I think we should all be learning from each other. We should not only be talking but mainly listening to each other and we can all, I’m sure, learn from each other. Business can learn from art. Art can learn from business. I think now lots of artists are business experts. Regarding businessman who don’t know much about art – they say “I don’t care” or, “I don’t know anything about nothing, so I don’t want to have anything to do with it” – this fear should be overcome.
Wie Bertram ihre Studenten zur Innovation antreibt und wie Wirtschaft und Kunst sich zu einem farbenfrohen Bild verbinden können, lesen Sie im ausführlichen Interview.
Read the full interview to learn how Betram encourages her students to be innovative, and how business and art can merge into a colorful picture.
“Improvisational ideas are not so much about building a marvellous house of harmony or creating a melody whose beauty is unsurpassed. At the end of the day, the harmonic and melodic playing only matters to some extent. Rhythmics and form are the essential, defining carriers of energy. How fast do I break off, how long do I stick with a thought. Its the arc of suspense. If this form of energy is jointly conceived, it’s all about for how long you endure it together, when you drive things even higher and louder or faster, whatever the energetic parameters may be, and about how long you can bear it logically, and by conceiving it together.
“An art historian that gave an introduction to one of my exhibitions once shared his version of my life. What he said was that I was always an artist that had to make a detour through sport. Maybe he is right.” Painter and former soccer professional Rudi Kargus about his life and his work as an artist. Read the full interview here.
“Ein Kunsthistoriker […] hat eine Einführung auf einer meiner Ausstellungen gehalten und hat seine Version meines Lebens geschildert.
“I always work in a very intuitive way, so when I like something, I just do it. And for me, there is a very high standard. I always wanted to be perfect. I mean, I don’t want to do something quickly, badly. I always try to finish my projects in a very fine way. That’s my philosophy. But on the other hand, my creative work starts in a very intuitive way.”
Please access the full interview with Caroll Vanwelden here.
“Ich war, glaube ich, verzweifelter, aggressiver, einsamer als andere Leute. Und ich hatte kein zweites Standbein. Ich habe auch bewusst nicht in diese Richtung gedacht. Ich weiß nicht, ob es heute noch so ist, aber das Verrückte in den Neunzigern war, dass es in der Kunstakademie immer um dieses zweite Standbein ging. Und alle, die sich darum gekümmert haben, haben irgendwann ihr Gewicht auf das zweite Standbein verlagert. Es ist ganz einfach, wenn man eine Alternative hat, die bequemer zu erreichen ist, wird man sie nutzen.”
Ende letzten Jahres hatten wir Gelegenheit, Norbert Bisky in seinem Berliner Atelier zu treffen.
“Each actor has their own idea of the score. And it must indeed become their own. It does not make a lot of sense to train the actors do something they do not want.”
Please access the full interview with Ingolf Huhn here: aoa_interview_ingolf huhn.
Picture Source: Jean-Louis Forain (French, 1852 – 1931 ), At the Theatre, c. 1892, lithograph, Rosenwald Collection, National Gallery of Art
“There should always be doubt. Especially when success sets in. This is when you are called upon to revisit things. Success can be seductive. It keeps man from taking a step back and thinking twice.”
Age of Artists has been fortunate to meet Aris Kalaizis this past July for an interview in Leipzig, Germany.