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Manifesto of Cultions. April 1, 2024.

We understand art as everything that, outside the artistic domain, can also be identified as a work of art created from the labor, inspiration, or reflection of an ARTIST. Therefore, we fully believe in and defend physical art in the real world as an expression of the artist with the principle of being in direct contact with the viewer.

In addition to the essence of physical art in a real scenario where we seek, discover, and enjoy works of art, we contemplate another scenario, the digital one, with the global objective of preserving the legacy that is produced around them, so that everyone with a desire to know and learn about the artists and what lies behind the works has no barriers of conflict, distance, or time.

As lovers and enthusiasts of art who are not satisfied with only what we see, we will fight for our right to know, understand, and connect. Open-minded people eager to evolve and revolutionize through technology, enhancing the experience with art in this real world.

We will avoid friction with the art world and market by openly showing that we do not interfere at any time with the relationships and work that galleries, auction houses, or any other professional may have with artists, artists' legacies, and owners of artworks in terms of art sales, as we do not contemplate selling these works. Our mission is not to act on the works directly (the tangible aspect of art) but on the knowledge and reactions of everyone who has something to contribute to the history of these works (the intangible aspect of art). We hope everyone can collaborate and benefit from it.

With our manifesto, we hope not to offend anyone, but it is what we think, feel, and long for from our own experiences, lives, and from our hearts.

Join us!

I. We are the Cultions Community

• We are those who as children searched the ground or museum trash bins for tickets not used by adults who despaired in the line, to enter, admire, and learn day after day from the great masters. (Tomás)
• We are those who have spent sleepless nights, obsessed with thinking about a work of an artist, trying to learn more about the characters or the meaning of it. (John)
• We are those who have looked at paintings in books with a magnifying glass, observing the artist's brushstrokes and that texture that never quite came into focus. (Carlos)
• We are those art lovers, passionate about culture and consumers of technology who through it try to navigate through seas of information on the web in search of content complementary to that found in books. (Anna)
• We are those who are not content with appreciating a work of contemporary art and seek all the knowledge there is about and behind it, even knowing that it is difficult to find in some cases. (Andrea)
• We are those who try to meet people who know something about an artist or a work so that they can provide more information or a conversation to validate that madness is not unique. (Pascal)
• We are those who admire artists in an unusual way but who want to be reciprocated by them showing interest in those who now own one of their works or need to know and have no way to be reciprocated. We hope it is not too late. (Judith)
• We are those who constantly hear on social networks when an expo is organized… we have wanted to put painting in dialogue with photography, classical art with contemporary art,... But who puts the work in dialogue with the viewer? (Jose Antonio)
• We are those who hate the art of silence, when visiting most museums, galleries, or exhibition rooms. Of those who realize that nothing has changed in half a century, the experience remains the same, the same space in solitude, perhaps someone appears, asks you a question and disappears, the same coldness of feeling observed with no other human presence but you while you see the exhibition, and in the end, quickly, you disappear through the door without making noise and saying goodbye to the silence. (Sam)
• We are collectors who buy for pleasure, for attraction, for impact, for emotion, wanting the art we treasure to be a reflection of our artistic identity as collectors and of our taste for art regardless of what others say. Our criterion for buying is more about the enjoyment, the coexistence with the work, and the cultural contribution to society than the revaluation of the price. (Deborah)
• We are those unknowns who are peeling art away from society, isolating works from the artist and the public viewer, becoming jailers of art but who now want to show them through Cultions, anonymously if desired, since we know we have little to lose and much to gain with a global community that contributes to us all. (Rawan)
• We are those who do not hold the premise of the artist's relevance when we see a work and are guided by the quality of the work we see. Trust in the work and the artist is what moves us if we buy. (Gillian)