Thema: Kinokultur
Interview mit John Waters, in dem auch ein bislang eher vernachlässigter Aspekt seines Schaffens beleuchtet wird: Re-Fotografien von TV-Bildern, sowie nachträgliche Bearbeitungen der Ergebnisse. Das müsste nun noch genauer untersucht werden, aber so ganz spontan macht diese Vorgehensweise vor allem auch im Zusammenhang mit seinen alten Filmen unheimlich viel Sinn.
° ° °
kommentare dazu:
thgroh,
Sonntag, 12. Dezember 2004, 20:20
AFH: It is certainly an interesting way to carry the work outside the confines of the gallery space. How do you feel about academic attempts to apply theory to your films or gallery work?
JW: Applying theory is delightful. My favorite reviews are always the ones with serious art talk, dealing with big intellectual themes. I find it so witty that someone would tackle my work using lofty art wording and I love art writing because it offends regular people and keeps them away.
AFH: What was the first set of theory-based themes critics started reading into your work?
JW: My first art-speak review was for Pink Flamingos. I still cherish it. It was an incredibly well-written essay for the Museum of Modern Art, which described how one set of characters in the film symbolized Communism and the other set symbolized Capitalism. That was complete news to me.
AFH: News or rubbish?
JW: No, not rubbish. I am certainly not saying it was wrong. That essay made a lot of sense. I'm not against theory just because I might not have known about it when making the work. Of course, I have my own theories but, while I always fear pretension in my work, I love it in the art world.
AFH: Do you think theory is mispackaged? It is portrayed as the act of translating art from the visual to verbal, but isn't it really closer to creative writing?
JW: Sure. It is creative art writing. It is a secret art language, just like the way that black queens have their own language and rappers have theirs, I love that art critics have their own secret tongue. I read art writing. I love it. I love how obsessional it is. I am always telling Christopher Wool that my favorite phrase uttered about his work, was "the nullification of decoration." Wouldn't that be great name for a design catalogue?
Und für diesen Ausspruch muss man John Waters einfach lieben. Den ganzen Quasslern, die jedem theoretischen oder essayistischen Näherungsversuch mit einem abwinkenden "Das hat der Regisseur sich doch gar nicht so gedacht!" begegnen und dabei meinen, ihre ausgestellte Ignoranz sei sowas wie Smartness, den ganzen von sich eingenommenen Filmemachern, die fast jedes beschriebene Papier zu ihren Filmen immer nur blöde grinsend mit "Hey, wusste ich ja gar nicht, dass das in meinem Film drin ist" zu diskreditieren trachten, weil es sie umtreibt, dass der Film, ist er mal veröffentlicht, nicht mehr ihr Film ist, all diesen Leuten sollte man diesen Ausschnitt täglich als E-Mail schicken.
JW: Applying theory is delightful. My favorite reviews are always the ones with serious art talk, dealing with big intellectual themes. I find it so witty that someone would tackle my work using lofty art wording and I love art writing because it offends regular people and keeps them away.
AFH: What was the first set of theory-based themes critics started reading into your work?
JW: My first art-speak review was for Pink Flamingos. I still cherish it. It was an incredibly well-written essay for the Museum of Modern Art, which described how one set of characters in the film symbolized Communism and the other set symbolized Capitalism. That was complete news to me.
AFH: News or rubbish?
JW: No, not rubbish. I am certainly not saying it was wrong. That essay made a lot of sense. I'm not against theory just because I might not have known about it when making the work. Of course, I have my own theories but, while I always fear pretension in my work, I love it in the art world.
AFH: Do you think theory is mispackaged? It is portrayed as the act of translating art from the visual to verbal, but isn't it really closer to creative writing?
JW: Sure. It is creative art writing. It is a secret art language, just like the way that black queens have their own language and rappers have theirs, I love that art critics have their own secret tongue. I read art writing. I love it. I love how obsessional it is. I am always telling Christopher Wool that my favorite phrase uttered about his work, was "the nullification of decoration." Wouldn't that be great name for a design catalogue?
Und für diesen Ausspruch muss man John Waters einfach lieben. Den ganzen Quasslern, die jedem theoretischen oder essayistischen Näherungsversuch mit einem abwinkenden "Das hat der Regisseur sich doch gar nicht so gedacht!" begegnen und dabei meinen, ihre ausgestellte Ignoranz sei sowas wie Smartness, den ganzen von sich eingenommenen Filmemachern, die fast jedes beschriebene Papier zu ihren Filmen immer nur blöde grinsend mit "Hey, wusste ich ja gar nicht, dass das in meinem Film drin ist" zu diskreditieren trachten, weil es sie umtreibt, dass der Film, ist er mal veröffentlicht, nicht mehr ihr Film ist, all diesen Leuten sollte man diesen Ausschnitt täglich als E-Mail schicken.
...bereits 1587 x gelesen