daniel dugas aka dandatadugas aka mister dugas
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FIB & BID


FIB & BID STATEMENT

at PAVED ARTS SASKATOON, SK
February 23 - March 10 2007
http://www.pavedarts.ca/


BID is the symbol for Sotheby's, the noted auction house on the New York Stock Exchange (NYSE). A FIB is a trivial lie.

This interactive video projection is based on a short clip from the movie THE JUROR, a 1996 film directed by Brian Gibson. Demi Moore stars as Annie Laird, a single mother, picked for jury duty on a Mafia trial. She is forced to persuade her fellow jurors to vote "not guilty" by the "Teacher" who threatens to kill her son. When the trial is over, it seems that he cannot let her go. (1) Annie is a sculptor who makes boxes reminiscent of the FLUXKITS.(2) The content holds meaning to the artist and can be interacted with by the audience. The Teacher played by ALEC BALDWIN befriends ANNIE through buying a few of her works on exhibit in a New York gallery. Here is the transcript of their first encounter:

THE TEACHER
Do you know Japan?

ANNIE
uh huh

THE TEACHER
Contemporary Art is a sort of currency there now, because its value is so inconstant, it’s so attractively pliant.

ANNIE
...I'm lost... I'm not connecting the dots here

THE TEACHER
None of that really matters, all that matters is we need to start getting your pieces traded... record some six figure sales... get you the right review in Art Forum, the proper niche at the Basel Art Fair, that sort of thing, but that’s my job don't you worry about that.

ANNIE
Listen, Mister Cordell

THE TEACHER
Call me Mark

ANNIE
OK Mark. Listen...

THE TEACHER
May I call you Annie?

ANNIE
...Yeah, you know you can call me whatever the hell you want - but I am not interested in having my art used as some kind of currency!

THE TEACHER
Annie... what do you think I get out of this... do you think I make money out of this... I don't, I don't need to... what I do for a living pays me very, very well. I do this so that artists like you can go into you studio and work on your boxes and not worry whether of not your children are being fed... so that these idiots that control the art....

 
“I do not want my art used as a currency “ is the key phrase. When I first saw the movie I was laughing out loud, I could not believe that an artist would say that. How funny can we be? What kind of sordid joke is this? I have to say that when I looked at the movie again I was still laughing. But what does it mean? Is it like a mechanic that says, “No, no, no I cannot accept any payment for changing the cylinder head gasket on your car,” or a real estate agent that says, “Please do not insult me by wanting to give me money in exchange for selling your house,” etc. Obviously this is nonsense, but when it comes to art, or at least in the media version of the artist, it is acceptable, it is plausible: artists are unpractical and eccentric. This clip incited me to look at the art market, which is a business like any other. Art, like chemicals and pork bellies, is subject to the pressure of the market. If Annie Laird refuses to sell then maybe it will make her art less available, more desirable, and therefore, increase the value of her work. But then again, she could vanish into oblivion. She could also choose to flood the market with her boxes à la mode de Wal-Mart, but that is another story. I choose the Sotheby’s Art House because it is the oldest international auction house and because it is listed on the NYSE, unlike Christie’s, which is a private company. I was interested in using some of the information that is relayed in real time - minus 20 minutes - on the Internet; like the highest price of a share, the lowest price of a share, the volume of sale, the difference between the highs and the lows, etc. I have been following the stock market for some time, using the data to create soundscapes as in the Free Market Karaoke project (2005), or to alter projections like in the do_wild_loops; do_wild_jumps; [big ceo's talking to small bugs] installation (2003). I am interested in the visualization of data, in the graphical presentation of information but also in the re-contextualization of information. In the do_wild_loops project, I saw the DOW CHEMICAL CO stock rise sharply when the Iraq war started in 2003. Because of this dramatic change I had to review and reset the range in which the incoming information would evolve.

Daniel Dugas
Calgary, AB
February 2007


The artist acknowledge the support of the Alberta Foundation for the Arts