मुझे लगता है कि जब लोग कला की दुनिया को एक विचार के रूप में समझने के लिए संघर्ष करते हैं, तो वे इसे गलत समझ बैठते हैं। उन्हें लगता है कि यह दूरदर्शियों या अवसरवादियों की दुनिया है। लेकिन इसमें वे लोग भी शामिल हैं जो इस सांस्कृतिक प्रक्रिया का हिस्सा बनना चाहते हैं, पर उनके पास इसके लिए जरूरी योग्यता, विचार या सृजन क्षमता नहीं होती।
I think when people struggle with the problem of trying to understand the art world as an idea, they misunderstand it. They think it's a world of visionaries or opportunists. But it also includes people who want to take part in this cultural exercise but don't have the required stuff, they don't have the ideas or the production.
I think when people struggle with the problem of trying to understand the art world as an idea, they misunderstand it. They think it's a world of visionaries or opportunists. But it also includes people who want to take part in this cultural exercise but don't have the required stuff, they don't have the ideas or the production.
इमारत की छत पर लेटने पर, बादल सड़क पर लेटे होने की तुलना में बिल्कुल भी पास नहीं लग रहे थे।
Lying on top of a building, the clouds looked no nearer than when I was lying on the street.
Lying on top of a building, the clouds looked no nearer than when I was lying on the street.
मैं आधुनिकता (मॉडर्निटी) और आधुनिकतावाद (मॉडर्निज्म) के बीच के फासले में काम कर रहा हूँ। इसलिए लोग जिसे डिजाइन समझते हैं, वह असल में डिजाइन नहीं है, बल्कि आधुनिकता की राह के साथ जुड़ने का मेरा प्रयास है।
I'm operating in the gap between the trajectory of modernity and the trajectory of modernism. So what people think is design is not design, it's my attempt to engage with the trajectory of modernity.
I'm operating in the gap between the trajectory of modernity and the trajectory of modernism. So what people think is design is not design, it's my attempt to engage with the trajectory of modernity.
कला की संभावनाओं में मेरी रुचि आज भी बनी हुई है, सिवाय इसके कि उच्च आधुनिकतावाद (हाई मॉडर्निज्म) की तुलना में व्यावहारिक आधुनिकतावाद (अप्लाइड मॉडर्निज्म) ने मुझे हमेशा ज्यादा प्रभावित किया है। इसकी एक वजह नारीवादी सिद्धांत और सत्तर के दशक में मेरा लालन-पालन भी है, जहाँ यह सवाल उठाया जाता था कि कौन बोल रहा है, क्यों बोल रहा है, और उसके पास कौन सा अधिकार है।
I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.
I remain interested in the potential of art, except I've always been more struck by applied modernism than high modernism. It's partly because of feminist theory and being brought up in the '70s, with questioning who is speaking, and why, and what authority they're carrying.
अमेरिका के लोगों को यह समझने की जरूरत है कि मेरे काम में कभी-कभी एक गहरी राजनीतिक अंतर्वस्तु (कंटेंट) होती है, जिसकी जड़ें युद्ध के बाद के यूरोप के पुनर्निर्माण में हैं। मैं अमेरिका में आज भी एक विदेशी हूँ। मैं ऐसा इंसान हूँ जो कहीं और से ऐसी अनकही कहानियाँ लेकर आ रहा हूँ जिन्हें स्वीकार करना हमेशा कठिन होगा।
What people in the U.S. have to understand is that there is sometimes a deep political content in my work that's rooted in the postwar reconfiguration in Europe. I'm still a foreigner in America. I'm someone who's bringing nuanced stories from somewhere else that will always be harder to take.
What people in the U.S. have to understand is that there is sometimes a deep political content in my work that's rooted in the postwar reconfiguration in Europe. I'm still a foreigner in America. I'm someone who's bringing nuanced stories from somewhere else that will always be harder to take.
एक कलाकार के रूप में, यह बात बिल्कुल साफ है कि कला की कीमत का आपसे कोई लेना-देना नहीं होता, इसका संबंध इस बात से होता है कि बाजार किसी चीज की कितनी कीमत चुकाने को तैयार है।
As an artist, it's been clear that the price of art has nothing to do with you, it has to do with an idea of what the market will tolerate.
As an artist, it's been clear that the price of art has nothing to do with you, it has to do with an idea of what the market will tolerate.
मेरे लिए "समकालीन कला" (कंटेंपरेरी आर्ट) एक तरह का ऐतिहासिक शब्द है जो बर्लिन की दीवार के खड़े होने और फिर उसके गिरने के बीच के 40 वर्षों का वर्णन करता है। मुझे नहीं पता कि कला को परिभाषित करने के लिए आगे कौन सा बेहतर शब्द आएगा, लेकिन मुझे लगता है कि समकालीन कला का दौर अब वास्तव में खत्म हो चुका है।
"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.
