Photo credits: Simos Batzakis
nature’s best mulches and soil.
My body felt spongy and disoriented. I no longer had a sense of the size of the room or where anyone was within it, I didn’t know where the walls were, or the distance between my elbow and hip, my chin and the floor.
This is not a pure design approach, since I grant myself the full freedom of artistic development, not knowing where it will lead, but at the same time I have the feeling that it’s also about why I’m on this planet, and that I must give meaning to that. L’art pour l’art is not enough for me, instead I would say: L’art pour le sens.
"Everything is in relation to everything" - Glimpses on a meeting
How does an artist live and work in isolation? How can he/she follow up on exhibition commitments? What kind of artistic strategies should be developed in order to maintain a presence and contact with the public in this situation? What would then be the role of the curator, and of the institution in general, in extreme situations where mobility is imperiled?
States of dizziness break up the given – be it habits, beliefs, preconceptions, or patterns – creating space and dynamics between established categories, habits, and perceived oppositions.
