The Mexican creator Pablo Helguera happened to the task of undressing the framework of macabre relations that populate the world of the art, to propose to the interested parties a practical handlebar that allows them to climb in the social scale and taste the honeys of the success. Like that was born the "Manual of Style of the Contemporary art", edited by the young house Beach chair.

“Creo that, in general, we all have a love ‘desinteresado ’ as the art, as Kant would say, but also it is true that the superficial aspects connected to the art, like the reputation, the money and the narcissism, sometimes they seduce us and govern our behavior ”, expressed Helguera in interview to this newspaper. The reality is more complicated of what seems; it is more, the world of the art is alike more a game of chess than the action to enter to a museum and to take delight with a piece.

The world of the art “es considered by some like the intellectual game of major sophistication never invented by the man. It to learn to play it is useful that the student novice imagines it like a chess game ”, where the king is the director of the museum, the queen is the collector, the healers are the towers, the gallery owners the horses, the critics are bishops and finally, the artists play at being farmhands.

This audacity that led Helguera to discovering that the artists are only the piece that other actors use to be inserted in the world of the art, was born of an honesty act: “Si we want to understand to the world of the art it is enough to be honest with us. For me it was difficult to do it, but if this manual is completely a portrait of the world of the art it is due, more than to nothing, to the fact that it is a personal confession ”.

Helguera was working for 7 years like chief of Educational Programming of the museum Guggenheim of New York, one of the most prestigious institutions museísticas. His stay in the big apple was like acquiring a magnifying glass that praised the conducts used in the world of the art to climb and to come to the longed success. “Trabajar in a big museum simply to you allow to see certain class of behaviors and processes that happen in other places of a more tenuous or shy way ”, he told. Thus, Helguera warned the “fascinante that proves, how sometimes it is possible to generate the mythology of a work or of an artist when any report, sometimes, of an occurrence of a healer or any collector ”.

The style Manual is a volume that, by means of the implacable, naked irony the real motivations of the actors of the world of the art and that it generates, almost for synergy, questions that will have to be debated in the way like: can an artist go to bed with a collector so that he buys his work, or with a healer so that it promotes his pieces?. The answers are in the volume that consists of an exploration of his artistic way of innovative forms.