Art for poverty project

Art for Poverty Project
Change society


Project initiator:
J. A. Michel Boisvert (JAM) artist researcher in visual arts in Quebec

Project Internet address:

You want to get involved in this project as a donator of work and become by this gesture a member of the NPO, which will be trained to lead this project? Communicate by email with the author of the project:


The project

Project art for poverty version 2020


Understand the ideology of the project

In visual arts artists do not behave like in theater or cinema or in music or dance or in any other known artistic form. There is no impresario in visual arts. There is no stage manager, director, and screenwriter. There is only the author and his work or if you prefer, his creation. There is nothing but that, an individual alone with his thought, his talent, and his creativity. No other kind of individual has access to the work, the creation or the content of the artist's artistic approach. The artist is alone and he remains so from the beginning to the end of his life.

Knowing this and responding to the fundamental need to generate a corpus of works created by Quebec artists, the solution suddenly appears when we mention, make a link between the authors and the people. Who will make this link and on what criteria? There is no question of interfering in creation or in the creative journey. The bond must be natural and must unite in a set all the creators and creators in a corpus which one can call Quebec art which will exist in an autonomous way. To make this link, it is absolutely essential that the authors believe in this possibility of establishing a link between the works with other authors.
Given that the survival of the creator in the visual arts is the opposite of the link and that each individual has their own truth and that all the truths cannot be combined in one direction, in one and the same purpose. The idea of ​​the link to be made between the works becomes a construction problem. Who will be the builder of this link? Not a museum, not a gallery owner, not an artists association, not a government with his cultural minister.
JAM sees only one way out of this problem.
Build a non-profit company containing all artists’ creators of works in the visual arts. Each individual remains the intellectual owner of his creation and his corpus of works and is personally involved in the dissemination of his works.

This provides a fundamental outcome in this exercise because artists are dreamers. Some know how to administer but this is not the case for all. It is therefore necessary to entrust experts with this dissemination of works with as a basis the right of scrutiny of the artists involved in the dissemination process. For this to be possible, each creator must have mandatory voting rights in the company.

It follows from this that each artist must make a decision not only on his work, but also on all of the works of all creators. This is where the idea of ​​the link appears to be difficult to do.

We all know that human nature and artists are part of it, is a competitive structure. In the competition between artists, low blows fly in all directions. You cannot ask a competitor to vote on the value of a competitor's work. What to do in this case?

The solution is simple.
It will be the investors who will decide the value they place on the works. Works and creators who do not receive investor support will be taken care of by the company. They will be listed and their works will be part of the corpus even if no sale has been made to them. This process will collect all the works of all artists without compromise. There can be no negligence in the value of the creations. All creations are necessary to make the link. The strongest will thus support the weakest. Nothing is known about what a work contains and its real value. We must keep everything in case in a work there would be an adequate response to our questions.
There is also no question of dividing an artist into two different parts. The artists who will be part of the project will not be able to sell their works to investors who are not members of the organization. It is logical from the perspective that the project wants to change mentalities in art. An artist cannot belong to two forms of thought.

Why collect all the works?

Many Quebec artists are what can be called the first generation in art. Some are from a second generation and have inherited artistic genes from their parents. But in any event, Quebec is brand new in artistic production from the people of Quebec. We are not talking here about immigration, or about the other cultures that live in Quebec. We are talking here about native French speakers, that is to say the heirs of the first French settlers and the heirs of families who have developed here for 400 years, regardless of whether they were of French stock since they became part of the culture. A Quebec culture emerged from these first settlers, all mixed together, and developed by the people. This culture still exists and is threatened by immigration and the aging of the population. The multinationals that destroy all cultures to promote their unique form of thought built around the power of money contribute to the destruction of the cultural mass.
The project is about understanding what is our culture now and how to proceed to save it.
The project is formulated to get Quebec out of its intellectual and artistic doldrums. As a nation, we must constitute an artistic corpus indicative of what we are as a people. There is no longer any question of favouritism like what currently exists. We must speak of jargon way if you want but which remains our means of communicating between us here. No matter where you come from, if you learn our language and communicate with us with our language, we will welcome you as one of us.
We must open and extend art to all stakeholders regardless of their origin on the planet. To do this we rely solely on ourselves. We must develop our own artistic network outside the current circuit, dominated by foreign cultures and make the link between our wealth and our poverty. We must educate the people and bring them to consider their local artists as propagators of Quebec culture. We can no longer survive only with our individual little self. We have to face others with what we can build by thinking as a group.
There is also another emergency that we have to face. That of eliminating the internal usurpers who sell our cultural goods to the highest bidder on the pretext that it is part of the business and that they are primarily financial business individuals. In the genre we have the Cirque du Soleil sold by its director after the people of Quebec have invested millions in their global development as a representation of Quebec culture. Did this director reimburse Quebecers after the sale?
The most serious thing in this cultural situation is that everyone does not care. We cannot sell culture. If we sell works we must also keep some for ourselves. The museums supposedly guardian of culture, are the first to sell works acquired thanks to subsidies when the monetary need arises in the smooth running of this financial trade which claims to be cultural.

