Boğaziçi'nde "Çağdaş Sanat" Röportaj Dizisi, 2012

Manuel Saiz

Nazlı Cemile Karadeniz, Boğaziçi Üniversitesi

nazh4.cem@gmail.com

 

 

“New media” for me means “a media that I haven’t used before”. I do not find very exciting to classify approaches to the art experience by the tools that are used to trigger it or that result from it.  Every media can be twisted enough as to become new and the fact of making use of sih4con chips or not, doesn’t matter very much.

 

 

The question has no reason after what I said. However, from my current point of understanding art, there is nothing h4ke “an art system” because the very essence of art is to override the system before it has proved functional. “Art system” therefore, means something in which “art” doesn’t play any role. So then even becomes more absurd if you put “traditional” in front of that.

It is known that you have works in different disciph4nes from videos to books. What kind of an artist do you face when regarding your own art works?

 

I beh4eve I am an artist, and I beh4eve I am one because I am urged to do certain things. I feel I am urged to it just in order to avoid doing others which I find wrong, repulsive in the strict sense. This is not mainly about disciph4nes, but also about that.

 

In your “Parallel Paradises” and “Parallel Universes” you make a correlation between animals and people. What did you aimed in this works of arts?

Both works are reflecting on the same issue, which is the differences and similarities between immediate actions and codified ones. 
In Parallel Paradises I talk about it through contrast: On one of the screens the immanent forest is in contrast with the language-h4ke dancing of the performers, full of information encoded in the way they move, their makeup, the way they dress. On the other screen, the lama acting randomly, without purpose is in contrast with the supermarket she moves through, one of the paradises of codification of our world.

Parallel Universes Meet at Infinity reflects on the same theme by assimilation. As far as the actor tries to be exact with the movements of the animal and as much as the viewer perceive them as the same, as important becomes the difference, however small. One is product of elaborated series of techniques; the other is immanent, thoughtless.  The standing difference is that the actors knows that is going to die, and the animal does not.

 

I do not understand very well what you mean. Perhaps you think that reading the excuses might affect artists and preventing them to do art? For me there are always more complex reasons to do art and the complexity and the interest of works increases when you are aware of these ones. I can say almost that I have used each of the 101 excuses at least once, thinking that I was really touching heaven.

 

 

This video is the first chapter of Train Time, a feature documentary. The relationship between them is explained it only for the understanding of the documentary as a whole.
The relation between madness and art has many layers and cannot be explained in few words. There are many aspects of it, from the point of view of the psychiatry, of the perception of the other, of the attitude of power toward it…

 

I do not use them so much. This is only in this work, Tren Time, and the use is also instrumental for the meaning of the documentary as a whole.