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Michel Boisvert (JAM)
Artistic approach in 2017
My work in art is at the level of research.
In reality, as a researcher, I find myself more precisely in action research, which is more specific to my work because it operates from a need for the development of art in the artistic milieu.
As a researcher I try to understand a disastrous human situation that situates at the level of the development of the understanding by carrying out a research on the origin of the cause, its problematic of existence and how to solve this problem.
In action research the theory must be followed by practice to understand the effects of research. These effects when they do not produce a reaction or a negative reaction, prompt me to abandon research to do another research on another unknown.
As a researcher I try to understand a human situation that does not work humanly.
The present text serves to explain the last concept in my research on poverty, because this research is in the terminal phase, that is to say that it is out of the laboratory and is rendered on the ground as action.
This form of research linking theory to complementary action is conducted concomitantly with the institutions involved in the research.
In explaining this research you have to be brought back to the origin of the research by submitting yourself to a kind of chronology of the events that led me to the observation that spawned the research.
First, as an artist, I provoke the establishment to understand the flaws of the system. In poverty research I understood that poverty was organized by institutional thinking.
I wondered why and by whom and this research led me directly to conclude that it is the mental action of the rich who want to dominate others by creating hermetic institutions that causes poverty.
By understanding this I realized that the concept that had to be developed in the research had to situate it in the confrontation (Putting people in order to compare or verify the affirmation) with the institution (Institutional thinking) that organizes poverty .
My assertion in theory is that I believe that poverty exists because it is wanted by someone or something.
The first step in the search once the subject of the research found, was to make a search for the elements that were going to serve the confrontation.
I found by chance an element concocted by the manufacturing institution which is the can.
As a researcher the hotspot in research it locates at an unknown place that appears during the research and which surprises me by its appearance as being the key element of the possible success of the research. The tin has played by its appearance in research this role of answering my expectations.
It represents the quintessence of research by being a symbol of poverty. It is factory made with a geometric shape that represents the institutional system.
My complementary search for this awareness must therefore situate it in the destruction of this symbol of power, in order to recompose the destroyed elements in another more artistic form to the description of the human distress of poverty.
So I worked in a workshop because my laboratory is called a studio or an artist's studio, to find out how to make a work of art that would talk about poverty. This research took several years to understand several elements of poverty.
When my thoughts shifted into the theory of my human observations, I translated my thoughts into writing. Several texts have thus become part of the research.
When I gathered 76 works from this process of searching for forms that can describe poverty, I moved on to the next phase.
The second phase of research is that of action.
To undertake this action I had to find the most suitable element for confrontation.
I found in my research an institution capable of receiving the product of my research which is the Museum of Fine Arts of Montreal and its foundation as the ideal place to demonstrate my theory.
I approached the commissioner in charge of the exhibitions of the museum and asked him to contact a head of the foundation to propose a project of donation of work that could be used to raise funds for the foundation.
Every year, the foundation of the museum offers donations, an art teaching service to the underprivileged in Montreal, who can thus have access to an understanding of art by participating in the workshops offered by the foundation.
The meeting took place and the head of the foundation found my project quite remarkable because it joined the mandate of the foundation. However he refused the project because I was not one of the artists registered at the museum. This regulation is hermetic.
This first intervention must be recorded in the action as a failure by the fact that all concording to its success the project has been blocked by a regulation which serves as protection to the institution against an external invasion.
So back in research, I began to establish the consequences of this refusal on the project and my research took another direction which until now is in gestation.
In the analysis to be carried out from this refusal, an interpretation option seems to stand out from the information received.
Since my theory on the implication of institutional thinking favoring the emergence of poverty caused by institutional thinking in our society is real because the wall of protection is real, the conclusion must be that my theory is true.