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==== entire interview transcription ==== | ==== entire interview transcription ==== | ||
- | + | * [[interview bartaku open house]] | |
- | Woman: What’s your name? | + | |
- | Bart Vandeput: | + | |
- | + | ==== and another... | |
- | Woman: And how old are you? | + | |
- | Bart: I guess this is 41, I’m pretty sure it’s 41 yes. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: In a famous city called Hasselt. | + | |
- | + | ||
- | Woman: In Belgium. | + | |
- | Bart: In the east of Belgium. | + | |
- | + | ||
- | Woman: And where do you live now. | + | |
- | Bart: In Brussels. Schaerbeek. | + | |
- | + | ||
- | Woman: Is there other places you lived in between Hasselt and Schaerbeek? | + | |
- | Bart: I lived for a while in Leuven and besides that for the last 15, 16 years I have been living in Brussels, mainly on the hills anti-clockwise from Anderlecht to Schaerbeek. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: I work a lot at home. I work sometimes in studio de FoAM and I have to travel a lot also. | + | |
- | + | ||
- | Woman: Into what places? | + | |
- | Bart: Well, last year it was predominately in the north west of Europe, Scandinavian countries, the Baltics and one chunk was also in Mexico. | + | |
- | + | ||
- | Woman: And that’s related to your work? | + | |
- | + | ||
- | Bart: | + | |
- | + | ||
- | Woman: | + | |
- | Bart: Well, living in Brussels 15, 16 years, yes. | + | |
- | + | ||
- | Woman: And what brought you to Brussels? | + | |
- | Bart: I started working here for the [?] And then I wanted to move already for a long time from Leuven to Brussels. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: Yeah, I think in Leuven after a couple of months you already know what is there and Brussels was just much more attractive and there was much more contrast and more diversity in many ways and it felt normal, so… | + | |
- | + | ||
- | Woman: Can you remember what your expectations were moving to Brussels? | + | |
- | Bart: | + | |
- | + | ||
- | Woman: And can you describe Brussels, what characteristic… | + | |
- | Bart: Well the thing that I miss the most when I’m not in Brussels is the diversity in terms of color, especially in terms of sounds, meaning also language. I miss the cobblestones and the subtle hills. I miss the Source of Love, the natural spring that is in the Park, the south park that did not get a mention in Schaerbeek. And I miss the chaos, the complexity and I tend to miss, when I’m not in Europe any more, I tend to miss the seasons and I tend to start missing also the love/hate relationship that I have with Brussels and I especially miss the fact that in Brussels everybody is not really from Brussels. | + | |
- | + | ||
- | Woman: Can you describe the love/hate relationship a bit more? | + | |
- | Bart: Well it’s such a complex city which is still on a human scale but has all the complexity of a melting pot. There are many issues, of course, in people living together with various interests and so, yeah. The cultural differences also lead to different expectations and different behaviors so, yeah, you have to deal with that and the fact, of course, that everybody knows the city has been managed in a non-city way for a very long time. So it’s more like a stitching together of villages, more than a cosmopolitan policy. So yeah, this has its consequences. Some, if you want to ask me what is more in the negative, then the whole pollution and traffic related issues are for me fundamental pain in the ass. Yeah, so the thing I like the most I just mentioned already. | + | |
- | + | ||
- | Woman: How would you define your artistic practice or profession? | + | |
- | Bart: I think it has benefitted a lot from the artistic diversity as well in Brussels. ‘cuz you are here in this mix of different cultures and you get a lot of food from many sides and after a while you start understanding what is for you relevant and you can using, starting to apply, that again, quite intuitively I think this is looking back, applying some filters to what you are doing.As I said, I have an academic background that I hopefully have been capable of de-constructing and so I am also an ex-drummer. So rhythm is quite predominately present in my head. After, let’s say, after a long period of aimless wandering in Latin America, I started making an installation based on these experiences coming from a fascination with a pre-Columbian information system that the Inca society was using. It was a 3D binary bit organized way of organizing information which allowed them to grow so rapidly. It was the first proto-socialist state. And this communication model that they had, to my big surprise was, there was nothing, not ever once mentioned, in my academic period. So this was a beautiful moment to look back and be aware of this Anglo-Saxon orientation which the whole academic world had and continued having. