ARTiculAction Art Review - Special Issuue Aug. 2016 | Page 145

Leonid Dutov

ICUL CTION
C o n t e m p o r a r y

A r t

R e v i e w

Special Issue

diversity of the materials, this one was
not an easy task.
The Broom invites the viewers to a
multilayered experience that encourages
them to d econstruct and recontextualise
the flow of information that is conveyed
by the images. This allows the viewer to
get Inside and accomplish the difficult
task of constructing an aesthetic from
experience, touching upon both the
conscious and subconscious. So we
would like to take this occasion to ask
you if, in your opinion, personal
experience is absolutely indispensable
to the creative process? Do you think
that the creative process can be
disconnected from direct experience?

about two years. I had to process all the
monologues, to see them together, to
single out certain essential phrases, and
build up a whole rhythmic narrative
thread out of them. And since I usually
work on several different projects and my
“intermediate” options need some shelf
life in between editing, taking into
account the particularity and the

Your question is too specific and
contradicts the principles of versatility,
which I follow. When one exists in the
categories of habitual and natural minds
this question is formulated in another
way. And I cannot reduce my
understanding into writing, however I can
help getting an answer through the
process of recognition of the habitual and
natural minds, but in order to do it we
would need to undergo a series of
practices together. 6) From the first time
we had the chance to watch The Broom
we were astonished by the way it urges
the viewers to extract a personal
narrative, to pose questions, rather than
the manipulative approach of most
Hollywood productions. How did you
develop your story-telling style?
Every person is a big and seamless
universe. We exist side by side, we look
at the same objects, we discuss them,
but we see them differently. This is a
common-sense and a well-known truth.

27