There is a social conscience to develop at the level of Quebec art and only Quebec artists by uniting can do it. All the others have no interest in Quebec artistic culture except to make profits on the backs of artists.

There is unfortunately a thorny point with this project and it is that of sharing the profits from the sales of works by donations of works required by the project.
JAM believes that it is essential for artists to lead by example and that artists who are creators of art must submit to this requirement.
Donating art is essential for the survival of art.
What do art collectors do when they write their wills?
They give to museums their collections.
The artist who donates his work only receives from the sale of his gift by the company a third of its market value. However, he thus participated in the survival of the company and helped the needy in addition to bringing a work to a collector who bequeathed his collection to a museum when he died. It is a loop of life that ensures a place for art in the community.




JAM artist researcher in visual arts offers a reflection on the future of Quebec art, that is to say, designed, created, and distributed by Quebec artists.

We cannot speak of art without mentioning the undeniable fact that only artists who create artistic work, its ability to conceive the future of art. Any other party cannot decide on art.

The idea of ​​the project is attached to the crying need to identify Quebec art as a self-functioning social process in international art.
The idea of ​​sharing comes from the fact that only 1% of the world population has wealth and that art must lead by example to change this structure of thought.
The project is aimed at Quebec artists working in the visual arts, who wish to share their art with poverty as an initiative of sharing between wealth and poverty to develop a society that takes into account the human more than the economy and politics.
The project is at the center between wealth and poverty and is a way of identifying through art the human need neglected by wealth. Art is interposed in the economic process, which promotes wealth by letting people live in misery. The art that the rich buy will provide an income to be shared between artists and the poor.
JAM has chosen to share its talent and make art an example of social sharing. By putting sharing as the basis of functioning in art, JAM proposes to reconsider art as a social exercise at the service of humans.
The project is exploratory and all artists are invited to be part of this project by becoming a donor of works and administrator of the project.




 JAM donates 10 sculptures constructed with the poverty-themed of the tin can sculpturing from the "Art for Poverty" series to start the non-profit organization that will manage the "Art for poverty



Citizens of small nations such as those who are part of the culture of the French-speaking people living in Quebec must in order to survive in globalization, stick together and work together to support their culture and their right to live within their own culture. Quebec francophone culture is partly made up of performing artists in the visual arts. Artists in the visual arts category comprising several subcategories such as painting, sculpture, poor art installation, etc., must intervene within the social structure of their Francophone culture to find a collaboration of the people at the level of the financial support they need to perform in their art in order to dissociate themselves from the power which formulates their political needs by intervening as a patron. The "Art for Poverty" project suggests that French-speaking artists form a company together, of which they will be the directors, to sell their works to French-speaking investors and help the community in the form of financial support from the income from the sale of their works at the same time that they establish a valid quotation for their works by these same sales of works. The formula suggested by the project is that of social sharing in an attitude of citizen investment as much by the formula of donation as by investment in the form of a collection of works created by French-speaking artists. The collections will thus reflect what we are as a French-speaking people in the world, that is to say a people who express themselves through their artists and not a people subject to the dictate of the state.




This project is a new cultural approach. The project expects you to become pride in yourself and your French culture in the vastness of the world economy.




The "Art for Poverty" project is aimed at francophone artists practicing in the visual arts and living in Quebec, and citizens who want to become investors in Quebec art. The social formula of the project is based on the principle of citizen participation. Each artist interested in participating in their own identity within French culture here is asked by JAM to form an NPO (non-profit organization) which will take charge of the project "Art for poverty"

The art for poverty project has three components:
1- First part is that of works received in the form of a donation of works from artists who are members of the non-profit organization that will be in charge of the project. The members therefore become from their donations of works, the administrators of the NPO, which will be in charge of the project. They constitute the CA; they write the general regulations and the internal regulations on which they rely to manage their French-speaking Quebec business of art investment in Quebec. They are taking steps to obtain subsidies. They are researching Quebec citizens to obtain investor-collectors who will be solicited by the NPO during auctions of works donated to the NPO by its artist members. Sales will establish the price of the work. Artists who already have a rating on their work will establish the auctions based on their own rating.

