Presentation at Centro Cultural de Cali

In the 1970s, the American programmer Richard Stalman, disgusted at not being able to use his printer because the software was for proprietary use, generated a free-use application, governed by 4 rules:

1. Freedom to use the program without restrictions.
2. Freedom to study it and adapt it to the needs of each one.
3. Freedom of redistribution.
4. Freedom to improve it and publish the improvements.

Artists throughout history have taken images of other artists and times, from Dürer, Cranac, Brueghel, van Gogh, Matisse, all made copies, the list is long. Today and more frequently, these images and objects are originally produced for another purpose: advertising, scientific texts, phrases, stamps, photographs, the portrait of an important person or an unknown person, a piece of poster, found objects, etc. . Including Andy Warhol’s Campbell soup images, Antonio Caro’s Flag of Colombia with the Coca-Cola letters at the bottom. So what is original in the production of these images?

One of the characteristics of what we call: “contemporary” is that sometimes it is not an innovation in the production of the image, but rather a look at the real: That artist’s gaze manages to transform those fragments that he has taken from his daily life , without canceling or completely changing the conceptual content with which they were created. What it does is to return them to the socio-cultural context by providing a critical look at what is daily, and therefore insignificant or inconsequential.

No Copyright especial edition advocates an unconventional stance of the concept of «copy»: it aims to sharpen the perception of everyday life, captured by the artist’s eye, resignifying the value of an image and its copy in the digital times of «Copy & Paste», the home printer and the photocopy; Where a «small or brief» action on these fragments, builds an image loaded with a concept that reveals the transcendent of the inconsequential, without the obligation to produce a grandiloquent image.

Although in this publication each artist maintains the authorship of the work, attendees may take a “copy-original”, which they can photocopy, scratch, draw, fold, frame. Even the archives are for free printing on the CALCO website: In such a way that these archives are governed by the 4 rules established by Stalman: 1. Freedom to use the archive without restrictions . 2. Freedom to study it and adapt it to the needs of each one. 3. Freedom of redistribution. 4. Freedom to improve it and publish the improvements.