Saturday, April 25, 2009
I would also be interested in the impact you think the apparition of this new "specie" of writers/artists will have on the ones who love literature /art (at such creators, how should the receivers look like ?). And which do you think the role of the specialty critic will be in the new equation ?
RJ : This is a question that probably is interesting for you. The answer is pure speculation since small events in the world can cause large changes. What is the value of a prediction? The art I produce is changing as my life changes. Human Beings like to reproduce what they see. We even think that repetition is what makes the world go on. The small hidden changes are so effective though that in only a few years we see the movement towards a new direction. I like to focus on these essential changes. The factor time is one of them. The Information-bomb you (or rather Paul Virilio) mentioned is not the problem. Computers can store so much information, nowadays more a single person van handle. How does one deal with not knowing all? New generations don't read information, they globally scan information. A new attitude towards information that makes it easier for them to deal with so many sources the Internet offers.
Thursday, April 23, 2009
When Internet is only used to promote ideas than the visitors often aren't always interested. The freedom in communication is essential. I choose with whom I communicate and what I like to exchange. Communication is always 2-ways. Promoting ideas sometimes is oneway communication.
Internet only brought the speed-element. I can communicate over large distance instantly. Also I can send images quickly without sending out the original. I can even make originals that don't exsist (digital art). I can see what others are sending me (on e.g. a Blog) and anticipate on what I receive before I actually have received it. The time-factor is what makes Internet so fascinating. Projects that would take years suddenly can be done in minutes when one knows the tools and software.
Wednesday, April 22, 2009
RJ : The discovering of Mail-Art brought me in contact with the larger world. I visited a lot of museums too. But the best gallery turned out to be my mail-box. You can't buy the personal energy people send in the form of artworks just for you. Mail-Art is an international art-movement that always tried to stay away from the mail art-galleries and museums. But that doesn't mean they are not interested in this movement. Only through archives that mail-artists have kept over the years, parts of the mail-art get into these museums. The need for collecting things grows inside of mail-art too. You can't buy it though, you will have to invest creative energy in order to get some in return.
RJ : I can only speak for myself. I had both interests in Science and in Art. My decision to study Physics was combined with the thought that this studie would be the basis for my life and that art would be the form in which I had to make no compromise to what I want to do. My art doesn't have to be sold. I make what I like to make. I send it to who I want it to have. The essence in this idea is I believe that Art and Money are not stimulating each other. Making art to make money makes you depending on the viewer, the buyer, the gallery, the museum. You say that some people declare themselves "poet". Maybe they just mean that they let creativity go its way without following the boarders set by science and rules from others.
Tuesday, April 21, 2009
Luciana Tamas: isn't there the risk that only a quite elitistic zone to be able to perceive a such message.
It is obvious that the poetic metaphor can find its correspondent in form, as well as the visual image (even the one generated by computersystems) has, certainly, a metaphoric component, but this implies also a receiver with an extremely well-trained vision. The question is: isn't there the risk that only a quite elitistic zone to be able to perceive a such message". .
Who do we make the art for? Is it the public or does the artist just want to present his message in the timeframe and possibilities he is offered? In Mail-Art the art goes originally from artist to artist. No gallery needed. What I send goes direct to the observer and he/she should be able to interpret what I send him. if not, than the message is lost (or maybe archived). The observer doesn't have to be well-trained. I made the piece especially for him/her. Also there is normally no money involved. The artworks are gifts from one artist to another. So the concept we are dealing with in mail-art is completely different from the artworld. It is actually avoiding the official artworld. That sometimes work does end up in museums is just because they catch up and want the new markets too.....