2- Second component consists in sharing the profits obtained from the sale of the works received as donations. The artist who donates the work sold will receive 1/3 of the amount obtained by the sale. Another 1/3 of the amount collected will be allocated to donate money to other NPOs that do charity in Quebec and the last 1/3 will be used by the NPO in charge of the project "Art for poverty "to raise awareness in the community to support member artists. The non-profit organization will also establish the rating of the works sold. The NPO will thus participate in the development and recognition of French-speaking artists within the globalization of art.

3- Third part of this project consists in making this organization a Quebec reference in art investment by building a group of investor-collectors, who will have access to the auctions of works in possession of the organization. The pride project is mainly focused on this third component, that is to say making French-speaking citizens proud to financially support the production of French-speaking works within Quebec culture.






The purpose of the project is to provide pride to the Quebec Francophone people by entrusting them with the privilege of associating with Francophone artistic culture by becoming an investor-collector of Francophone works of art in Quebec. The main idea of ​​this project is to build a Quebec collection of works by French-speaking Quebec artists held by Quebec investors responsible for the project "Art for poverty". The organization responsible for the project will receive the works from the member artists in the form of a donation. The works will be auctioned between investors who will in turn become the hosts of the collection. This collection of Quebec works will aim to establish the rating of member artists within the globalization of art from all cultures. This collection, held by all the investors who own the works acquired by auction, will serve as a basis of evaluation for the other works produced here by the member’s artists donors and will identify the French-speaking culture of Quebec through this collection. This collection will be registered within the organization's procedure. All sales and donations will be listed by the organization and will appear in the annual report. The project wants to encourage citizens to build collections of works to support French-speaking Quebec art. Investors will be asked to buy works as much as the artists agree to donate to contribute to an equitable sharing of wealth. All stakeholders are winners in this process.




The proposal contained in the project "Art for poverty" of JAM, artist researcher in visual arts in Quebec is clear and limpid on this subject. Art must be taken in hand and must come out of its begging and social assistance state. It is not a choice it is a requirement. The project proposes to use art as an investment that will build French-speaking Quebec art and gain recognition on the international scene for investment by collectors around the world. This "Art for Poverty" organization will serve to develop a Quebec economy for investment in art. This organization will make the citizens of Quebec understand that it is more cultural to invest in art than in real estate or in buying shares on the stock market and that culture is what defines us in humanity.
The work of art will be at the center of this charitable organization, while it will provide artists with money to make art. Citizen investors will become by this organization, supporters of art at the same time as collectors and distributors of our art worldwide. This organization will receive from the artists a work or a series of works in the form of a donation from the artist or the gallery, which represents him or her. This organization will advertise its existence among the population by encouraging citizens to become art investors. This organization will constantly monitor the state of the investment. This organization will make auctions among its investors to raise the rating of the work it sells. The organization will share the money obtained from this sale between itself and the donor artist or collector, and another charitable organization in Quebec society.
The idea of ​​sharing with poverty has several goals, the first being that of changing the perception of art among the population. The money that the sales will bring to the organization will be reinvested in art in the form of administration of artistic projects as well as in the form of promotion of the artist by art exhibitions or events. This money will be use for education of the population on the needs of investment in art on the part of the citizens. This money will be use for education for children and on the need to develop as a citizen in harmony with art. This money will be use for dissemination of its involvement in society. Also in the form of purchasing works already contained in an already established and already functional investment cycle. This organization will make the artist member an entrepreneur instead of remaining a poor man maintained by the state all his life. The organization will organize meetings for its members in collaboration with other organizations already established in art to educate them on investment in art. I am thinking, among other things, of young artists who come straight from university and who have not yet received money for their production. The organization will be a benchmark among the population in all that concerns the implication of investment in art in Quebec.

When we talk about investing in art we suggest investing in the future of our nation and not creating a portfolio of bonds or real estate title. Investing in art means understanding the importance of art in terms of the economy, in terms of self-esteem, in terms of the representation of what we are.
The project proposes to build a non-profit organization that will receive donations of works from French-speaking artists and will sell these same works by auction to local investors.





Investing in art through a non-profit organization is a rewarding idea for the Quebec economy. The primary argument for the establishment of such an organization is to make Quebec culture a profitable means for the future. Profitability must come from us. We are the holder of the cultural product, which will serve as an investment. The project aims to convince local people to invest in a cultural product made here.
To do this you need people from here who believe it is possible. The first people who have to believe in this are the French-speaking artists from here. They must foresee the future for those who will come after them.
The project gives them a place of choice within the company. They are asked to donate a work to start the process. The project must attract a hundred artists to be recognized by local investors. The organization must provide investors with enough quality works to interest them in investing.




