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The activity of the whole of humanity is based on Trade.

In the most cases it's a matter of material exchange, work in exchange for money or in exchange for material goods and this is something that could permit at least the survival of the people who give their working force.

We now find ourselves in the difficult situation of fixing the rules for the evaluation of tasks, especially with regards to the work produced by art workers.

The action set out by Janez Janša draws attention, in a sort of tragicomic way, toward one of the most crucial themes of postmodern consumer society: on who and how in this society has a duty to support art and artists.

In the lines that follow we will try to explain what all this means and the importance of establishing an answer.

Like most external observers, as opposed to those operating inside the art market, look with astonishment to the incredible prices reached by certain works during auctions and sales in general and they can easily get the idea that it is not necessary to support artists, because they can do it very well by themselves.

As a matter of fact, the prices we get acquainted with through the media are just the top of the iceberg of this phenomenon and they have only an indirect relationship with Art.

In order to clarify this statement, we need to explain the concept of "Art" and the concept of "artist".

In the last years these two words have lost most of their value, because the word "art" has been commonly associate with every kind of creative expression, forgetting in this way its true meaning.

A fact on which we probably will all agree is that everyone is unique and that no repetitions are possible in one's own space-time and that one has, fortunately or unfortunately, an "expiring date".

In most the cases, after death, nothing remains of individuality and only some are able to preserve it through the years. They can do that because, during their life, were able to do something out of the clichés of their time, something completely new and capable of leaving a trace behind.

To this kind of creativity we can give the name of "Art", leaving aside all wanted or casual attempts emulate it.

Of course, it is evident that every personal code tends to transform itself into something that other people can use. The most critical phase is the one between the production of the new code and its reception by the public, because it is in this length of time that this language is personal to the artist and no one else can understand it.

The old expression "no one can understand an artist" is true in this circumstance, because when you are creating something completely new, very few people have the chance to understand it.

On the contrary, the majority of people who receive and pay only for what they can understand can understand clichés.

A great part of the market, at least in terms of quantity, is represented by these kind of works, because the elaboration of a cliché is a lot easier than the creation of a personal code, which may take long to be developed and you are never sure to get a good result.

It is necessary to clean out our personal expression by the ballast of the cliché that, during our artistic life, have found a place in the subconscious.

However, the environment around us needs time to discover the rules and the logic of the new world and in this length of time the artist is left completely alone.

And now the project of Janez Janša is invited to play its part.

Art is the fundament of civilization and people who can create new codes are at the basis of it.

Paradoxically, these artists usually beg for a living, while those that work with the cliché have an easy life.

The commercialization and manipulation of Art bring more profits than a creative approach to it.

With this project, Janez Janša shows what people are ready to offer artists when they need help for their work.

Maybe tomorrow they will offer a lot more, but now they don't want to take any risk.

We cannot blame them, because the knowledge and the capacity of telling the original code from the cliché it's not for everybody.

Therefore, only the system can offer a concrete help to the artists who are developing their new code, the Government and not the single individuals. How to do that is not the business of this project.

History has demonstrated that the systems that were able to support creativity were prosperous and when they abandoned it they became unable to recognize the codes of new generations, giving credit only to the old languages.

Deciding in which of these two phases we are now is up to you.

(Rajko Bizjak)