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: Well, I was part of the Social Sciences then went on into communication science, yeah. So then yeah, came back and, of course, had to do a job because the money was gone, blah, blah. But then went to Spain for three months, focussing on the south of Spain, where the light is the most beautiful and the smell is the most beautiful.I was sitting on rooftop there to be able to make the transition from Latin America to, and especially outdoors life, to come back to Europe. And there I started writing and that’s actually where the installation was born and the fascination for the first time for communication with these threats the awareness was making them of the energy in the oldest medium which is threats and why this came. I think that this is where the fascination for energy in general started growing and the combination of the defamation. | + | |
- | So then after that this installation went and was made and [?] Went to textiles [?] but it was about electronics and textiles was already difficult to categorize it. It went to the polytechnic [?] University to a, what was it, a generative [sounds like] arts thing and so for me this was all kind of a new, so it was a good learning experience. After that I went into more deeply connecting advanced interactive software with the medium threat using drills to explore the aesthetic of the energy behavior and I knew it was in position of people in front of screen with cameras to see in real time how you could make patterns from the moment that the rope would snap due to being over-energized by drills. | + | |
- | So become smoke [?] Furmans [sounds like] at the amount and started doing workshops, work labs, learning new technologies this is how I got into contact with the X-med-K organizations which was then okno iMAL form arduino and all these organizations. Throughout the years I became more and more closely connected to them. I am now a member of FoAM and these organizations what I like is to experiment, artistic research so probably some remains of my academic period of this research-based approach of my work. Yeah, and then after this whole period I became quite impressed by how people are using hardware, working with electronics, | + | |
- | + | ||
- | Woman: Mm hmm. | + | |
- | Bart: And they can also not do this in a short moment. Really they have to become very aware of a bee vex [sounds like] scan because that gives the purest carbon. There are many elements that you takes time and patience that you cannot shock like you can in a workshop and extract all the notes. No, you really have to work together and gradually build up. And when you’re done, you can I think understand why I’m doing this. | + | |
- | + | ||
- | Woman: How do you explain what you do to a random person in the street who asks you ‘What do you do? | + | |
- | Bart: I think I would have to invite these people to have a coffee with me and to tell them what I’m telling you. | + | |
- | + | ||
- | Woman: If you don’t have the time? | + | |
- | Bart: If I don’t have the time, yeah I get the picture. Well then I basically say that I am fascinated by energy processes from the oldest medium till the origin of the all. I am fascinated by time, imitation of energy because the sun is half dead or half full, if you want and yeah, this eternal struggle of mankind, do anything. | + | |
- | + | ||
- | Woman: And do you use the word ‘artist’ for instance? Do you say ‘I am an artist.’ | + | |
- | Bart: Well, I’m afraid that what I’m doing, this is being perceived by the majority of people as an artistic practice. A research based artistic practice. Yes. I just do what I feel I cannot not do. And it happens to be an artistic practice and yeah, that’s what I’m committed to, that’s what I do and that’s what it is. | + | |
- | + | ||
- | Woman: And you make a living now from what you do? | + | |
- | Bart: I can make a living only because of the fact that some part of my income is being taken care of off society. | + | |
- | + | ||
- | Woman: In what way? | + | |
- | Bart: In the way that I have unemployment money. | + | |
- | + | ||
- | Woman: In the good sense or what? | + | |
- | Bart: I never managed to get to benefit from this, how do you say this, beneficial agreement because it’s not to, again, it doesn’t exist as I have to repeat from people who know better than I do. But no, I do not benefit from that and that is because I work, well I cannot not work basically, with how I work. As for money, other creative people I think, so yeah, this arrangement is not for people like me. If you are not in performing arts, if you don’t have enough days, this ridiculous arrangement of days and money and I never managed to, then. Yeah.So it is quite weird and it’s good but it’s quite weird when people from, who I get to know who then come here in Belgium that only need three contracts with an artistic thing and then suddenly they have immediately this beneficial thing. It’s an invitation to be very resilient with things like that.I’m not so much interested in this whole debate now about the real artist or a not real artist. I have seen this in the 70s and I am not interested. I think that creative people, artistic people, designers, blah, whoever thinks that he is creative, it’s better for mankind for the whole if there are more people of that who are capable of really doing what they think they should do. | + | |
