the artist lived
The artist’s task in life to submit his work to the opinions of others who will give a provisional value in the sense that if today this view may be constrained by market laws and various lobbies in the future but the time will Decant ‘true art like a good wine in the cask.
A hug Momò
Self-regulatory code ART WE ARE
Purpose of the Code
The code of self regulation is intended to provide adequate security to all participants in the movement "ART WE ARE" and their future customers
Rules of conduct
Article 1 – Fairness of communication
Communication must be honest, truthful and correct. It must avoid anything that could discredit it.
Article 2 – Communication misleading
The notification must avoid any statement or representation which is likely to mislead customers, even by omission, ambiguity or exaggeration not obviously hyperbole, especially with regard to product characteristics, price, sales conditions, the diffusion The identity of the artist and awards and certificates obtained from it.
Article 3 – Terminology, quotations and technical
Terminology, quotes, technical, biographies and exhibitions must be used appropriately to appear as unlimited accurate.
Article 4 – Reviews
The reviews must be authentic, accountable and controllable.
Article 5 – Demonstration of the truth of the communication
Communication must be able to demonstrate, on request, to verify the information, descriptions, statements, illustrations and consistency of the evidence used.
Article 6 – Denigration
Is prohibited denigration of others’ works, though not named.
Article 7 – Comparison
And allows a comparison when it is useful to illustrate, from a technical point, characteristics of the works in which the notice, comparing objectively material, relevant, verifiable and representative works technically competitors.
The comparison must be fair and not misleading, should not cause any risk of confusion or cause discredit or denigrate. Should not take unfair advantage of the reputation of others.
Article 8 – Dignity
Each artist has, within the movement, equal dignity and is in no way and no reason to discriminate against other artists.
Article 9 – Visibility
Each artist will have, as far as possible equal visibility during events, fairs and exhibitions organized by Two x Four, in the tunnel RHRR Art Gallery, at http://txf.rhrr.net and media used to promote events ETC.
Article 10 – Publications, catalogs and websites
Publications, catalogs and Internet sites made by Two x Four will have been previously discussed and set with the artist.
Article 11 – Prices
The prices of the works will be established with the artist, drawing up a list that will be signed with Two x Four
Article 12 – Compensation
The compensation will be paid by the artist perceives Two x Four after the sale of the work and will be 50% of collection
ART WE ARE is a movement of contemporary art that’s being based on independence from the rules of the market through research of artists and not product.
Accustomed to think of art as a speculative investment, have the capacity, or
more often, but without admitting it, the luck, to buy a little or rather anything, the future "Picasso" just to get designated as having discovered this or that artist never dwell on the "clean" of art that is the emotional part, we are here today to deal with any market, and sorry but that the noun is defined, absolutely sick, patronage, political and meritocratic, facing the art.
With these assumptions are performed more that works of art and artists, curators and critics, often fighting among themselves and consumed by envy, jealousy and envy, which regulate, promote and rejected, often without having any substance, this or that artist, because the marketing or, more precisely the "branding" has become the basis for evaluating work.
ART WE ARE – is independent, and has as its mission the research and dissemination of art in a transparent and merit-based, making only those that are the real qualities of the artist, knowing that there is no disclosure without proper promotion, but you can do with "ethics", which is why we drafted a code of self-regulation that will form the basis of our new movement.
Silvia Ciampa
 The neon lights every night on the GAM in Turin: "All art is contemporary." The work of Maurizio Nannucci underlines the fact that the great old masters, from Giotto to Cezanne, were once contemporary artists. Yet the very concept of contemporary art is today one of the most elusive. For someone starting in the late sixties, for others the second world war. Some people define that as contemporary art by artists living (but only on remaining outside the generation of Pollock and Warhol, Basquiat and also Gonzales-Torres), and who tends to make you fall only those born after 1945. Someone, finally, distinguishes between a contemporary historical context and a kind of contemporaneissimo, ie the latest trends in art. Even Sotheby’s and Christie’s have different ideas on the subject. The same artists end up on the first auction of Contemporary Art, for those secondain in Post-war and contemporary art and Sambre this, after all, the argument preferable.
 Marcel Duchamp 1917 Marcel puts everyone agrees. His Readymade have changed the strings of art history, and open endless brand-new roads, fought for half a century by Manzoni and Klein, Lichtenstein and Twombly, Koons and Hirst. The first was the Readymade scolabottiglie, an object to be promoted to an art store with the simple signing of Duchamp in 1913. The most famous is certainly the Fountain of 1917, a urinal purchased on Fifth Avenue in New York and exhibited reversed, with the signature R. Mutt, where the initials stand for Readymade. The original work was lost, and we received thanks to a photograph by Alfred Stieglitz, who later, according to Duchamp’s biographer, could have her thrown away. A common destiny for all the first Readymade. With its amazing 50 cc. Air de Paris, 1918, Duchamp pioneered more than forty years the Corps air Piero Manzoni.
 Postwar contemporary art has seen a flood of inventions, the U.S. abstract expressionism and the inventions of Rauschenberg and Jasper Johns, who anticipated the Pop art, to the miraculous curvatures of the sculptures of Serra. Other capiscuola born in Germany, Beuys and Richter, in England with Bacon and Freud, in Italy with Fontana and Burri and in Denmark with Eliasson. With time to painting and sculpture were complemented with paru dignity, performance and installation, or Video Art, and a thousand variations of contemporary photography, and the triumph of Cindy Sherman and Richard Prince. Concepts such as the rarity el’autografia evaporate saw their importance. In September 2008, Hirst has grossed $ 200 million by selling 223 works at Sotheby’s, new brand, which run through the subjects of his entire production. Despite so many revolutions, to measure an artist remains valid question that arose Walter Sicker a century ago: "They realized that these works will be impossible from now on, behave as if they had not existed?".
Sorry, this entry is only available in Italiano.
Sorry, this entry is only available in Italiano.
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