Opinion

World Statues and her Artistic director Ron Miltenbrug have formulated their vision on 3 grounds; meeting, deepning and innovation.

Artistic meeting
Living Statues are used to spend hours next to their colleagues. Not talking, absorbed in their own performance, minding their own business. Steady regulars at a particular location may have dinner or a drink occasionally, but more often they have to move on to the next city or festival. The season is short, time is precious. Moreover: amateurs and professionals hardly ever discuss their shared passion! An exchange of artistic insights and practices is hardly structured. On the one side, that is the charm and challenge of independent artistic minds. On the other: a bit of shared values, and may-be even a bit of theory and philosophy could be beneficial to all concerned. As has been proven in other artistic disciplines.

So, let’s try. Amongst each other. No need to rush into public debates. Or having so called ‘experts’ or commercial agencies setting the artistic agenda for you. Moderation develops as we move along.

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Artistic Deepning
Ron Miltenburg: “Artists come in a variety of dispositions and with different angles of approach.
One may pour his heart and soul in sheer esthetics. Cheerful entertainment may be the meat and drink of others. Some consider material craftsmanship their bread and butter. Concept and meaning may be the alpha and omega of yet another artist.”

“Usually, Living Statues stand side by side, in silence. After the performance they have to hurry on to the next location. Exchange of artistic views and practices is rare. Especially between amateurs and professionals.
New venue of the World Statues Festival is the World Statues Forum. Artistic deepening comes primarily with the peer group itself.”

“A bit of theory building won’t hurt either.  Each and every form of art and culture has been empowered by this. Furthermore, it is sheer fun to finally meet colleagues from all over the country and other parts of the world.”

“To stand still is to move back. The dynamics in the world of Living Statues never stop.”

Quite a provocative statement by artistic director Ron Miltenburg. The quote seems to upset the very definition of Living Statues. “Not at all”, he says, “Living Statues have gone intercontinental and rapidly absorb a variety of views. At previous editions of the World Statues Festival we saw an influx of Mediterranean, South-American and Anglo-Saxon influences. They contributed to rethinking and expanding traditional genres. Artists from all over the world seem to inspire each other in their search for authenticity.”

“What the real thing is, is open for debate. Even local artists and audience seem to disagree occasionally. Last year we had an extremely skillful crafted Living Statue that didn’t move one millimeter of milliseconds for hours. A first rate physical and esthetical achievement. But some in the audience took offense: ‘He doesn’t know the first thing about it. When I put a coin in his cup, he ought to bow, or blow a kiss, or splash me with water. Any interaction, whatever!”

“Some artists like to think that it is all about radical self expression, well yes, a bit frozen into solidified stone or metal. Other artist argue that only universal norms, themes and esthetics are worthy of the predicate ‘Living Statue’.”

Artistic innovation
Originality and innovation often weight heavily when it comes to artistic appreciation of a work.  However, besides for audacious avant garde, the jury has a keen eye for uttermost deepening of traditional themes and materials. And creative comments and elaborations on previous acts could be as conducive to the artistic level of this form of art.

Artistic values are rather divers.
This year’s emphasis is on Content, Craftsmanship, Aesthetics, and Entertainment.
The pre-selection will be based on the criteria that participants generate artistic values above average, in at least three of these four categories.

Content
What is it that the artist wants to convey? What is the message or story? Or the effect he likes to produce? It might concern historical themes or of current interest. Phantasm, daydreams, nightmares, humor. Radical self expression, or universal aesthetics. Anything goes (except for advertising, and political or religious statements).
Did the artist give the topic a surprising turn, or did he explore a profound level of meaning? Or did he mean to confirm all we always found beautiful and exciting, yet in an even more beautiful and exiting way than all his predecessors?
Originality is one thing. The direct relation between the initial concept and the eventual impact another. Did the artist realize his intentions?

Craftsmanship
Does the living statue look like a real sculpture and is this consistently carried through?
You will be judged on use of color and material, texture, shapes, make up and the imitation of the material. It is not important to look like an existing sculpture, but how you have imitated the material of a sculpture. (For example; does ‘marble’ really look like marble?
However, sculpture still evolves. New techniques and materials are being applied, adapted, combined or dissected.
In principle, the possibilities for living statues as unlimited as well. When an innovative artist purposefully turns away from traditional materials and practices, the jury will focus on the intended surplus artistic value.

Aesthetical sensation
There is no disputing about tastes? May be not. But aesthetical judgment can very well to be substantiated. Sheer beauty is only one of the criteria. Overwhelming impression could be another. Or minimal intervention, maximal impact.
Aesthetic emotion may be evoked by radiant materials, by a sublime gesture, or a moving theme.
Sometimes a statue represents literary nothing but pure form.  Even then, the artist should be the essential core of the work.

Entertainment
Does the living statue entertain the audience?
The judges will assess if the living statue is able to capture the interest of the audience. Is the performance exciting to look at? During stills you will be judged on the fixation of your eyes and mime. Movements should be part of your performance and chosen carefully. The story that is being told must be clear to the audience, especially after intended bewilderment. The audience must know what is expected of them.