You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
√ Pentru numele lui Dumnezeu, aici aø prefera sæ nu am succes.<br />
¬ Trebuie sæ fii porc pentru a avea succes?<br />
√ Nu, absolut deloc. Pentru cæ atunci te bucuri doar de faptul cæ eøti un porc.<br />
Asta e perversiunea disocierii. Sigur cæ existæ situaflii în care trebuie sæ te comporfli<br />
ca un porc pentru a le depæøi. Am cei øapte ani de-acasæ. Existæ lucruri care pur øi<br />
simplu nu se fac. Am avut foarte multe eøecuri din motive personale. Depresii are<br />
oricine øi, de regulæ, oamenii sînt singuri. Dacæ ai un flel în fafla ochilor, poate sæ se<br />
întîmple sæ calci pe piciorul cuiva. Eu am mers mereu pe drumul meu: fiecare pentru<br />
el øi Dumnezeu pentru tofli. În vreme ce alflii aveau succes øi erau plætifli cu bani<br />
serioøi, eu încæ trebuia sæ fac comenzi. M-am distanflat de clasificæri.<br />
¬ Spuneai odatæ cæ „arta este un spafliu liber, în care pofli sæ te dezlænflui færæ sæ<br />
ajungi la puøcærie sau la casa de nebuni“. Merge aceastæ afirmaflie øi pentru noua ta<br />
slujbæ, de rector al Academiei din München?<br />
√ Asta am zis-o în 1981, øi nu întinerim.<br />
¬ fii-ai imaginat vreodatæ cæ din rebelul Olaf-„bot-de-oflel“ 9 vei ajunge un brav profesor<br />
de arte?<br />
√ N-am fost niciodatæ un rebel. Oamenii erau dezamægifli cînd mæ vedeau<br />
prima datæ: venea un tip cu geacæ de piele øi lanflul de la bicicletæ în geantæ øi se fîflîia<br />
pe-acolo. Veneam, ca sæ zic aøa, incognito la propriile mele vernisaje.<br />
¬ Dacæ ai trece în revistæ ultimii 20 de ani, ai face totul la fel?<br />
√ Asta e o întrebare-bomboanæ. Acum trebuie sæ te întreb eu: pentru ce revistæ<br />
scrii, de fapt? Pentru o revistæ de femei? Uneori mæ gîndesc cæ ai putea sæ imporfli<br />
acest angajament într-o cu totul altæ branøæ. Atîta doar: în domeniul artistic ai avantajul<br />
de a fi responsabil de sine.<br />
¬ Însæ ca artist eøti foarte dependent – de curatori, galerii etc.<br />
√ Toatæ lumea øtie cum funcflioneazæ sistemul. Un artist din New York, sæ zicem,<br />
e trecut în Germania, Olanda, Elveflia. Toatæ lumea cunoaøte filierele. Piafla e testatæ,<br />
øi asta e. Urmætorul stæ deja pe blocstarturi. Jurnaliøtii participæ de fiecare datæ.<br />
Critica nu mai este doritæ absolut deloc. Se trage doar mælai, pe o conductæ continuæ.<br />
Întrebarea e: te duci pe o insulæ pustie sau schimbi consecvent branøa?<br />
¬ Ai obflinut ceea ce doreai de la angrenajul artei [Kunstbetrieb] sau se putea mai<br />
mult?<br />
√ Cunosc mulfli artiøti øi artiste americani, pe care îi prefluiesc foarte mult, care<br />
cunosc sistemul øi joacæ în el. Eu caut totuøi un alt drum.<br />
¬ Pe de o parte, arta este unul dintre domeniile social, în care îfli pofli realiza libertatea,<br />
de pe altæ parte, în angrenajul artei domneøte capitalismul sælbatic 10 [Manchester-Kapitalismus]…<br />
√ Unde trebuie sæ semnez? Nu o sæ putem depæøi niciodatæ aceastæ contradicflie.<br />
Eøti prins într-un sistem de care te îndoieøti mereu. Cu toate astea, sistemul oferæ,<br />
în flexibilitatea sa, posibilitæfli, odatæ ce fli-ai creat o poziflie øi ai, qua lucræri, o valoare<br />
de piaflæ. Pofli, de pildæ, sæ contracarezi asta, fapt ce va fi, desigur, din nou<br />
absorbit. Sistemul e astfel structurat intern, încît anything goes.<br />
Traducere de Lorin Ghiman<br />
¬ You’re a notorious artist. Is it true, the cliché that you have to be<br />
a pig in order to be successful?<br />
√ Uhh, here come the gavels, the traps. Repeat the question, so<br />
I can focus.<br />
¬ So here, in Berlin, you are a hero…<br />
√ For god’s sake, it is here that I would rather not be successful.<br />
¬ Do you have to be a pig in order to be successful?<br />
√ No, absolutely not. Because then you only enjoy your being a<br />
pig. That is the perversion of dissociation. Of course there are situations<br />
in which you have to behave like a pig so that you can overcome<br />
them. I’m well mannered. There are things that just shouldn’t<br />
be done. I had very many failures out of personal reasons. Anyone<br />
has depressions and people are usually alone. When you want to<br />
carry your point, it might happen that you step on someone’s foot.<br />
I did it my way: everyone for himself and God for all. While others<br />
were successful and were paid really good money, I still had to work<br />
on orders. I took distance with classifications.<br />
¬ You were once saying that “art is a free space, in which you can<br />
go unleashed without ending up in prison or to the madhouse“.<br />
Does this statement match your new job, as rector of the Munich<br />
Academy?<br />
√ I said that in 1981, and we’re not getting younger.<br />
¬ Did you ever imagine that from the rebel Olaf-“steel-plated-tip“ 9<br />
you’ll become a brave professor of Art?<br />
√ I have never been a rebel. People were disappointed when they<br />
saw me for the first time: there came a guy with a lather jacket and<br />
his bicycle chain in the bag and hung around. I was going incognito,<br />
to say so, to my own previews.<br />
¬ If you were to review your last 20 years, would you do the same?<br />
√ That’s a candy-question. Now I should ask you: actually, which<br />
magazine do you write for? Is it a women’s magazine? Sometimes<br />
I think that it would be possible to import this kind of commitment<br />
in another sphere. It’s just that in the artistic domain you have the<br />
advantage of being self-responsible.<br />
¬ As an artist, one is still very dependent – on curators, galleries<br />
etc.<br />
√ Everybody knows how the system works. An artist from New<br />
York, let’s say, is pushed forward to Germany, Holland, Switzerland.<br />
Everyone knows the screw plates. The market is tested and this is it.<br />
The next one is already at the starting blocks. The journalists participate<br />
each and every time. The critique is no longer, not at all wanted.<br />
It’s all about the doe sucked out continuously. The question is:<br />
do you go on a deserted island or consistently change the branch?<br />
¬ You got all that you wanted from the art world, or could you get<br />
any better?<br />
√ I know many American women and men artists, that I cherish<br />
very much, which are familiar with the system and play within it.<br />
¬ On the one hand, art is one of the social domains in which<br />
freedom can be realized, on the other hand savage capitalism 10<br />
[Manchester-Kapitalismus] is reigning on the art world…<br />
√ Where should I sign? This contradiction can never be overcome.<br />
One is caught in a system about which you always have doubts.<br />
Despite all this, the system, in its flexibility, offers some possibilities,<br />
once you have created yourself a position and you have qua works,<br />
a market value. You can, for instance, thwart it, which will be reabsorbed<br />
over again. The system is internally structured in such a way<br />
that anything goes.<br />
Translated by Andreea Lazær<br />
94
Change language