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02_03_2017

The Curse of Saying

The explanation is as follows: to consider a risk involves calculating. It’s true that this is probably determined by the verb to consider, but it is no less true that the noblest of things (in Montaigne’s terms) tend to deprecate risk. They don’t ‘consider’ it. Or not much. Risk in art is nothing in itself. At the most, it is a subsidiary element to other deeper things, by no means an ultimate goal. Does risk really mean anything at all in art? Isn’t risk simply a token of what we had previously been determined to do?

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22_12_2016

Art in Check: Passion and Obsession

‘I play chess day and night. I like painting less and less,’ stated Marcel Duchamp in 1923 after finishing one of his great works, Le Grand Verre (The Large Glass). It is impossible to separate the painter from the chess player, because Duchamp’s art was always in check, and he viewed this mental sport as a source of creativity.

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22_11_2016

From leaving as a learning experience to ‘Muna’s Journey’

Living abroad means having time stand still in one place while it speeds up somewhere else. It isn’t the effect of jet lag or of different time zones. A capricious, subjective internal sense of time stirs up emotions and changes priorities. Who do we belong to? Where do we belong? Psychologists and sociologists who have considered the matter in depth would speak of it with more authority, but it would be terribly boring to take the intuitions that a new life can give us and sum them up in a scientific headline, wouldn’t it?

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