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How many times have we seen in the children's party clowns horrible depressing that make balloon animals? This practice is not unique to our country, is practiced by almost everyone. An inflatable dog animals is the model of one of the most famous sculptures of Jeff Koons, Balloon Dog , made in 1996. Jeff Koons did not invent the image copied it to these clowns and reproduced in permanent materials as "a parody of the banal" in his factory studio with 50 assistants at 600 Broadway in New York and manufacturer architectural and artistic objects Carlson & ; Co . It has several versions in different sizes and materials, a small, porcelain made 2300 copies and sold between 7.500 to 12,000 dollars each on eBay , the large steel is made to order and costs 20 million dollars. It is an idea and repeatedly exploited to the fullest.

Koons, who can not draw or sculpt, says of himself "I am a person of ideas, not get involved in physical production of my objects, I have no skills, so I hired the best to do so." This means that at least the clowns of the parties do make their dogs inflatables. Koons does not just "think" and its marketing machine sells. So far nothing new within the contemporary art creation, if it were not for Koons claims the copyright of all dogs of balloons that are made in the market. In a gallery of San Francisco's Park Life, attorneys for Koons forced the owners to pick up some dogs that were selling pasta. These dogs manufactured in Canada are distributed 300 points of sale. The gallery said shocked, "is fuckin nuts, Jeff Koons Owns all likeness of balloon dogs ? No, it is not. This is an insane abuse of a man who is an artist, is a seller of expensive kitsch objects.

In that plan, Gabriel Orozco is the owner of the rights of all the shoe boxes in the world. Warhol Enterprises will have to charge royalties to Campbell's Soup Company , a Coca-Cola and all that in their very limited language have used their logo to make works of "protest and reflections on the consumer society. " Seafood restaurants pay to Hirst to decorate with stuffed sharks or vats of formaldehyde. Disney paid for the use of Mickey Mouse ad nauseum in millions of pieces "of imperialism." Urgent that all artists make an association or union and to record the collective authorship of all trash generated by the planet. Gabriel Kuri required royalties on all the trees in the city that are covered in chewed gum. Those who install urinals to pay royalties to the heirs of Duchamp, including artists who have copied the piece. The descendants of John Cage that have the copyright for silence and Piero Manzoni's shit in all its forms.

In this art to steal or "ownership" is one of the aesthetic premises that the denostación of authorship is one of the pillars of rhetoric, an artist Copyright prompted by an idea that is created and copied to the top of cynicism. But the cynics get far because the cowards do not lose the opportunity to shut up. The amazing thing is that Koons does not learn to forget is part of the arrogance. Already in 1992, photographer Art Rogers sued for stealing a photo printed on a postcard and that Koons used as a model for sculpture String of Puppies, which had three copies and sold at $ 350 000 each. The jury sided with the photographer and Koons had to pay. His defense was the curatorial text, said that ownership is part of his aesthetic and the card used to ridicule.

is, he does something that can be used deliberately did not invent, but if someone else takes the part, and uses it, so if authorship is theft. Without the value of the original author, the imitator, the copier, the thief, demanding the right to copy, and sends lawyers to fight for something he stole earlier. The work is not making it, is who knows pervert the copyright laws, this is the prevailing rhetoric.

Posted in Cultural Supplement Maze, Milenio Diario.

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KAFKA, KUPER AND SELF Transvestite

"As Gregor Samsa awoke that morning of his troubling dreams, he discovered that he was transformed."

is the beginning of Metamorphosis by Franz Kafka, perhaps one of the best early history of literature. From there anything can happen and it happened. Fear is a way of understanding the world. The artist Peter Kuper, author of several graphic novels and illustrator Times and Newsweek, gave a graphic novel from the story.

With the tools of the graphic novel, Kruper Kafka's story makes a version that matches the motion of film in the development of narrative and action. The beginning of the novel is written on a black page with white font, is a curtain that opens to we get to know the tragedy of Gregor Samsa.

Life can be unbearable, but at times it may be more the possibility of change. Terrible as it is a routine, that we are subjected to security that, at least here, we know what will happen and if we take the risk of change that can upset the world around us, to the extent of making it with our fear, into a nightmare. Kruper

making ideas that will trigger the action and makes a dramatic adaptation of Kafka emphasizes patterned in black and white drawings moves evolve approaches to wide shots.

In the small room Samsa, wakes up in bed for a large beetle, the tension of the new body of Gregory Kuper recreates with large and small drawings in which the insects have their new status, believed to be in a dream , and time goes into a huge hourglass cloisters anxiety of Gregory for being late for the train, panicked screams and realizes that it is not the same when he heard his own voice.

Kuper's drawings we get into the hysteria of Samsa, the irrational fear of being different and still be in the family environment, for Kafka was always a symbol of oppression. The narrative of the voiceover keeps it in cartridges that gets into furniture, sceneries or the shell of the person creating an active voice that unfolds in the bowels of the story, which is not apart of the action. It is perceived that clarity and intelligence with which the director Michael Haneke film inserted the voiceover in his film version of The Castillo. The voice becomes intimate and poetic when describing the plight of Gregorio and inserts with white font on the lock of the door, peering through the key input, see the face of the beetle distorted by panic.

The decision to make the novel black and white gives a deep and terrible truth, the story has no nuance, no other options, is a tragic end, goes beyond the colors with the duality of light and shadow, line and absolute black. This fatality was achieved tonal with scratchboard technique: on pages printed in black ink scraping knives and other metal tools to remove the white lights of the paper is white. It invested a stroke, because what you draw is light, and leave the black form of the line and the shadow.

Portrait of Gregory's father is a horrible man, his face is changed but retains its repulsive, is angry, cold, selfish, robust, brute force to mistreat but not to work, is the figure of Kafka's father was a source of pain, contempt and fear. Kafka insecurity came from the presence of a parent who is dissatisfied with his son showed. Kafka in his letters he remembers everything that he admired the young man, his father denigrated with scathing criticism, to the extent that Kafka chose to hide their tastes, as in his novel hides the beetle. That drawing Kuper takes him harder representation, is a monster of violence that makes the transformation of Gregor into an insect, the worst of places: where the victim gives reasons for the executioner to be tortured.

In creating characters that makes Kuper, the beetle inspires compassion and solidarity Samsa, the insect is never frightening that puts the family out of it and that becomes the problem on the that will turn the most wretched of his feelings and disloyalty. It is an insect that is suffering, seeking help and who needs love and support to cope with change. Fear is destructive because it nullifies, the fear that Kafka had his father, the possibility of irritating, shame to the reality of being an insect that is consistently below expectations, he had created a character that released and purified in the literature. Kuper's graphic novel elegantly recreates the fear, in a staging grotesque cartoon characters in its pettiness.

Published in the Journal Antidote