After an initial meeting in July 2010, John Christ ophe Norman and myself have decided to specify our exchange in writing. The artist and explain what is its practice, its genesis to its development, and I respond, questions, day after day. Until ...?
Lapalu Sophie: "Linking the places, moments," but also people, like when you are doing simultaneous marches in different places with Jean Dupuy and Jeff Perkins. Why are you trying to connect or "tie together", "solidarity visit" two "objects" (places, times, topics ...)? Is it to establish a relationship, to get in?
Lapalu Sophie: "Linking the places, moments," but also people, like when you are doing simultaneous marches in different places with Jean Dupuy and Jeff Perkins. Why are you trying to connect or "tie together", "solidarity visit" two "objects" (places, times, topics ...)? Is it to establish a relationship, to get in?
A long day Between Vilnius and New York , Jean-Christophe Norman and Jeff Perkins, videogram Vilnius Jean-Christophe Norman: It's a very interesting question you ask. The idea of simultaneous operation came to me very naturally, to continue a good time. During an exhibition entitled In the Footsteps of Raymond Hains, I went walking with Jean Dupuy. We do not know, and we therefore "experienced" in walking. I thought that we could continue the experiment and from time to time. But a large geographical distance separating us, I naturally thought of this possibility to walk together in separate locations, and in a time that we share. Although I am wary of simultaneity or the immediacy of our society (not completely share the radicalism of Paul Virilio), as the idea of abolishing the distance while keeping the interest. So, from time to time, I phoned John and he and I are going in the same movement. It even happened that a friend is joining us. He was in the night in Japan. He never met John but he walked with him on occasion! With Jeff Perkins
we made a long march continues during 24 hours. Jeff was in New York and me in Vilnius. We were not walking together (even though we often had to do) but for every six hours. Without knowing it was the premise of performance One day a night (sleeping walk). For this action (the long day Between Vilnius and New York ) each carried a camera. I suggested to Jeff filming the sky and I filmed my side the ground. All this should not be very far from the idea of the spirit of rope which materializes in the high mountains. But it is a vision-post, I did not think about time!
To return to your question, and especially to the development in relation to people, I say again that this is to create movement, and the possibilities of relations or links
beyond the technical. Here, the idea of art is a little fantasy is an environment. In fact it is human relationships and / or relationships that everyone can interpret, describe or create.
SL: A paradoxical point, not less interesting, is that you talk to the remote in your daily practice. So there is the linking, as we have seen, and causing the distance. What is at stake between these two concepts here?
A long day Between Vilnius and New York , Jean-Christophe Norman and Jeff Perkins, video recording, New York JC. N. : You touch a point that really concerns me I might even say that distance is a point of departure for all my work. Paradoxically, the distance getting closer things. When many people want to abolish the distance from my side I'm sure they are expressed. I was always struck by the poetic potential that emerges from the distance. I Remember the first images of Himalayan exploration and photographs of the pioneers of mountaineering. We did not see much, and thus the imagination played at full speed. I still remember the storms, the void, silhouettes, and some distant idea of the landscape. All these images are still intact in my mind.
While distancing the everyday, perhaps, simply, the distancing of the trivial and the recapture of certain dreams. The reality may very quickly become very strange. The in-between between the everyday and the distance in practice is precisely where things to play, but I can not describe the contours, I can only try to evoke. With the mention, we're right in the distance trying to find the right distance - that would be my idea of minimalism - not in form but in spirit. I should probably also talk about an economy of means which is combined with the idea of spending. I think much to the expense of self, an expenditure that does not go in the direction of stacking things.
While distancing the everyday, perhaps, simply, the distancing of the trivial and the recapture of certain dreams. The reality may very quickly become very strange. The in-between between the everyday and the distance in practice is precisely where things to play, but I can not describe the contours, I can only try to evoke. With the mention, we're right in the distance trying to find the right distance - that would be my idea of minimalism - not in form but in spirit. I should probably also talk about an economy of means which is combined with the idea of spending. I think much to the expense of self, an expenditure that does not go in the direction of stacking things.
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