Rencontre avec femme armenienne

He explores sunioo rencontre the Need an extra hands of language in contemporary Rencontre avec femme armenienne Leckey is fascinated by the immaterial properties of physical things, yet rarely makes objects himself, opting to work in film, video, and performance. Leckey was in Los Angeles last fall for a residency at the Hammer Museum. They blew my mind, and I got really into music. All that happened within four years. I aspire to the condition of music because music goes beyond language. Most contemporary art can be broken down into conceptual parts, and is understood in that way.

Music is harder to break down like that. Women to fuck in baykonur Rencontre avec femme armenienne to Rencontre avec femme armenienne thinking about making art and being an artist. I had made the Leisben. One of the things I always worry about is that you end up dragging and dropping things from outside the art Rencontre avec femme armenienne into it. Channi man xnxx postmodernism appeared then, and one began to see these long-term economic Rencontre avec femme armenienne occurring as we left behind industrialization and moved toward a fully installed service economy.

Massive — but new — energizing processes began to take shape. One of the things they threw up was Casuals. Casuals were very weird. They started in Liverpool. That was Rencontre avec femme armenienne camp for them. The Casual lads had long, asymmetrical fringes. But Casuals ended up amalgamating a look, like they were going to go play tennis in Sergio Tacchini, with elaborate girlish haircuts. The Casuals were looking through Playboy magazine to see what the dudes were wearing and then mixing it up. I used to want to be the best-dressed man in town, and for a period, I was. Throughout that period, you explored your bachelorhood, perhaps in relationship to Duchamp.

I became a selfish bastard. The thing is, I make work as a way to understand my own pathologies. But, actually, a fridge is not as closed off as a bachelor. A fridge exists in correspondence with everything. So the fridge is a surrogate. In your work, it has a monolithic presence, in relationship to the green screen backdrop. But why not a smart oven or a smart phone or a smart car? A lot Rencontre avec femme armenienne technology and thought have made fridges super smart. I guess the only other smart thing would be a TV. It can suggest recipes and other things, too. Is that a reason that compelled you to choose it? I needed something that had real presence in the gallery, something that had weight and density and volume, and the fridge is the biggest kind of appliance.

I needed something that was kind of flat and seemingly indifferent and seemingly dumb. With the Auto-Tune effect in full gear, it sounds like T-Pain. Did you intend for the audio to sound like R. Kelly singing through the iPhone T-Pain app? Talking about music and aspiring to the condition of music, I think one of the best things of the past ten years was R. It was genius, and I mean that without irony. I think it has moments where it gets kind of lazy and stupid and crass, but only in and of itself — in terms of itself. I sort of aspire to that. I wanted to make a poem about a fridge. I wanted to communicate the sense of being in love with this modern object.

Were you looking at British Pop? British Pop produced one of the best British artists of all time, Richard Hamilton. He certainly is now. I keep bouncing up against him, which is good. I was deeply suspicious of art. You can wipe the floor with nostalgia. You just throw some nostalgia onto anything, and what you get is going to be Pop and speak to more people. Art is trying to escape irony. Most of the good work I see now willfully attempts to shake off any sense of irony. Fiorucci had that effect, the broad appeal. In a world headed toward the total dematerialization of culture, where will art exist?

What would you like to see happen to art? Artists chose to dematerialize their own work. I think the dematerialization of art comes from outside forces. Art inevitably has to become less professional because so many people now have access to the means of professional art production. People can make videos and images. So being able to make an image is like being able to write. It becomes second nature. Therefore, we face a profusion of image-making: The problem I have with the art world is that it cramps you into an overly self-reflective intellectual position. Art will become more precious and rare. As long as the economy stays the way it is, then the wealthiest one percent will continue to want to buy the one percent of art that remains a rare and unique physical thing.

There will always be that kind of value and desire, and there will always be people that will produce that kind of art. So why are you resistant to making things? I want to remain elusive. What I always liked about the Casuals was that the reason they dressed the way that they did was to elude being captured. Their style was completely indefinable. That, to me, is true style. In other works, you make a point to disappear. In these decisions, there seems to be a point of tension related to the idea of making a thing or not, but centered around you, your person. How do you want to be perceived by a viewer? Do you prefer to be present, to be fetishized as an object — or absent, or dematerialized?

Half of me wants to be disgustingly well known and iconic, but another side of me, which I hope is the smarter side of me, wants to elude all that. It wants to avoid that as much as possible. Tell me about living in LA. What do you think about the city? What do you like about it? That seems to be the most depicted part of LA, but no one lives there. You see culture marching out. When I get home to London, things that are made here will begin to appear there. The other thing I find weird about LA is the topography.

When you live here, you realize it. Those moments remind me of your work, and vice-versa. So does that scene from Anchors Aweigh, where Gene Kelly is dancing with the animated mouse. The other night, when you lectured at the Hammer Museum, you played the drum and then your Power Point presentation played the drum. You had timed it out perfectly that the sounds occurred in perfect rhythm. I like a bit of cheese. These things can be used for different ends. When I watch, I want to be immersed. And when I show things to people, I want them to feel the way I do.




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