The project does not include the current investors who acquire works currently, because these investors are not part of the idea of the project. New investors are needed for the project. New art investors will be exclusively Quebecers and will have to become members of the organization if they want to buy a work available only inside the organization.
We must persuade all the people of Quebec to invest in their cultural product. We need to train local investors. We must divert investments made in other sectors to bring them into culture. This public education in this sense is necessary. Currently, investors are being used elsewhere because nothing else exists as a cultural investment. By putting local Francophone cultural product within the reach of local investors, we are opening up another sector of investment.

I think in terms of time to accomplish this. I believe that it will take at least ten years to establish this investment project.
What we need to do first is to inform people that they need to invest in art so that our art becomes interesting in terms of investment and that for this to be possible investors have to buy works like investment without expecting an immediate return on their investments. We must sell the works made available to the investment between our investors. Each year during this decade of dormant investments in the form of works purchased by investors, the artists will provide other works in the form of a donation and each year we will auction them between our investors.
Investors will be the custodians of the works they acquire. At the end of this dormant time of the sold works (About ten years) which will establish the rating of the artists and it will go up because each sale in the form of auction will interest more investors and the fight for the acquisition will provide the reason which will raise the bids. After ten years, investors will be asked to put their works up for auction. It will then be time to put them back on sale but this time it will be auctioned internationally. Other investors than ours will be asked to participate in these auctions. Thus the works will have had time to acquire a higher rating and investors through their acquisition actions will pay the works a higher price than that at the origin of the first auctions. This is just a suggestion. I think that together we can find an adequate formula that will allow all stakeholders to find satisfaction. In the Quebec economy, this activity around the sale of works will have produced an investment in the public by the fact that 1/3 of the sums collected during the sales will go to the poor living in poverty. I believe in this investment formula because it involves three categories of individuals is profitable for society. The poor who receive aid can with this aid survive and why not educate themselves and become a full citizen, which is desirable for the economy. A worker is more interesting as a citizen than a social worker.

The children, who receive a scholarship thanks to the organization, will become by his studies a profitable citizen for society while an individual without education because his social condition did not allow him to study remains a burden for all. The artist by his gifts will make known his artistic product. People will become, through their money, an art investor, contributors to art support and acquire works that will bring them profits on their investments when they put them back on sale.
What is also of some interest in this investment option is the fact that the organization in charge of this "Art for Poverty" project will be accredited to issue a charity receipt. This is mainly of interest to large investors, such as local businesses, who can thus donate to charity by encouraging our artists by acquiring a Quebec work.

The rules

In any form of society, it is essential to have rules. In the organization that will manage the project, it is the members who will establish the rules. One rule that the author requires for the project to be effective is that of exclusivity both from investors and from member artists. This exclusivity will not prevent corruption, but it will serve to establish a moral value for participants in the form of moral commitment to the organization. Exclusivity must be debated before being adopted as an internal rule of member behaviour. This rule of exclusivity will only be possible if the commitment of the members is sincere to obtain an effective return from the project. The project aims to change people's mentalities about art. It is normal to ask members to respect this commitment to the organization that will support them in their artistic process.
Other rules could thus be drafted in relation to the needs of the members and the needs of the organization, which manages the project.




Step 1

Constitute the project in the form of an NPO
Find a permanent residence for the NPO
Constitute a board of directors

2nd step

Find donors of works
Store the works or find a method suitable to the needs

Stage 3

Formulate a first sale of works

Step 4

Repeat steps 2 and 3


The functioning


Creation of a bank of works


If we consider the project as a new thought formula, we must also consider investing in art as a more advanced way of thinking.
Art is not just a painting by an artist that hangs on the living room wall.
Art is a way of understanding the human and a way of integrating the evolution of the thought generated by art in a social follow-up.

The "Art for Poverty" project is an advanced way of looking at society as being at the service of the people and not the opposite. But there are several other factors to consider than those of art when a project is part of a social formula.
The investment linked to the project must be considered in its real form and not as part of art. Investment is a structure of monetary thought, which has nothing to do with the structure of artistic thought.
It is by taking into account the monetary thought, which is linked to the thought of gain that we must build a bank of works, which will serve as goodwill for investment. This bank of works will be a guarantee for investments in art.
The investor will invest in something that is real and consistent in artistic form. The value that the work will gain by being sold will be a guarantee of security for investors.

