1 – JERGON is a crossroads of artworks and discourses on art, artists, critics, spectators, and institutions.

2 – JERGON is a wordplay and a détournement of the word Jargon, which in all Indo-European languages –and beyond– indicates a language that originates and thrives within a group. The creation of new artistic languages is indeed a fundamental component of the hub, along with the (re)placement of artworks at the center of artistic production and discourse. Ergon, in fact, is the Greek word that denotes "work" and "artwork." The contemporary artistic landscape is saturated with proper names and tends to prioritize storytelling about authors at the expense of their creations, which inevitably take a backseat.

3 – New communities can be formed around artworks, not biographies.

4 – For this reason, JERGON aims to refocus on the artwork and benefit the viewer who can only truly engage with art itself and not just the more or less interesting biographies of the artists.

5 – JERGON does not practice a sterile and a priori critique of the art market, both public and private, but participates in it as a means to enable artists to live and enjoy their work.

6 – An artist and an intellectual should be accountable only to themselves and their commitment to art.

7 – Any social battle potentially implied by the artwork is not fruitful if the artist does not prioritize the inherent value of the artwork. As a result, any work produced for mere "activism" only harms the cause itself, creating a vicious and sterile cycle.

8 – The process of creating an artwork is free and should not be limited or judged from external moral paradigms (whether traditional, modern, or postmodern).

9 – The social value of an artwork is inseparable from its intrinsic value.

10 – JERGON supports the immanent critique of artwork, meaning that it stems from the artwork itself and not from external factors (political, biological, cultural, religious, etc.).

11 – JERGON advocates for the necessity of direct engagement with artworks, delegating the virtual realm solely for communication and promotion. The social interaction that arises around an exhibited artwork is a millennia-old characteristic of art that digital illusion jeopardizes.

12 – For this reason, JERGON proposes exhibitions, roundtable discussions, book presentations and any other initiative that brings people together, fostering dialogue, always starting from the artworks themselves, civil conflict, reflection (both solitary and collective), without fearing any possible feeling or thought that may arise from any artwork.

13 – JERGON aspires to freedom and takes a critical and radical stance against arbitrariness, ideologies, and dogmatism (both established and newly coined).

14 – JERGON promotes and encourages the highest diversity of styles, means, theoretical positions, intellectuals (as long as they are open to dialogue), and cultural references.

15 – Art is both expression and knowledge. Knowledge without aesthetic expression is theory, expression without knowledge is caprice.

16 – JERGON promotes cooperation among the different figures that constitute the art system. This does not imply the artificial suppression of conflicts but rather their transcendence and sublimation.

17 – Freedom of expression is not a lasting acquisition but rather the product of incessant debate and criticism. Dialectics erode the space for cannibalistic competition.

18 – JERGON supports cooperation even with established institutions such as museums, other galleries, university and independent research centers, without preclusions.