Not Random Art - Page 51

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15

Hello Agata, 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?

Hello to all readers from Dusseldorf.

It is a pleasure for me to have this chat for NotRandomArt magazine. I truly believe that communication is the base of existence in society of every human being. The need is indisputable. In art, especially movements and production, there is no difference of who you are as an artist or a person. Your feelings are always present in your art work. From my experiences, I’ve discovered that the more interesting and diverse life you have, the more you are able to portray in your art work. It is also important to add that our lives have drastically changed from 1990 until now. Nowadays, we have fast and modern technology, allowing us fast results. I believe that viewers can interpret art in a different way than they did in the past. Would like to ask you a question about your background: how does your cultural substratum relate to the way you connect with art making and its aesthetic?

My cultural background has an enormous influence on my work and who I am now as a 30 year old woman. I believe that my travel experiences have given me insight and knowledge of many different cultures, and this has guided me to an understanding of who I am and who I was in the past. I grew up in Spain being a blonde Polish girl, and when I returned to Poland I was just another blond girl with a lack of fluency in the polish language. I was always moving from place to place— from different countries, cultures, and environments, and all with various influences on art. I find it so natural now to collaborate with foreign artists because of this. Surprisingly, I like to collaborate with Asian female artists because I find many similarities in the art creation process. I think art is present in my life due to my amazing parents and their artistic lives. They really influenced my life and helped to inspire my artistic career. ***I know as well and I encourage all young artists to be grounded by permanent intellectual knowledge. Just including that research with plain artistic production the awareness from where does it come, and where does it head. Of course I am not telling about absolute reintelectualisation of art work and art production which is impossible. Always the surprise and mysticism will be present. That is confirmed by the Psychology .However, the knowledge is the thing which anyone can steal from us. And It can result a “powerful Weapon” to guide with determination your art line. Be able to defend your art work and understand someone creation too. Especially if you are a woman artist and Your work will be continually banalised or silenced by male environment or denied so many spectators (I mean galleries and museums). And if you are young and not too much ugly ( in man's opinion) then ridicuesly this art way becomes almost impossible to reach. So now I would like to encourage all women artist to be aware that their words and feelings fixed on the art are important and they have the right to voice up them and to “see the daylight.”

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?

Becoming a PhD in Gender Studies in Arts, I was writing and investigating topics of racial differences in current art. The conclusions are surprisingly sad and have caused me pain. In museums, women’s bodies are often shown by works of artists. Mainly a white nude body is displayed, but I have seen dark-skinned female bodies that are over sexualized. All these seemingly innocent treatments are indispensable and their ground is incredibly destructive. Adrian Piper's works are very close to me, and her reflections encourage me.

Mainly the work description left on the table, where she was working alone in a cafe and was not expecting flirting male visitors at the same place. I invite you to check out that piece. Also… Guerilla Girls' work about race gives me the energy to fight and show the truth, which is often overwhelmed by many. These works point to the: "Hello, we have a problem. It is growing as a cancerous tumor and needs to be treated." I honor Ana Mendieta as well. I appreciate her intensive works, which display female bodies as beautiful and delicate but also as bloody and aggressive. I think her art work inspires the need for me to speak about female organs and menstruation as a Panteic creation. I think this piece inspired my panting called “Cosmic Vagina”.

You truly are a multidiscipliary artist: you express your thoughts using photography, video, painting, drawing. How do you choose the technique you feel will be the most meaningful for the idea you want to express?

In my daily life I am still working and using many techniques as a way to relieve my anxiety, quite like sublimation. My emotions are out of proportion to the events that cause them — they bother me and I need to get rid of them. Much of the psychoanalysis I’ve done is present in my work. I could speak hours about differences between painting and photography. Paintings capture the most intense or important “peak” of the story which is narrated. Cached, painted, presented.

In my case dreams are undoubtedly the base of a deep reflection on a topic. I consider myself a very spiritual person, and I believe that all of our answers stay within us. Our unconscious somehow arranges the majority of our decisions.

nas was one of the first performance installations that really made a huge impact on me. I was living in Paris during this time, in the early 90s, with a lot of influences from different cultures. It became the starting point of my own work. Joan Jonas practice has explored ways of seeing, the rhythms of ritual, and the authority of objects and gestures. Jonas continues to find new layers of meanings in themes and questions of gender and identity that have fueled her art for over thirty years. She is a great inspiration still today.

It is impossible to avoid the topic of body consciousness, embodied emotions and the image of body and personal identity that we see in your practice. What is the function of the identity appearing in your artworks – is it a canvas used to present your ideas or rather the subject of the art? What inspired you to use this as a theme in your practice?

I have been developing my visual imagery since I began studying art and film - from conceptual thinking, composition, using light and colour in different ways, through all the different techniques I've utilised over the years in my work and in my collaborations with stage artists such as dancers, musicians and actors. My approach is always developing through exploring these things. Visual imagery in essence is your way of experiencing what you see and transforming it. This is my world that I want to share and express through my art. The body consciousness, embodied emotions and the image of body and personal identity is part of this visual imagery, the emotional essence in my practice. Always present and always developing in different themes and projects.

Marina Abramovic stated: You see, what is my purpose of performance artist is to stage certain difficulties and stage the fear the primordial fear of pain, of dying, all of

which we have in our lives, and then stage them in front of audience and go through them and tell the audience, 'I'm your mirror; if I can do this in my life, you can do it in yours.'Can you relate anyhow to these words?

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.