- | + | ||
- | Woman: And if you said before that you can do what you do because you benefit from the unemployment? | + | |
- | Bart: | + | |
- | + | ||
- | Woman: System, that’s just the basic. | + | |
- | Bart: Yeah, that’s the basic, the basic system. Yeah, I have not so much per month but on a global level of course it’s a lot but in our society this is, it’s, you have to live quite basically, which is fine. Because that inspires you also to look in other models, in other ways. But I do have support. I had two years of support from the Humane ? Committee Flemish Representation in Brussels of Culture and I have for one year also the support from the Flemish Arts Agency and both times this is called developing subsidies. Tragic subsidies or development oriented subsidies it’s called. And, for people like me it’s fantastic that this exists. It doesn’t require too much administration, | + | |
- | + | ||
- | Woman: And what is your main source of income now, if you compare… | + | |
- | Bart: Well the main source of income is because well, these income things are very irregular and they depend on many things, so the main source of income is the monthly support from our community, the unemployment money, which is extremely contradictory, | + | |
- | + | ||
- | Woman: And if you say that in Scandinavia they do pay for exhibitions? | + | |
- | Bart: | + | |
- | + | ||
- | Woman: Do you mean to say that here they don’t? | + | |
- | Bart: No, but in some other countries, more south I mean it depends where in Europe you are again, yeah, they have just not so many possibilities. I haven’t had the chance yet to do really like exhibition in Belgium. They tend to be I think a little bit less like interest in what I’m doing here. So, unfortunately, | + | |
- | + | ||
- | Woman: How would you define your work? | + | |
- | Bart: For me, work is doing what you feel you cannot, not do. It’s an emanation. Actually I trust most the thing that I do when I’m not aware that I’m working. These things I trust the most. There might be more I started collect may be more ugly or not perfect of the design of them or in the wrong position, but for some reason I trust them the most. And the thing that I have to struggle for the most they might end up more into a category that I don’t trust so much. But then maybe after a while like more. So yeah. | + | |
- | + | ||
- | Woman: But all of them are work? | + | |
- | Bart: All of this is work, yeah it’s all part of it. The struggle is part of your work, having in the flow is part of the work and this whole and how you relate to that. How you maintain centered and aware which is a quite complicated and energy consuming process. This is work. | + | |
- | + | ||
- | Woman: And how many hours a week do you work? | + | |
- | Bart: Phew. Never enough. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: Free time for me is only time that is non-functional. That’s free time. | + | |
- | + | ||
- | Woman: And does it exist? | + | |
- | Bart: It exists yes. | + | |
- | + | ||
- | Woman: And how do you use it? | + | |
- | Bart: I can give an example. When I started I was working in Brussels somewhere nearby the Buss [sounds like], the stock market and I got quite impressed by the light quality | + | |
- | + | ||
- | Woman: Is there other things you do during free time? | + | |
- | Bart: Well, there’s relationship time, family time, friends time. | + | |
- | + | ||
- | Woman: How did your spend your evenings in the last week, if you go back in time? | + | |
- | Bart: | + | |
- | + | ||
- | Woman: Can you tell me what you did in the evenings of the last week? | + | |
- | Bart: Writing, watching documentaries, | + | |
- | + | ||
- | Woman: And yesterday, can you describe the day of yesterday from morning to evening? Yesterday was a Monday. | + | |
- | Bart: | + | |
- | + | ||
- | Woman: And it’s school housing like if you’re a private. | + | |
- | Bart: Yes, yes but we want to combine with all people we have to do some are performance artists. Another guy is artist, research based artist also. And we all have similar necessities so it will be about shared working space, experimental space, maybe a small gallery. It’s all freeflow of thoughts for the time being.So yeah, that was let’s say 1:00 p.m. Yeah, took us till 4:00. And then I continued writing at home, basically until 12:30 a.m. | + | |
