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1.- The PCLA(r) states that everything I like is good
2.- the PCLA(r) defends that everything good for the PCLA(r) is
also good for the lower middle class, for the immigrants, the unemployed,
for culture, economy, the “chic” museums’ system, non-professional
artists, alternative people, historical artists, for the aesthetics,
the ethics, the leisure industry, for the free circulation of ideas,
for the stimulation of the economy, and also holds that everything
pleasing to the PCLA(r) is good for everyone in general
3.- the PCLA(r) affirms that every artistic act is a social action
traditionally legitimated by the gestuality of individual freedom,
which has nothing to do with either good or bad faith
4.-the PCLA(r) accuses as pampered every ethic or aesthetic gaze
which does not assume the consequences of deconstruction
5.- the PCLA(r) denounces that art, having no ends or intentions,
carries in its muddy waters the slime and embarrassment of the sediments
of bad and good faith, of karma, of the rules of language, of the
logic of supply and demand, and of the glory of the productive forces,
whose will makes symbolic production into a relatively believable
fact
6.- the PCLA(r) does not deny or affirm the study of what is good,
nor pretends to procure it, nor questions the good intentions of
the correct action, of the incorrect action or of the spectacular
ethical action. The PCLA(r) minds its own business. Lives and lets
live. The PCLA(r) does affirm that the ethical provocation is present
in the messianic vocation of a narcissistic and insecure middle
class who would portray itself as vanguard (* see authoritarian
paragraphs)
* Authoritarian paragraphs to point #6:
a): the middle class is narcissistic, insecure, normative and would
portray itself as contemporary vanguard
b): the middle class is politically opportunist, culturally normative
and ethically coward
c): the middle class does not aspire, today, to objectives of progress
and economic accommodation as an ethical end, but to elitist (and
in good faith) symbolic transcendence, and gladly sends its children
to study at art schools
d): the middle class rebels today against its former sanctimoniousness
and assumes relative ethical values to help in renegotiating its
elite opportunism
e): the middle class is, today, art producer in its capacity of
main consumer of museum goods
f): the middle class wants to win, holds a grudge and is angry
f:a): the middle class is not what it used to be
g): the vanguard of the middle class is bigger than your vanguard
h): the middle class pretends things are hot because things got
hot for the middle class
i): in what hotel do the globalized hide?
7.- the PCLA(r) recognizes that it is possible to assume power as
the only real thing and as source of stoic pleasure; the PCLA(r)
has nightmares and remorses which, sadly, affect the quality of
its ethical judgements and, at nights, two white unicorns appear
to the PCLA(r), one called Anythinggoes and the other Theendjustifiesthemeans,
both of them singing a light and catchy tune inciting me to sign
all the works of art, to sacrifice myself for my career, to suffer
as a result of fame or lack thereof, and to add even more objects
to a world already full of objects, full of objects, full of objects,
full of objects
8.- the PCLA(r) laments its inexplicable romanticism by which it
would pretend that the way to make a work of art should be, come
rain or shine, constitutive and inseparable part of that work of
art
9.- the PCLA(r) dreams of not escaping into the future
10.- the PCLA(r) recognizes its imbecility in thinking that to go
no further is the only vanguard possible to it
11.- the PCLA(r) estimates that, probably, contemporary art will
not need to formulate its own relationship to ethics, but (perhaps)
to take into account that ethics is a political context of the contemporary
12.- the PCLA(r) believes it has arguments to say that, notwithstanding
our purpose to work for conscience or thoughtlessness, the risk
always exists of preaching or of giving oneself to the pragmatism
of pleasure without need of confronting the consequences. The PCLA(r)
makes no difference between representation and praxis, nor believes
in quality criteria, given that art is a system producing objects
(these being dematerialized or not), which may lead to believe that
an art object is ostensibly different from an exhibition curator,
whereas they actually both dance the same art perception mambo.
Thus, the PCLA(r) wonders if ethics would be an attribute or an
intrinsic quality of the actions composing our lives
13.- the PCLA(r) has reliable information that, in many cases, it
is possible to cast the stone and hide the hand. The body does not
begin at the centre and end at paring my nails. Every other is there
even though my eyes may not see them. The objects in the mirror
are closer than they seem. Narcissus, Epicure or the Stoics. Everything
that happens is true, but some things have more reality than others.
I cannot waste more time in this. The systems. Now or never!
14.- the PCLA(r) runs this research to its own advantage
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