What the project look concretely

1-        Donations of works will be catalogued according to the creators of these works provided as a donation to the company, which will be in charge of the project "Art for poverty"

2-        Donations of works by each artist will be used in the investment process. This process will take 10 years to build a bank of works. This bank of works will serve to reassure investors so that they believe in this kind of investment. In other words, each investor will have the certainty that his investment is protected by insurance based on the real value of the work.

3-        Each work will be evaluated according to investment criteria.

4-        To establish a rating of the work it is necessary to make a sale of the work.

5-        Each work sold will remain inside the company in charge of the project for a period of ten years. These works sold to different member investors by obligation of the company in charge of the project will hold the acquired works but will have the obligation to resell the said works only to other investor members of the company in charge of the project for a period of ten years. This time is necessary to build the works bank.

6-        It is therefore compulsory for the company in charge of the project to make itself known in the investment community as an investment company.

7-        It is mandatory for donors and investors to understand this art investment process. You cannot use your current investment knowledge to understand this new investment principle. You have to learn the new concept to understand it.

A-        Art is above all, a spiritual form of thought. A work will never become anything other than what it was created to be. It's impossible.
B-        You can sell and resell a work but you can never transgress its shape, its color, and its condition. The work as long as it is not altered remains itself in force of language and in spiritual structure. The work has a life limit, which must never be interrupted in any way. We can store the works to guarantee them a longer existence, but we cannot add ingredients to keep them longer than their creator wanted to offer the work. Under no circumstances can one intervene in the creation of the work, otherwise its value disappears and cannot be recovered. Art is thus made that only the creator can formulate it. Any other intervention by another human individual is not tolerated in art. It can be decided at the creation of the work that the work will undergo such or such intervention. But it is the creator of the work who alone is empowered to include these so-called transformations.

8-        A work of art is a unique process. Copies using technology and used to copy the unique work are other formulas of creativity which are recognized as copies and which have their own critical valuation structure other than that of the unique from which the original idea originates. One can give a monetary exchange value to a copy by considering copying factors but one cannot consider a work copied from a single work as being the extension of this single work. The work is and remains unique over time.
The technical means of copying this refines with the technological emergence, which evolves according to its own criteria, and the works of art remains unique despite the fact that their popularity is made possible by technological copying.

9-        The creators in visual arts are unique in the form that they use to realize their work. Their work is part of a whole according to their personal approach. Each work in this whole is unique and different from its following.

10-      The "Art for Poverty" project is a triple formula in investment. Each stakeholder is linked to the other stakeholder. Art depends on the investor. The investor depends on the artist and the poor depend on the sales of the works.

11-      What seems the most difficult to overcome with this project is to make people understand that they are winners on all fronts with this project. Whether as a donor of works or as an investor in art, both must meet in the same place at the same time to exchange a work for money and the poor man waits for the deal to be concluded for get something out of it.


After ten years of germination, the project will become interesting on several facets of this artistic adventure. Once the project is installed in the collective perception of Quebec in terms of its cultural and economic value, the company in charge of the project will have a free hand to act within society. As much at the level of investment in art as to enrich the culture of creations recognized by all members of society.


JAM, Verdun February 23, 2020

Description of the way to make art in the research "Art for poverty"

Addition to the book Poverty on 02/24/2020

Description of the sculptures built during the poverty research

The metal can is used in this research as a basic material. The can represents poverty in its state of manufactured product and must to reach its state of art, be manipulated by the artist researcher to determine its new identity.

The art form used in this research is a mixture of poor art, plastic art and automatism art.

Definition of plastic art according to Wikipedia: The plastic arts are the grouping of all practices or activities giving an artistic, aesthetic or poetic representation, through forms and volumes. It is a material that takes all possible forms.

Definition of poor art according to Wikipedia: This expression was born in 1967 with the arte povera exhibition organized in Turin. The artistic movement that will be created later will take its name from that of the exhibition. This art is said to be poor, because it aims to oppose the cultural industry.

Definition of automatism according to Wikipedia: Les Automatistes is a group of artists from Quebec, gathered around Paul-Émile Borduas, professor at the Montreal Furniture School, during the 1940s. The foundations of the surrealist movement and psychoanalytic tools constitute the ideological bases of automation. Against the surrealists, the Automatists advocate an intuitive, a representative experimental approach leading to an in-depth renewal of artistic language. The first works resulting from these experiences are similar to abstract expressionism, despite the lack of links between Montreal and New York groups.

JAM with this research attempts to demonstrate that the economic fanaticism which governs the lives of people today is usurping ideologically, financially and humanly.
The artist places the industrial tought as responsible for the decay of the environment and constructor of poverty.
It is in this sense that he uses the can as the main material in the description of poverty.