- | + | ||
- | Woman: And that was writing for the…. | + | |
- | Bart: That was writing for several things. I also had to co-ordinate an application for the European Union also that’s a member of FoAM. This is, yeah, together with a couple of other organizations in Europe of course, the Wash [sounds like] and Science Lab in Dublin, Achlich Tourniqua [sounds like] University in Barcelona so a couple of us, and yeah. I’m co-ordinating this a bit so we had to do the finishing touch on that. | + | |
- | + | ||
- | Woman: Can you explain a bit how FoAM works like, what’s the organization means to you in your practice. | + | |
- | Bart: Well, I think the reason why I got so close to them and got a bit to the corner of the theme is because the adventure the openness to experimentation to holistic approach is very important. The relationship between economy and ecology, ambience, new vocabularies this whole dynamic creative way of putting things together. The importance of narrative, these are things that for me are very important in FoAM. It’s also about technology but not only so I think as, if you have a bit of a transverse list personality, | + | |
- | + | ||
- | Woman: | + | |
- | Bart: | + | |
- | + | ||
- | Woman: How can I understand it? Is is different artists, that can use it as a platform to develop their own practice . . . | + | |
- | Bart: | + | |
- | + | ||
- | Woman: . . . and maybe some collaboration will possibly come out. | + | |
- | Bart: Yes, indeed, yeah. And there is not so much goal orientation so you can really work very freely if you need support, if you need quality talk, you can ask for it and then we will put together some people so that you can have some relevant feedback. You can do presentations if you want. And then finally you can come with a proposal if you want and since FoAM is leading a couple of European projects that’s also quite interesting because it brings in new people. So that for me is quite interesting and motivating. | + | |
- | + | ||
- | Woman: And do you sometimes work together with other people? You mentioned some collectives. | + | |
- | Bart: Yes, I think I have about four heads that’s like working as an individual person it is working as a member of FoAM. It is working with others where I have the lead and it is working with others where I am part of a bigger whole and I can reduce my ego to the minimum or bring in some parts of my knowledge or…. | + | |
- | + | ||
- | Woman: Is it always different projects? | + | |
- | Bart: It can shift within the project. Maybe I can have the lead in the beginning in some project but then at some point maybe somebody else is more relevant to then do it or execute it, so it can shift and so yeah, if you work through everything intuitively then these things can be changed. | + | |
- | + | ||
- | Woman: And do the roles sometimes change like within the project like what different roles do you take up in projects that are collaboratively and how do they relate to the other people working in the same project? | + | |
- | Bart: Can you be more specific? | + | |
- | + | ||
- | Woman: Is it mainly then a group of artists who work as artists on the same level let’s say or do you also have projects where there’s let’s say two artists, I’m using the labels. | + | |
- | Bart: Mmm. Using labels. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: Yeah. Well for example the projects with FoAM involve people with really different capacities, backgrounds, | + | |
- | + | ||
- | Woman: And are the people you collaborate with always in the same geographical location? | + | |
- | Bart: No, no. We use Skype a lot, for example and to give one sort of project I am in now with future textiles from Central St. Martin’s Academy of the University of London. I don’t always go to London, they don’t always come here I work also with the students so we have a working day next Friday where Skype will be on all the time. We use camera I will do some settings, we will show them, they will show what they are doing and we will try to see where we can take it from there. And then in April I will go there physically to work six days intensively with them, based on, whatever sank in after having seen what we have seen during the Skype session and sessions, because there are going to be more than that.And there is also, we have FoAM Nordica we have a couple of people there, there is FoAM Amsterdam, it’s a start-up of FoAM in Japan so yeah to communicate with these people we have to use Skype.And also in terms of projects, if you are involved in European projects, chairing meetings there are always people from God knows where. We have a project about tarot cards for some narrative project and these people now came over from Croatia. They stay with us for a week so there’s a lot of movement. | + | |
- | + | ||
