In my opinion, now art is very mobile and mobile, the artist arrives, quickly assembles the installation, dismantles and leaves a week later. Turned on the projector - there is an exhibition, turned off - there is no exhibition.
Would you like to do something "for centuries"? Imagine - they give you a brigade of workers, tons of marble, for example, money, a workshop or even a factory.
- Yes, of course, I would like to. At the stage of sketches, I have several large-scale projects - sculptures and installations for parks and in general for the city. But now I can’t imagine how to do it - these are not utilitarian objects, but for now I have only “poor materials” that will quickly become worthless and become ordinary garbage.
If you had the opportunity to enlist the support of the administration or any company, would you work like this? What conditions would you agree to?
- It depends on what conditions of the castles of the 18th century..
Imagine that you have gained the support of a cellular operator and a large logo is molded onto your object. But this object stands in the park, interacts with the environment, everyone enjoys it ...
- Complex issue. If sponsorship conditions did not interfere with the concept of the project, if exactly what I wanted was agreed upon, then, in principle, such cooperation would be possible.
That is, you are not among those artists who are categorically against material injections from any administrative structures or commercial companies?
- Not. The main thing in this partnership, so that they do not violate my idea. Because one artist is now difficult to do something.
The guys from the residence brought out a very cool formula: that the artist lives on an excess of society. Roughly speaking - what the society has surpluses, such are the works of the artist. In the USA, for example, entire factories for artists stamp all sorts of rubber fragments for installations - that is, the more “surplus” society has, the easier it is for the artist to do something. And in our society there is no excess. Especially after the 90s, and it is difficult for me to predict whether there will be a precedent of redundancy in our age.
Do you think the artist should be his manager?
- In our time, unfortunately, yes. Sometimes it comes out very organically, but in the actions of some artists a cold calculation is recognized. It is like developing a profitable strategy. And this is not true, because for me the artist, first of all, is a sincere “reflector”, which analyzes what is happening around. Like a litmus test of society. Therefore, I believe that we need more art managers.