Weiner Chapter 5

From Paradise

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S.R. So actually my last question is exactly about your daily practice. Is it possible to say something about what is or what would be an ideal typical daily work ...?

L.W. You mean like conceptual paradise – what I would like as an artist at this stage of my life. It would be very nice to spend periods of time where the economic implications of one's existence did not come in and at the same time one would just work. Because my ideal praxis is to be involved in processes and involved in materials, and be working on body of work and have somebody offer me a place to show something, and that's the body of work that gets shown at the moment. It's never site-specific, it's what my activity is. At this particular moment I'm very involved in trying to objectifying desire – in a non-romantic manner! We have gesture, we have things, processes – how can you in some way objectify desire and what does that constitute.(..) And it constitutes of course a simple thing; it's the changing of the status of the plinth, the thing that supports something. It's the changing of the »the« to a »a«, and how to take the universal, and turn the universal into a specific and then you essentially would be in a position of at least objectifying a desire to the extent that you can present it.

S.R. Do you want to continue on this very heavy and complex term of how you come from the »the« to the »a«?

L.W. Yes. That's the basis that I try to do with building any sculpture. You can take what is a universal material, and instead of ascribing to it all the universal traits that you would give, you try to find the trait that at that moment fulfils your needs and desires, and specify it, put it within a context that another person coming along can say: Oh, I can take this universal and put it in a context for me. The purpose of art is for other people, it's not just to make something, and it's certainly not to express oneself. It has to do with you having discovered something and determined something that you are convinced is worth telling somebody. And in doing that if you can lead them in a manner that allows themselves to see certain things they previously never thought of as a material reality, they can adapt that and use it for themselves without you having to give them a metaphor and tell them what to do. So, it's not very heavy at all, it's complicated and it's not very easy but it's not very heavy. And remember - and as I said I'm not a doctor writing a script, and I'm not a pilot with 400 people dependent upon my life: If I make a mistake, I make a mistake – mea culpa.


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