- | Woman: Do you have a manager? | + | |
- | Bart: I’m looking for one. I’m really looking for somebody who can help me find ways, find good workflows for all these heads I have. Yeah, so, some type of agent would be very good because I have the feeling that there would be a lot of space for maximizing what I am doing. I have the feeling that maybe 60% of my time, and that’s a feeling so probably it’s not correct but I have the feeling that 60% of my time goes to admin and unfortunately I don’t have that talent.I can follow as many coaching trajectories but I just don’t have that talent and have no problems admitting it. I do my best but it’s very energy consuming. I need to eat more fruits and salads to be capable of doing one hour’s admin compared to, for example, my girlfriend who is an analytic talent.So, yeah, I need, it would be fantastic and also because I think I did eight work labs last year, most of them in Scandinavia but yeah, since it just happens and people contact me, I go there, I have to come back, I cannot make like the tour as in previous years and so that’s not so sustainable in terms of traveling. So I would like to have this balance and it’s all about this energy balance. I would like to tweak this in a way that it would be better. Actually I did my apprenticeship with Ulte Mavis [sounds like], so she, as a student I, my first job basically was as a student and I worked for Ulte Mavis and the agency that [?] So then I saw how fantastic it is when you have a whole team of people working for you and organizing everything. It will never get to that point because what I’m doing is not. And also probably I’m looking always. I tend to end up always on the edges of things, so until now not in the more commercial galleri-, and I’m not so interested in galleries work itself. But maybe I will be in the finish for sure and maybe, so yeah, any agent, any person who could help me with this would be fantastic. But then I have to see how to pay him and all that and maybe collaborate with other people, maybe within oAM we have to, this is all ongoing. New organizational firms have been recommended to start again a [?] But yeah, [?] Number 59,500 so we are looking at other ways. | + | |
- | + | ||
- | Woman: Is this an issue? Is this something that people talk about? | + | |
- | Bart: Yes, yes. | + | |
- | + | ||
- | Woman: How to organize. | + | |
- | Bart: Yes, yes, absolutely. | + | |
- | + | ||
- | Woman: Do you see interesting solutions? | + | |
- | Bart: | + | |
- | + | ||
- | Woman: But it’s a-, | + | |
- | Bart: I felt a bit like going back and being back at the starting point and maybe it’s just true. Maybe it’s but we still, yeah, are looking at other ways of going about it. So,… and you have to look at other ways also to find revenue because this new liberal wind and conservative wind in Europe, we will be hunted and haunted evermore, so we will have to be very resilient and very creative. And share experiences and yeah, stick the heads together and especially, not start doing the same thing as these new liberal and conservative parties are doing, right, when creating this discourse of us and them I am completely not interested in that. Not going to start shouting out the real artist, the not real artist. The dog guy. How can he be with this organization as well as an artist. Not interested. I think societies where they give the possibility of as many creative energies being able to pop out around the place are quality societies and I think as an artist we should be together in favor of that instead of being against this guy or that guy but then we end up again in the basic income discussion and the utopian aspect or the distopian, I don’t know. | + | |
- | + | ||
- | Woman: But this means you sort of see it around you, sometimes, this... | + | |
- | Bart: Yeah, yeah. Of course. Because now with this whole situation with now with the, how do you call it, the punishment institute for the unemployed people, who want us all to work to pay taxes, yeah, they are becoming a bit more harsh, again and then you see immediately some discourses and emails popping up against this or [?] And yeah, I think we need to get another | + | |
- | + | ||
- | Woman: Are there aspects to your work that you would like to develop but which you feel that in the current context where work conditions weren’t possible? | + | |
- | Bart: They are not possible? | + | |
- | + | ||
- | Woman: Mm hmm, that you would like to develop. | + | |
- | Bart: Yeah, there are, I have a couple of things that I feel that I need to do and there are some, there is now important, for me, important idea and very visual that I wanted to show somewhere and the first talks went into the direction but then the budget problem or one of the partners in the constellation feels that it’s not possible and then yeah, it didn’t happen, but then again maybe if I now look to the right maybe a new opportunity will come and so I keep the eyes open and yeah, if that’s the way it is. | + | |
