Why David Bowie Will never die
There are not many artists that can afford to be themselves in a mystical silence these days. Or ever. Most succumb as they pretend to be the latest fashion, falling under the rules of marketing and making it all about profit and numbers. There is nothing wrong in looking for profit but there is a huge compromise in that. When an artist exclusive intention is to reinvent himself according to the flavor of the moment or surviving with stunts (to be the moment bubble gum) just to feel relevant some is gone or had never been there.
The balance between what an artist His and the market wants is the ball of fire that extinguish the “fake art” for “true art”. For the matter let’s define as fake art all bubble gum artsy marketing procedures to dissimulate lack of talent- at the expense of the best money can buy ( yes, talent of others for the effect).
As for true art let’s just put it plain and simple( avoiding 1000000 pages of discussion) is the one that sets the trends! The kind of art as relevant today as the day it appeared. . .Timeless and effortless. Sometimes artwork even more important now than in the day it was done. Great minds and talents are always missed from what they actually are and not for what others in a specific moment expected from them. Why ? Maybe because one of the mechanics of desire is the unconscious mind. And if you play with it you can give the impression that you actually need something even when what you actually miss is a sense of what once was. And sometimes even that is not necessarily pleasant. It’s like Proust’s madeleine. In In Search of Lost Time (also known as Remembrance of Things Past), author Marcel Proust uses madeleines to contrast involuntary memory with voluntary memory. The latter designates memories retrieved by “intelligence,” that is, memories produced by putting conscious effort into remembering events, people, and places. Proust’s narrator laments that such memories are inevitably partial, and do not bear the “essence” of the past.
When we think of Bowie, we know for a fact he is the one who bend all the rules by simply saying: I am a product of myself, therefore I am Bowie. And in between he created Ziggy Stardust, the narcissistic artist that had to die with is ego soon after being more famous than David Bowie. And Mr. Bowie kept moving on with the same mystic of something long gone and forever missed. That’s how it all started. Making love with his ego we couldn’t expect more than the one who actually don’t pretend to be more than himself.
On that craziness for being relevant in the media Bowie, again in the 90’s decided to do it his way again and became the first artist to be in the stock market. As he became more and more the shadow of his former self he made it clear that once he was he will always be. And detached himself from the ever so inflatable runners looking to forever be “the next new thing”.
Bowie knows perfectly well how marketing is a deadly machine of fake art and runs numbers on empty, so he protected his career all this years with the dignity of a king who respect their servants and never conceiving on explore what he once was in order to be relevant. Has in all, there will ever be artists that set the example and fake art that makes the numbers. When both come together simultaneously few, very few artists could endure and a lot perished.
Of course Bowie fully understood the concept of being the “chameleon” as the press use to call him. But for a man that insisted on being himself more than anyone else it’s remarkable to notice how we have all changed and still miss Mr. Bowie for what he is.
As the world rejoiced at the return of David Bowie last week, the man himself chose to spend his 66th birthday at The Cloisters museum and gardens in New York. Wandering around the medieval treasures in northern Manhattan, it was a typical move for someone with nothing left to prove who wanted to let his lyrics and video speak for him.
“David spent the day off the grid,” Tony Oursler, who directed Where Are We Now? told The Independent on Sunday. “He emailed me at the end of the day to see how things were going and I replied asking ‘where are we now?’ and he told me. That’s David.”
The video went to number one in iTunes charts in 17 countries and has already been seen by more than three million people on YouTube, Littered with references to Bowie’s past and shot at Oursler’s studio in the Lower East Side of Manhattan, the video would not look out of place at the Turner Prize, which is no surprise given the creative engines behind it. PAUL GALLAGHER for The Independent