Dion Chapter 5

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S.R. One last question. This is maybe - for me it is very interesting to hear. How do you describe your typical daily work as an artist? Your ideal and your typical?

M.D. How do I describe my typical daily work as an artist? Do I describe it to myself or to someone else?

S.R. Yes, for yourself. I mean if you say, if you talk about the ideal model than you maybe take the ideal situation as you like it.

M.D. Right.

S.R. Not what you have to do. Or if you are a little bit skeptical and you say »Whoowhoowhoo», then you...

M.D. Well, of course ideally you are presented with a problem. You know the problem is having to make something at a particular place at a particular time, given your own back log of the things that you are engaged in, your own practice. You know whenever you travel, you are bringing your own conceptual luggage with you as well, and then having to negotiate a new place, a new space, a new body of concerns. I'm always trying to work not on individual expressions but a practice in a whole. So each exhibition is maybe akin to a battle in a larger war. Sometimes things go better than other times and you are able to correct what may be a deficiency in one project by overcompensating for that aspect in another project. But there is always a great deal of research involved in some of these projects. Sometimes, ideally you have enough time to do those, sometimes you don't. That`s some of the biggest problems for me that I face in my work is that there is never really enough time to deal with things in a really adequate way, to get the amount of research I want to get done for a project. It's always confounded by the amount of time you actually have to spend on a project. I'd rather be spending years on things that I'm spending months on. Those are some of the problems that I have to confront.

S.R. Maybe the works would be much more, more and more complex.

M.D. Maybe. That's another reason to think more in terms of the practice than in terms of the individual expressions – it's that in the practice I feel much more satisfied by my body of work than I do by any individual expressions of it. And also I think there is – I work in a lot of different kinds of venues. It`s true I work with galleries, then I work with museums and Kunsthalles and spaces like this but I also do public art. I also do sometimes practical, activist-oriented projects, I do projects with students, and I do whole other series of work, as well, which have different audiences and different ways of communicating in some way. And through the combination of all of those different strategies I feel somewhat satisfied by the practice.

S.R. Okay. Thank you very much.


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