Werner Moron, a Belgian artist active both locally and internationally, is the initiator of the methodology behind the “Real Path” project and the “trajet réel” virtual gallery. His work is made of forms as varied as performance, action, sculpture in public space or video, but has constants on the background. Mainly, a critical perspective on the “art world”, on its economic functioning and the elitism of its actors. The spectator possessing, according to him, a symbolic repertory to activate, he also invites in his writings to make a political and symbolic, poetic and participative art. With the watchword of enabling spectators to reclaim public and symbolic spaces to make them creative and committed places, he set up interactive artistic projects and socio-artistic workshops.
“The Wall Street of our desires and disillusions” is an artistic process that “speaks of the real perspectives within which we see the future of an alternative economy that aims to bring down Wall Street” and that takes place in three acts. On the one hand, there are conferences-performances during which the artist, surrounded by professionals from all fields, becomes in the eyes of the public the “banker from the other side”.
On the other hand, on a website, the public is invited to “play on the stock market” a value that is important to them, embodied in the form of their choice: song, photography or multimedia work, anything is possible. Each participant can also bet on courage, perseverance, or humility – all the values proposed by the other participants – and see the rating, the public credibility of “her/his value” evolve, depending on the bets of each one. “The idea is that we reclaim the words that were stolen from us and translate them into our symbolic power”. The third axis, the “University of Doubt”, is designed as a mediation tool between the bank and the participating public.
These three axes are, beyond the artwork, three of the key ingredients of the socio-artistic intervention, the core of the “Real Path” project. It requires creating time for artistic action and the expertise of the facilitators, a space for participatory action and the recognition of the participant’s values, embodied in artworks, and a constant place for mediation, which links the two practices.