Participating Artists

Jordan Betten, Lost Art, NYC >>
Nicolas Bourriaud,
Paris, France >>
K.Smith, I.Hledikova,
UNIMA, US-SK >>
Geoff Cook,
Base Design, NYC >>
Alfredo Cramerotti,
CPS, Manifesta, UK >>
DFOX,
Soul Train, Santa Ana, CA >>
Arie Galles,
Soka University, CA >>
Ed Giardina,
Finishing School, LA >>
Zoè Gruni,
Urban Jackalope, Italy >>
Jecca, Stealth Art, NYC >>
Milos Koptak, Fru-Fru, Slovakia >>
Max Presneill,
Torrance Art Museum, LA >>
Marc Pally,
Glow, Sana Monica, CA >>
Wolfgang Steahle,
Thing.net, NYC >>
Michiel Schwarz, Joost Elffer, >>
Sustainism, Amsterdam, ND-US
The Ministry of Foreign Affairs SK, >>
Slovaks Helping the World, Slovakia- LA
Tim Hung Nguyen, Ta-Tu, Vietnam >>
Sharon Wray, UCI, OC >>




Artworld Luminaries

An Inquiry Into Contemporary Praxis Utilizing the Interview Format

Background
In 1969 Pontus Hultén presented documentation and ephemera from the era’s political movements in Poetry must be made by all! Transform the world!

By the 1970’s philosophy seemed to have merged with speculative literary criticism.
Les Immateriaux was a large scale interactive experiment curated by French philosopher Jean-Francois Lyotard, author of The Post-Modern Condition: Report on Knowledge.

In the 1980’s the spectacle of the media became the liveliest point of departure for philosophical and artistic exploration.

In 1996 Nicolas Bourriaud’s Traffic in Bordeaux, France, was a carnival of interaction among the photos and paintings on display.

In 2010,  No Soul For Sale, A Festival of Independents, brought artists from all over the world to the cavernous Turbine Building
of the Tate Modern in London.  

1. What is the most important aspect of the relationship between you and your audience?

2. How can artists protect their creativity from official histories of art, given that the present is still unwritten?

3. Do conditions now seem ripe for the fulfillment of the great dream of modernism: to merge art and life in a kind of utopia?

4. Have projects utilizing interactive forms encouraging audience participation become art’s leading edge? If so, why?

5. What would be your advice to emerging artists regarding the overlapping roles of art museums, commercial galleries, art fairs, biennales and alternative spaces in shaping
a career?

 


6. Is there a danger that the relentless march of economic globalization will swamp the particularities of local cultures?

7. Does art require an existence separate and distinct from mass media, popular entertainment and daily life?

8.Do you have a particular perspective on the precedents of the historical avant-garde vis-à-vis the current emphasis on conviviality, social interaction and participation?

9.Audiences for art are increasingly challenged to participate in situations created by artists. Has a new paradigm arisen redefining the experience of art?

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Interview Questions

Intoxicated by hyperbolic art rhetoric, we brazenly contacted art luminaries we admired, aiming to seduce them with sycophantic flattery, insisting they were leading the charge beyond postmodernism into the expanded field of art’s future.