It is essential to give back to the community that supports you. Each of my artworks is embedded in social ties, aiming to create a meaningful impact on those around me. There is no need for a commission when the intention is genuine. The first and most valuable return on investment is the gratitude that comes from witnessing the process of discovery.
As Ai Weiwei puts it, “My favorite word? It’s act.” Action is fundamental to creation. Social sculpture demands a strong concept, thoughtful planning, and powerful execution.
Power controls through fear, and fear is politics. By offering pleasure, joy, and knowledge, artists disrupt established power, placing themselves at the heart of politics. Contemporary art’s ongoing task is to challenge existing conditions, and resistance—whether through headwinds, exclusion, or rejection—signals that this engagement is meaningful.
I echo Tania Bruguera’s words: “Feeling good is not enough: Create a political moment.” Social sculpture is such a moment—an invitation for others to experience a different path. It’s about sparking a movement that arises from the environment’s response, while staying mindful of the real needs of others. That is the goal: to reveal new possibilities and inspire action.
ARTSURPRISE is a proof of concept. It explores whether there’s an alternative path to gaining meaningful attention for contemporary art, beyond the established, mass-market channels. Can we make it possible for contemporary artists from abroad to access the art market physically—coming from so-called third-world countries—or without the formal requirements of a university degree? Can we open doors for those who lack the financial backing that comes from wealthy families?
ARTSURPRISE asks whether we can build tools that reach areas of social interaction that mainstream art market players, focused solely on ROI in fiat currency, cannot touch. Can we create a social network that connects creatives who may never meet in person, and is stable enough to sustain a social art project over many years? One where older, less active, or differently-abled artists can earn a living independently, even in old age? Is it possible to design a system that rejects exploitation, rivalry, and inhumane competition, and instead invites classical art world players to engage on new terms?
YES. The name is ARTSURPRISE.
This project, and the artworks it produces, are aimed at contemporary artists and the public alike. The approach is comprehensive, low-threshold, and attractive in both directions.
While the numbers—more than 300 artists and over 30,000 works of art—are impressive, they are not the core. What matters is examining one’s own relationship to the social environment. How do we choose to do something different, not merely as a reaction to what is offered, but as an act of liberation driven by inner strength? This art thrives best when it invites people to act creatively.
As Nadya Tolokonnikova says, “We are the rebels asking for the storm.” Divide and rule has long been a strategy of power, but ARTSURPRISE offers a new way—one that unites rather than divides.
What if there were a social space where creative people could forget about money, at least for a while? A place where they could act freely, without the pressure to make their work “make sense” for someone else? Imagine a place where ideas for creative projects could be exchanged while cleaning lettuce, peeling potatoes, or cooking vegetables. A space where failure is not only accepted but encouraged, allowing creatives to get up, try again, and fail better.
Isn’t a supportive community the foundation for creating a true social sculpture? What if there could be a place where people could meet freely, as equals, and shape something meaningful together?
Yes. The name is CASAdelDRAGON.
The house of the dragon is one such place. It is a Think Tank, a Gallery, an Artist Residence and itself a social sculpture. Like Epicurus’ garden, it invites people to live together for a time, to exchange ideas and help one another in various ways. It offers a space for experiencing community and finding strength for social dialogue. Many social sculptures take shape here—where people design, experiment, and bring their ideas to life. The house is an open invitation, a space that is well attended and always evolving.
Over the past 20 years, CASAdelDRAGON has welcomed 2,000 guests—some for a few hours, others for days, weeks, months, or even years. This project operates without government subsidies, corporate ownership, or external oversight; it is simply a humanitarian space in post-factual times. By not taking sides, it becomes inherently political. Here, nothing is for sale or rent; you can only be invited by those who are already part of the community.
A true social sculpture is one that takes on a life of its own. It evolves, expanding far beyond the original intent of the artist, continuously shaped by the community that engages with it.
ARTSURPRISE has given rise to a range of initiatives, including the TGV project, the Joint Venture in Art, the Project Social-Dada, MUARCO, among others.
Meanwhile, CASAdelDRAGON has been the birthplace of numerous endeavours, such as the Color Garden, the Artcamp, the El-DRAC gallery, and the artists’ association of the same name. It has also launched the travelling exhibitions of Amazing Citizens in Civil wars, UNIIE, the white dragon, and much more.