Renée Green Chapter 1

From Paradise

Jump to: navigation, search

S.R.: What do you consider as your strongest influence?

</timecode moment="00:19:47:10">

R.G.: Oh, strongest influence. That's always a problematic question mostly because there are so many different ones. It's something that I've written about also but it's quite difficult to locate it because it's so dispersed. So I don't know if I can answer this question... I don't have any one strongest influence.

S.R.: Maybe we can come back to this. Because the second question is: Which practice in the history of art is your favourite?

</timecode moment="00:20:30:07">

R.G.: ...I'm very bad with this kind of questions because I'm so ... What do you mean by practice? In what way? How do you mean that? I guess it's because I think of mode of working as kind of growing out of different ways of thinking and the combination of how that precedes. So I don't really isolate in a way; it's more of how I observe the thinking practice through... the forms of the work, the whole experience of that, the whole encounter. So on terms of practice... if you want to describe it, as what do I have an affinity for, would be forms that are linked to thought of some kind. And so that's very broad, and so that allows the possibility for fairly eclectic selection. You'll get something if we keep talking...

</timecode moment="00:22:08:16">

S.R.: As I reminded before the camera started, you made some work that was strongly taking reference to e.g. Robert Smithsons work... Maybe you focus a little bit on the question, what threads are coming together in this work for you personally?

</timecode moment="00:22:41:19">

R.G.: Okay. That work "partially burried" in three parts - it's how it ultimately ended – it had a reference to Smithson and to a parcticular time as well as to Theresa Hak Kyung Cha, and in both cases I was very interested in the way that both of these artists thought and how they expressed this in writing and in different other forms of working. And so I think that maybe in my case the idea of affinity, having an affinity for particular ways of encountering the world maybe is appropriate, perhaps. In this work I use these kinds of affinities maybe as trigger or a kind of instigation or it's something that's more of a spark that leads to being able to think more about a variety of other intersecting events and perceptions. And so in one aspect it's related to what's going on in the contemporary moment, so e.g. 1996 was when I made this work, and at that time there was a lot of media presentation of the 70s, lots of retrievals of the 70s – I guess they had been going on for a couple of years. And these were kind of perplexing as well as entertaining in some cases, but I wanted to probe further – what ways in which the 70s could be perceived, how did I imagine the 70s? And I also in this case, in terms of this idea of influence, I wanted to reference Smithson because I was trying to imagine in the European setting e.g., what might be the most archetypally American figure, and I thought about Smithson in a way because Smithson was engaged with this mythology of America, of the frontier in a way of a vast, open spaces, of dealing in some way with nature but combining that with language. And his work was very Emersonian as [Name nicht zu verstehen 00:25:00:00] has described it; and I think this kind of transcendental way of perceiving the world and the interconnection between language and nature. And so that was one of the reasons that I chose Smithson </timecode moment="00:26:11:15"> Also because of this return kind of idea, the way that these different sorts of works and the presentations, the different artists were becoming more present again. They were more... like a new monograph appeared in 1996 about Smithson, of his writings, and various other artists too had been working at that time; publications were coming out about their work, their writings. And so that was one of the reasons I was interested in, what was the renewed fascination in this moment; and how could it be interpreted and how could it be contextualized in ways that were different from the way that it had happened at that time and how it was normally thought about within an art context as well; what other threads to bring into it, like the political e.g. So that was some that I was thinking about.

Renée Green »