"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.
लोगों को लगता है कि कला बाजार अवसरवादियों और हेज-फंड मैनेजरों द्वारा टूटी-फूटी कला खरीदने की जगह है, लेकिन असल में हुआ यह था कि अमेरिका में बुर्जुआ मूल्यों का एक नया ताना-बाना तैयार हुआ और बुर्जुआ वर्ग ने समकालीन कला को एक विचार के रूप में स्वीकार कर लिया। मुझे लगता है कि ये बुर्जुआ लोग बेहद घटिया होते हैं।
People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.
People think that the art market is about opportunists and hedge-fund managers getting broken art, but what really happened is that there was a new configuration of bourgeois values in the U.S. and an acceptance among the bourgeoisie of contemporary art as an idea. I think that bourgeois people are horrible.
अमेरिका हमेशा से विरोधाभासों से भरा देश रहा है। यह हमेशा से एक बेहद संरक्षणवादी और संस्थागत जगह रही है, जहाँ आपको धूम्रपान करने की अनुमति नहीं है, यह करने की अनुमति नहीं है, वह करने की अनुमति नहीं है। और दूसरी तरफ, यह एक तरह से पूरी तरह से उदारवादी (लिबर्टेरियन) भी है। तो इसमें एक साथ incredibly authoritarian (तानाशाही) और incredibly open (खुलेपन) का एक अजीब सा मिश्रण है।
The U.S. has always been a contradiction. It's always been a deeply protectionist, institutional place, where you're not allowed to smoke, and you're not allowed to do this, and you're not allowed to do that. And then, on the other hand, it's completely libertarian in a way. So it's got this weird mixture of being incredibly authoritarian and incredibly open at the same time.
The U.S. has always been a contradiction. It's always been a deeply protectionist, institutional place, where you're not allowed to smoke, and you're not allowed to do this, and you're not allowed to do that. And then, on the other hand, it's completely libertarian in a way. So it's got this weird mixture of being incredibly authoritarian and incredibly open at the same time.
बुर्जुआ वर्ग के लोग ही ऐसे हैं जो मेरी मदद करना चाहते हैं। प्रबुद्ध बुर्जुआ ही वे लोग हैं जो कभी-कभार कुछ खरीदते हैं, उसकी देखरेख करते हैं, और कभी छूट (डिस्काउंट) नहीं मांगते। वे आपका ख्याल रखना चाहते हैं।
The bourgeoisie are the only people who want to help me. The enlightened bourgeoisie are the only ones who ever buy anything, look after it, and don't ask for a discount. They want to look after you.
The bourgeoisie are the only people who want to help me. The enlightened bourgeoisie are the only ones who ever buy anything, look after it, and don't ask for a discount. They want to look after you.
मेरी पीढ़ी के सामने सबसे बड़ी समस्या यह है कि हमसे कई साल पहले पैदा हुए लोगों को हमारे बारे में कोई अंदाजा ही नहीं है। दोनों पीढ़ियों के बीच एक बहुत बड़ा फासला है। मुझे नहीं पता क्यों, लेकिन हम सचमुच अनाथों की तरह थे। उन लोगों ने हमसे मुकाबला किया, हमसे नफरत की और अपने अधिकारों के लिए लड़े, फिर भी हमारे काम में उनकी कोई दिलचस्पी नहीं थी।
The biggest problem for my generation is that people who were born years before us have no concept of us at all. There's a massive gap. I don't know why, but we were really like orphans. Those people competed against us, they hated us and fought for things, and yet they had no interest in our work.
The biggest problem for my generation is that people who were born years before us have no concept of us at all. There's a massive gap. I don't know why, but we were really like orphans. Those people competed against us, they hated us and fought for things, and yet they had no interest in our work.
1950 के दशक में पैदा हुए किसी भी व्यक्ति ने मेरी पीढ़ी में खास दिलचस्पी नहीं दिखाई, और हमने बस यही किया है कि अपने से बाद की पीढ़ी के लोगों से बात करके इस कमी को सुधारने की कोशिश की है। मैं अपने से 10 साल बड़े किसी भी व्यक्ति के साथ नहीं उठता-बैठता, लेकिन अपने से 10 साल छोटे कई लोगों के साथ मेरा उठना-बैठना है।
No one born in the 1950s took much interest in my generation, and all we've done is try to fix it by talking to the people who came after us. I don't hang out with anyone who is 10 years older than I am, but I hang out with a lot of people who are 10 years younger.
No one born in the 1950s took much interest in my generation, and all we've done is try to fix it by talking to the people who came after us. I don't hang out with anyone who is 10 years older than I am, but I hang out with a lot of people who are 10 years younger.