The Art of Storàge
by Mark Bloch

Reprinted from
Panmag 53 International Magazine
ISSN 0738 4777
PO Box 1500
NYC 10009
USA
panman <a> panmodern.com

 

Storàge Museums

July 12, 2006
Some thoughts on the Art of Storàge

Storàge is a new art form for our times in which artists will prevent at all costs, their work from seeing the light of day. Artists must conceal what they do, make sure no one finds out that they are brilliant. If an artist must show someone something they have created, they should show another artist so as not to upset the art markets. Other artists do not really count as human beings so there really is no harm in telling them. That is how art continues to thrive. Artists are sequestered from the rest of humanity. But one should proceed with caution because occasionally artists know actual people and the news of what kind of work the artists are producing must not spread to civilians.

Storàge is an art form like many others: collàge, assemblàge, frottàge. The accent is on the second syllable. The emphasis is on the storing of important information and objects--preferably one of a kind objects, although the storing of multiples is also encouraged--until a great deal of time has passed and the ideas and images contained therein, hidden from public view, have been discovered and explored by other, less talented individuals. This is bound to happen while the work is rotting under lock and key, no matter how advanced the work. Even the most vanguard artist will be unable to stave off the advancing future which will soon provide the unique conditions necessary for the artist’s work to be removed from Storàge without consequence.

Once a work of art has been rendered culturally feckless, Storàge is no longer necessary. The work can now be trotted out into the marketplace where it will no doubt have to endure other types of packaging, wrapping and covering which are part of the Storàge process when enacted by a Storàgist but in these new contexts the accent in Storàge is removed and it becomes simply storage in which excessive packaging and hygienic germ free protection is always considered good for business. Of course any work of art or other consumer item, no matter how processed and “valuable,” always remains in danger of being placed on dusty shelves in the forgotten back rooms of galleries or museums by art professionals. This is where the nuances of Storàge and storage are revealed--for it is these very art professionals who are uniquely qualified to determine whether or not an artist’s work is any good. During the interim period when the artists are left trying to make this crucial decision for themselves, their work must be safely hidden from view while these art professionals are courted at the artist’s expense without causing too much of a fuss, for it is the artist’s passion that must also remain in the limbo of Storàge, not just their output.

Sometimes fear of the art professionals will cause an