Khurana Chapter 3

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S.R.: What is your aim?

S.K.: No, I don't think I can talk about my practice in terms of an aim. Because the moment you start to speak it starts to sound like some kind of high moral grounds or spiritual grounds, but in fact it's a combination of all of these – minus the word »high«, but it's trying to get a better understanding of yourself.

S.R.: When did you hear for the first time something about Conceptual art or intellectual processes in art?

S.K.: I think I was being aware of terms like intellectual processes, or I have been aware of these terms by growing up. My father was a trade unionist and a very idealistic person, and, of course, those notions were limited more to social committment etc., and I wasn't so aware of how they make their roots into the world of art. The other part – you were asking about Conceptual art – I think these are more like, unfortunately with the kind of art education we had, these were more like terms which were spoken of, but not in classroom; they only started to make sense with a better understanding of one's own practice. And that meant also freeing oneself from a lot of what one had learned, so it had been a slow process. I'm not very sure if I totally comprehend it even now, but I do like the idea of global conceptualism much more than the way it was in the 60s in America.


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