Buren Chapter 9

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S.R. I asked myself earlier ... if it's possible to say: Is the thinking process ... the process of the formulation of the text, ... something like a studio situation in your relational work, in your specific kind of work? All these processes of putting here, putting there, going back, seeing it from different perspectives and again going back, telling it in another work... I was comparing it in my mind ... if your kind of thinking art and practicing art in situ and working in different places in some texts you are reminding in the beginning that you are already in a different city but you are reflecting still on another exhibition before. I was thinking if it's comparable?

D.B. Certainly not as a drastic cut as I would like to imagine. Already ... one of the clear cuts outside of the context ... is the fact that, you do a work ... a show to take something a little quicker than to make a museum exhibition ... or a public work which needs some time... you do the work you want to do ... you try to get the idea, the possibility, ... and to make the work for a show you have in a gallery maximum one week. And in my case I have to build ... even if sometimes people help me ... absolutely everything from the scratch to the show. That means, it's better not to make too many mistakes ... if you do some mistakes you can always repair, but the time is shorter and shorter so really you have to be really, really vigilant to try not to keep behind so many mistakes that can never repair so you have to see it very quickly, you have to change immediately if you see anything wrong ... and then, if you are satisfied with the thing, with absolutely no distance to really judge, except quickly ... then, from that time, which is usually a few hours or few minutes before the opening and the entry of the public, it's absolutely given to this public, with no possibility, after you decided "that was okay", to change something here, something there; and if you do it, which happened, I did it, not too often but I did it, it's completely different than to have your work in the studio, to look at it ... change ... turn it around to put it away for two years.... etc. – which is absolutely fantastic, decent ... I have absolutely nothing against that, but .. in my situation all these things disappear with the fact of not having a studio. You have a way to work which is an certain sense much more risky, because at least what I will leave from my studio will be what I accept as a good work, unless I am completely crazy. But what I leave to the public might be not so much a good piece, except if I see myself the thing being really bad I will not make the show, I might say we will open in two days ... . You have this big risk absolutely every time. Sometimes when I see something which could be much more interesting, but I only saw it too late, I try to use it for the next show. The big advantage, when you work like that, which I think, if you don't have this possibility is absolutely dramatic, is the fact to be invited very often. Then you take that risk, but you take that risk very freely; you are not thinking, if that show which is my only show since two years, is a failure, it's finished. If you do a show each every two or three weeks, like I do, you don't have this feeling; you even take a big risk ... okay, if it's good, bravo, if it's just something I don't like I will never do it any more ... three weeks later you do something completely different... you do something with some experience of something you do not like to make it more interesting ... it's almost like gymnastics. But in such a situation, if I was not invited anymore, ... I think I will be really in trouble – not even speaking about surviving – ..., but about the way of thinking, because I will have no way to practice, or I have to change; then I will go back to a studio.

S.R. Thanks a lot ... anything that you want to add?

D.B. I think I spoke enough.

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