Florian Hammerich Lucija Mikas

Empathy through Movement: Interview with Dancer Lucija Mikas

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“First, every movement emerges as a reaction of the emotional life. Contemporary dance is seen as a physical expression of ideas and emotions,” explains Lucija Mikas during the conversation about the origin of her ideas. “I for example see a fig tree, growing out of a stone. This fig tree reminds me of my rootlessness, because I don’t see his roots.

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Sharon Molloy

Everything keeps Evolving – Interview with Sharon Molloy

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AoA: How did you get into art?

Sharon Molloy: It sounds a bit overconfident but I wanted to be an artist since I was a teenager. I grew up in a working-class town in Northern England and there were no artists at all. Nobody went to college really. It was my high school teacher for art who said I could go to college and be an artist.

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Sebastian Heiner

To Act out Oneself – An Interview with Painter Sebastian Heiner

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Born in Berlin, Sebastian Heiner studied at the UdK (Universität der Künste) in his home town. Normally he works and lives in Berlin, where he shares an atelier with the artist Jörn Grothkopp. The Berliner told us as well, that his painting is influenced a lot by his temporary employment abroad. Over several years he held ateliers in Beijing, Shanghai and Bangkok. “I think, a lot broke loose inside of me while I was staying abroad.

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Wolf Jeschonnek

“If you only start looking in a niche, the solutions are not so extensive.” – Interview with Wolf Jeschonnek

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Young, dynamic, international are some of the descriptors that instantly come to mind as soon as you enter the FabLab in Berlin: typical Berlin. Right here one can find the huge potential of a lively FabLab: a random melting pot of people with different backgrounds, ages, interests, and skills. This is a factor that is ignored or created artificially at corporate business incubators.

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Helge Steinmann Bomber One

Adding Something to the World – Interview with Graffiti Artist Bomber One

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About courage, “to take the plunge, to go out at night and add something to the world.”

This sentence of course literally contains the process of the artist having the courage to spray a work, mostly outside and in secret. But furthermore it means to have the grit to express yourself in a public space; present ones’ art piece to the world and take advantage of the medium of art, to let everyone know ones’ position.

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Ludger Bruemmer

„The Moment of Surprise Always Adheres to Creativity.” – Interview with Ludger Bruemmer

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During the interview with Bruemmer it becomes clear, that the aspects of emotionality and sensuousness play a decisive role in his work: “The creative process is not an end in itself and it’s not a purely cognitive activity with contents neither. It is always accompanied by emotions.” Emotions and the question of meaning lead him primarily within his ambition to transport something out into the world.

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Roelof Bakker Michael Atavar

The Unconscious is the Real Magic of Creativity: Interview with Michael Atavar

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Michael Atavar is Artist and Creative Consultant. He works with individuals and businesses, helping to solve professional problems, using creativity as a key. He is the author of four books, most recently ‘Better Magic – How To Have Creative Ideas In 24 Steps’.

Age of Artists: What is the science behind your new book ‘Better Magic’? And what is the real magic?

Michael Atavar: Rationality is important – data is useful, especially in business, but my book takes a different approach and explores the irrational as a source of ideas.

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Sabine Schaefer Studio TopoPhonien 1992

The Idea of a Spherical Shape of Time – Interview with Sabine Schaefer

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Time: Not line, but sphere

„For me the notion of the ‘spherical shape of time’ includes a non-linear understanding of time that produces contemporaneity for anything. We split past, future and presence. This can be repealed through observation of art. The observer gets lost in observation, listening and perceiving of the art which happens right here and now.”

This form of here and now has also implications for Schaefer’s life scheme as she explains: “Constantly I try to do as less estranging things as possible, especially nothing that could separate life and art.

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