Ultimately, images war is aimed to establish how we should believe. It is not a lie exhibition will show some of the most notorious and terrible fakes institutionally promoted. Artists who invent other artists and ridicule the excellence cultural discourse documentaries that appear objective realities and that put into question the journalistic resources performers who feigned roles to blow up certain of what we see or hear digital artists infiltrated in war games to short-circuit users expectations false statements submitted in iconic truthful academic museums and end up exposing the fiction and fragility of their power … not forgetting, of course, the fake is also an inherent format of the power discourse, why FAKE. It is not a lie reviews some camouflages, infiltrations and sabotages undertaken by artists around the world since Orson Welles made credible a Martian attack to expose media’s manipulative power in an increasingly constrained society to certain veracity formats. With additional problem that often fake also becomes part of the criticizing show, making it authority format. However, unlike simple deceit from commercials and political marketing -and also, why not aesthetic- the fake does not seek appearance perpetuation, but as soon as possible to reveal mechanisms and myths that make credibility becomes a possibility: to question, in ultimately, authority linguistic forms, in media, in museums, in academic discourses on moral gossip. The fake that parasitical and masked format that appears what is not, has become, in many artists’ hands, a weapon that seeks to short-circuit the mass reality manipulation, often using his enemy techniques. If classical aesthetic was based on goodness, beauty and truth foundations, truthful disruptive practices do not stop asking the same questions, but precisely where nobody expected, when we are fully confident in a space dominated by the comfortable “story” idea, sheltered from frauds and deceptions. Por tanto, son las ideas aquello que constituye la naturaleza de las cosas, lo permanente e invariable de. Sin embargo, lo que no vemos proviene de un más allá que nuestros sentidos no perciben, y solo llegamos ahí a partir de las ideas.
In a world dominated by simulations, by speeches and stories “manufactured” to be true, and an image whose primary condition is part of someone’s sneaky ventriloquism, increasingly practices from creation realm that are ready to dress to camouflage something else to reveal the current truthful regimes. Lo real es lo que no vemos, y lo que vemos es solo la apariencia, una falsa realidad, según Platón. Picassian maxim that the art is a lie that tells the truth remains today.
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