- | + | ||
- | Woman: What could it mean today to be an established artist? | + | |
- | Bart: I think an established artist is an artist that doesn’t have to deal with administration at all, that doesn’t have to deal with communication at all and has and doesn’t have to think too much about how to get enough food on the table and doesn’t have to think too much on housing situation, I think that’s quite an established artist, yeah. | + | |
- | + | ||
- | Woman: How do you disseminate your work? Do you know what audiences do you reach? | + | |
- | Bart: Yeah, I have multi-faced audience. Most often I am invited by arts venues. So, yeah, then you have people over who they find for you. So, yeah, I had scientific people from various backgrounds, | + | |
- | + | ||
- | Woman: What happened? | + | |
- | Bart: Well, it was the first time I said I was standing upright and having an audience with so many ties and quite, white shirts, listening to me for 15 minutes and afterwards coming to me and talking to me and it was quite weird, yeah. And this venue, it was all super fancy, of course, in Valencia in Spain and it was about light technology, transformation of light into electrical energy, and it was all subterranean, | + | |
- | + | ||
- | Woman: Do you retain ownership of your work once it is passed to other people or organizations? | + | |
- | Bart: Well, I apply creative comments so people can distribute my work as long as they refer to me and they are happy to modify it. So, I don’t get any revenue from any protected or copyright or who knows what and it’s a policy that we have at foAM basically. | + | |
- | + | ||
- | Woman: What type of credit or recognition do you value the most? | + | |
- | Bart: The most is from people, of course, that I admire myself. | + | |
- | + | ||
- | Woman: And have you ever felt under-recognized, | + | |
- | Bart: That also happened. I mean, the thing is it happened, for example, with this installation that I made in 2004, I had very good reactions on the first really big thing I made and I had an extremely good review one day and then another day when it was shown somewhere else there was somebody who didn’t like it. So, yeah, you observe both and you try not to become too enthusiastic because of one and you try to remain calm, also, with the other comment and just observe if there is anything in it that you resonate with and just use it in your next work. I mean, you have no choice. You come out, you have to come out, when you feel you have to come out, you have to come out! And then you are naked, huh? That’s for everybody it’s like that.The thing is, the type of work I make, and maybe other people who do more like art. research based, there is not so much of public discourse anymore. I have seen the last 10, 15 years how dialogue about arts in the normal media how this has shrank how it shrinked so especially for these type of practices, there’s not so much of a debate and that is not so good actually. | + | |
- | + | ||
- | Woman: | + | |
- | Bart: I have the feeling, because I have to write this intermediate report now, I have the feeling that the work often is ahead of me before I am capable of grasping it myself and even then, when I’ve grasped it, I am sure that the next week or two weeks after I will tend to reinterpret it but again, depending on how I am at that moment. But yeah, it’s very difficult to write yourself about these things. I’m trying to be as authentic as possible and not to think too much about these things when I’m writing it so, but the work we, yeah it is ahead always of my discourse about the work. I agree with people who said it’s tricky where an artist has to explain too much of himself, of what he is doing. It’s a very tricky thing, you have to my work labs you have to really do them before you can really know what is happening. | + | |
- | People say why don’t you use these edible solar cells as a terminal, why don’t you spread it out, I don’t feel comfortable with it. Something tells me that it’s not about this an edible solar cell, it’s not about that, the making of this. Again, the silver bullet technology that will save mankind, I am not interested in that, sorry, don’t trust mankind enough for that.I think it’s just about this transformation that happens, this is what interests me. But this I just discovered only after having done this year’s of labs, I only felt I have to do these labs, I don’t know why, but I have to do, can not not do it. This is how it works. | + | |
- | + | ||
- | Woman:Do you sometime compete or feel that you are part of a competition? | + | |
- | Bart: | + | |
- | + | ||
- | Woman: And is it a competition, | + | |
