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15
Contemporary Hungarian artist Hevesi Dániel Marcel brings underground techno music to fine art world with a purpose to break cultural stereotypes.
Hello Daniel and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
First of all, let me thank you for having me in your magazine, I feel your current topic very close to me. I have been forming my artist identity since a long time now and it is a product of lot of experimenting, self-education and persistence. It derives from two separate IDs. One being an electronic music artist since 1998 and the other one, being a visual artist. As a teenager, I had access to all electronic music genres from A to Z, but for some reason I never really paid attention to popular artists and sub-genres. I was always looking for a certain “engineering touch” in the music. I feel fortunate, that I could enjoy electronic music in the pre-EDM era for 4-5 years. EDM (Electronic Dance Music) is a sub-genre of electronic music and it is never to be confused with real, underground electronic music. Underground electronic music is created with respect, love and with deep sound engineering knowledge. EDM is made for festival goers, trend and celeb followers, who has no particular taste in music, in general. EDM turned way many true electronic music believers from the electronic music scene and I think this damage has to be fixed. With all this on my mind, as a strong supporter of a new, music oriented underground electronic music culture, I decided to promote underground techno music in a non-standard way. This non-standard approach formed my current audiovisual electronic musician identity. Despite, I am a follower of abstract art since the early 2000’s, my visual artistic side just started to form in the recent couple of years. My visual ID is still under development and I still experiment a lot to find the path that will make myself 100% comfortable with representing myself as a visual artist. Finding this path will not be an easy journey, I can already tell. One of my biggest challenge for me right now is to choose from the endless combination of painting technics. There are so much painting technics out there and I want to see all of them and learn the ones that I feel comfortable with. I really hope this journey will not take for another 20 years! As a human being, my identity went through a lot of change, since I lived in fast changing environment. Some of these changes just happen to me, others were changes that I deliberately performed on my identity. I do believe in eternal change and I totally agree with what Alan Deutschman writes about in his book called “Change or Die”.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
I was more or less a mediocre college student till the 3rd year of my studies. In 2003, I gained an ERASMUS scholarship is Lille, France. This changed my life almost entirely, not just because my devotion towards abstract art started at this time, but also living and learning in a very different country than my own opened my mind and started to look at things differently. I remember that for my abroad studies I bought a second hand notebook. On this notebook, I set an interior design photo as a background desktop image. On the photo there was a sofa a window and an abstract painting. The reason, why I set this image as a desktop background on the notebook was that every time I looked at it, I felt like I am at home. Of course, it was an imaginary home for me, but it still helped me a lot. Now, as a creator of visual art, I want people to experience the very same feeling, but this time with my underground techno music inspired artworks on walls of their homes.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
I remember placing a dozen, A3 sized color prints on my bedroom wall before the renovation of my apartment. I put them on the wall not just because they inspired me, but because I wanted all colors, shapes and materials in my newly renovated apartment to complement these paintings. Basically, I renovated my apartment in way that it complements paintings of the walls. I wanted to reconstruct these prints, so I could hang them on the walls. Therefore, I started to learn different abstract painting technics and later I realized that I really like creating my own art and no longer wanted to reconstruct those prints on the wall.
For sure, the urge of reconstructing those prints literately started my visual artist carrier. Some of those prints were from John Hoyland, Chrissy Angliker and Catherine Christie.
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
epresentation as well as wide range of media that are used by you. The results convey together a coherent sense of unity, that rejects any conventional classification. While walking our readers through your process, we would like to ask you if you have ever happened to realise that such approach is the only way to express and convey the ideas you explore.
When I start working, I always start with collecting a lot of material that is not necessarily linked in the beginning, which makes me really confused at times. But after a certain point, I’m starting to see connections that make me decide what restrictions to give myself in order to continue. I am currently most interested in conventions in the use of; the female voice, annotation in songwriting, music performance and contemporary theatre. In order to research these thematics I collect screenshots of video’s, texts, quotes, sounds that I find or record, pictures, or physical materials that have an aesthetic appeal. But I am never able to focus only on on thing, like now I am writing pop songs and tunes that have nothing to do with some of my collected material. I think my method of working in a scattered manner, makes me better equipped in finding unconventional solutions in my work.
You use an overlay technique to represent a different vantage point on the built environment. What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?
I never rule out any technique while working, If I don’t know how to do something it only triggers me to explore it. In most of my performances or video’s I use a wide array of techniques, like painting, sewing, photography, sculpting and music composition. I also try to use and adapt existing techniques of representation from other disciplines, such as scriptwriting techniques or the use of a teleprompter format. When I comes to the use of materials, I don’t rule out anything as well. An example is in the video; We like your hair, that is based on a compilation of reconstructed photographs. There was an element in the background of one of the pictures that looked like a carpet, and I reconstructed and repurposed this element by making a caramel structure, that I coloured with different sorts of marzipan.
I don’t only use different techniques and materials, but I also work in different disciplines. In my latest work, called; BLACK OUT, I somehow decided to make an experimental theatre play where I reversed the traditional notions of theatre. The stage directions as written in the script were given a major role, and the prompter the second leading role. The stage directions are wooden stage attributes that I wanted to have lit up in the dark, this is when I started working with black lights.
de-identify myself, by losing my roots, my culture, I would be very happy. Unfortunately the human being does'nt choose the place where he is born. He grows up in a society that automatically identifies, through education, culture, family... More than ever I think it's more important to go on a way of self-knowledge with the aim to meet “the other”.. This other without which we can not exist. It's the same for the artist. It is more important for me to be focused on my practice than to try to define it according to esthetic criteria of identification. It's probably the reason i like to remember the painter Matisse who said or wrote that an artist must never be prisoner of himself, prisoner of a style, prisoner of a reputation.
Would you like to tell us something about your background? Could you talk a little about experiences that has influence the way you currently relate yourself to your artworks?
All my way is influenced by encounterings.
It began by the meeting with my professor of literature at school. More than giving French or Literature classes, she brought us to discover texts, movies, plays, visual artworks and to think about on what we saw or read.. Thanks to her that I met Pierre Vincke, a theatredirector who was worjink in the tradition of Grotowski ... Both of them have led me to go to theater school. In this school I had meetings. Meetings with artists but also and especially human beings that made me discover. I always need o discover rather than to master a practice. It's probably the reason my encounter with Monica Klingler and Boris Nieslony was decisive for me and led me on the path of Performance Art which is a form still difficult to define. Each performance artist has a different definition of what it is...
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about race and ethnic identity in visual culture?
No I don't have a specific artwork that has influenced my artistic practise but many.
I'm influenced by some philsophers as well as poets or musicians or dancers or visual artists but also by some places or landscapes or atmospheres ... For some years, I was used for example to go to India where I was used to follow some traditionnal muscians or to learn bharatanatyam and practice vipassana meditation... Of course this experience has impacted my art work.... This brought me to think and work differently... My experience in India brought me to discover traditionnal strong art and paradoxally to the way of Performance Art. But there I see one common point: to make no separation between art and life and to be here and now, without projection on the future.
It's difficult for me to speak about race and ethnic identity. But I can say that today we miss more and more this notion of “to be here and now” which is more present in some cultures ... By practising Performance Art, it's my way to be connected to this way of thinking. And even in this field actually it's more and more difficult. The society and the art world brings us more and more to plan in advance, to define our work, more than to do. Just to do. To do what we deeply need.
And of course, my encountering with Black Market International and later the notion of Open Source or Open session via PAErsche have also a big impact on my work. When we go on that, each of us perform by sharing time and space but without trying to convince each other on some common way. This is for me a wonderfull way how we can meet each other, regardless of our origin, our race or our “identity”...
Many of your works carry an autobiographical message. Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
My memory is clearly a starting point to create. I don't have any autobiographical message. I use my personnal experience ( what I feel , what I see, what I learn, what I ear...) to work. It's a motor or a material. I'm not able to paint, so I can't do something with red or white or yellow or black colors. All I have is life, a body alive. And I need to do something with that...
My sensation about life sometimes is too intense then I need to transform this intensity in some action. Some artistic action... If people can take something from this action this is great... but I don't want to give them “a specific message” or to control the translation of my experience.