- | Bart: Well it’s larger. I mean, for example, there’s a competition going on in Brussels now for finding an affordable flat. If you stand in a line with 70 people of which 10 of them are families with children then there is a blunt competition. Who has proof of paid work, who has proof of not having done anything stupid in his life? Okay, they can go in first. | + | |
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- | Woman: [inaudible] | + | |
- | Bart: No, I can tell you, we go out of that line. I don’t want to compete with people with children. So it’s on all levels. | + | |
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- | Woman: Do you consider your work or artistic practice political in any way? | + | |
- | Bart: | + | |
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- | Woman: What would you think slow art could mean? | + | |
- | Bart: What it could mean is that the result that a piece of work emerges very slowly, obeying to time patterns that are far away from human, or maybe more like invisible time schemes and patterns. For example, natural patterns and that throughout time the work emerges and this time can be one year, it can be 10 years. I have worked in India that is not I cannot see it myself because how I sow it because of the movement of the Brahmaputra river in the north of India. Only because of the movement of this river on an old abandoned ferry, my work is being made and the work is aesthetically changing all the time. And its relation to the city is changing all the time but this really is only visible over time and I don’t control this and not controlling it is not a pre-condition but in this case I don’t control it and don’t even have the budget now to ask someone to visualize the movement but this is an example I think of slow work. | + | |
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- | Woman: Is it, now you mentioned the time aspect, | + | |
- | Bart: Yeah. | + | |
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- | Woman: is it for you mainly about time, slow art? | + | |
- | Bart: No, no it’s not only time, no. In my case it’s related to space, place and time. These three together creates the aspect of slowness. I think, yeah, and it can happen in the digital world as well. It can be very constructed, | + | |
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- | Woman: You are writing within the open house process a slow manifesto. | + | |
- | Bart: Mm hmm. | + | |
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- | Woman: Do you think it’s a good idea? Is it necessary? | + | |
- | Bart: But I mean when I was reading already the short description, | + | |
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- | Woman: I also asked the question of the time aspect because the lead for instance with slow food it’s about a certain quality that’s made possible because of the time. How would you see it in art? Can you relate it but different, I suppose. | + | |
- | Bart: Yeah, I’m sorry that I have to give examples of things that I know, but I think it’s the only grounded thing I can say about this but when I see what I said before that for my work lab the test where food is the major component the very slow processes involved and also people tell me afterwards that it’s only that makes them understand what this actually is about. I don’t explain why or what from whatsoever. I give some context I give some tools and in the end they have some understanding apparently or they I don’t even know if it’s correct or not. That’s probably not so important but I do know that this slowly working is very important.I was invited to show my thing, like brief presentation that I was doing and I refused. I’m not interested in doing this myself. I’m only interested in doing this together with other people and in the process because of the process that is for our speedy minds this is slow, only in this touching, in this smelling, all these senses only can really come to be if you give this time. And I work a bit with some specific colors and some specific set up at tables but that’s another thing but and interaction between the peoples becomes much more intimate, they get to know one another. But there’s also time it’s not speed-dating or something they talk also about other things and there’s also laughter because if you’re being stupid a bit and childish when they do what they have to do and this opens up things and this is quite slow. It’s five or six hours is a minimum but I’ve done it two or three days and those of course are the most interesting ones.And in the end, you know a bit that this is a work actually that this is not over and that’s why also don’t call this a work shop, or something. It’s not about that, but only in this doing and giving and allowing this space and time and it’s also a way of mental recalibration, | + | |
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- | Woman: Okay so I would like to thank you for the interview. | + |