rigor, erudition and hard training was the basis of this education. I hope i still have the demand it taught me. The bad side is a certain respect for pre existing formats, with its twin brother, the desire of breaking it.
2. How would you describe your art-making process to a novice of your work?
I start from improvising, trying to get in contact with images, texts or music which i like, which are mine, which are bizarre to me. Then i elaborate from that, whether it becomes music, film, text or theater.
3. During your 10-day stint at NIROX earlier this year, what were you up to?
Painting, in order to make back drops for projections. I'm interested in fixed back drop and movies, and moving back drops for fixed images.
4. The idea of blending and crossing over artistic genres is becoming more and more prevalent, what is the greatest value of doing it for your work?
probably the sense of risk and the absence of professionalisation. I have no pretention of making any career in these domains. It's a god start to be relax and to develop something quite personal. Art is the last domain where uselessness of mind activity is required, out of the devorating profit modern conception of life. To do a lot of different things is a good way to prevent any
5. Lectures of Professor Glaçon is a far cry from the traditional one-dimensional experience of a lecture, what is the essence of this work?
It's based on the surrealist assumption that truth lies in the inconscious. From that point no elaboration should overtake the emotional, live potential of what dreams, free association and improvisation tell us. Since i don't know anything in many many domains, i thought Encyclopedia would be an excellent domain of activity where i could feel free. Therefore i'm writing a irresponsible scientific treatise on anything. the result, as strange as it ca seem, is very communicative and interesting. In any case, it's not an artwork, but definitively a knowledge project.
6. One of the most intriguing pieces of work on your tour schedule is Paleo’ Lear, how was it conceptualised and would Shakespeare appreciate it?
it's difficult to imagine a reaction from shkespeare, since we don't know anything of him. my impression is that he never existed. and that's also the opinion of Glaçon.
7. Your collaboration with South African artist William Kentridge was in 2008, what are your enduring memories and lessons from that time?
It was a great moment of discoveyr and share. William gave me a lot of space to improvise, try, and put strange ideas, texts of sounds. It was also the first time i went to South Africa, so it was a rich period !
8. You project of collaboration with Kentridge, Telegrams From the Nose, will be at the National Arts Festival this year, what can arts punters expect to see?
A mix between music (written music), performance and visuals by William. It is closely related to the spirit and themse of Gogol and Shostakovich in his opera The Nose. So it is inspired by the stalinist terror, the censorship, the absurdity as a reaction to fear.
9. You have come to collaborate artistically over a number of years in South Africa. What brings you back here this time and again?
I developed artistic and friendly connexions which give a very special value to South Africa for me. This time it will be a set of exhibition of my visuals, shows and concerts with a percussion group, called Drumming grup de percussao. We'll be here for 15 days of non stop concerts and shows all over the country.
6. One of the most intriguing pieces of work on your tour schedule is Paleo’ Lear, how was it conceptualised and would Shakespeare appreciate it?
it's difficult to imagine a reaction from shkespeare, since we don't know anything of him. my impression is that he never existed. and that's also the opinion of Glaçon.
7. Your collaboration with South African artist William Kentridge was in 2008, what are your enduring memories and lessons from that time?
It was a great moment of discoveyr and share. William gave me a lot of space to improvise, try, and put strange ideas, texts of sounds. It was also the first time i went to South Africa, so it was a rich period !
8. You project of collaboration with Kentridge, Telegrams From the Nose, will be at the National Arts Festival this year, what can arts punters expect to see?
A mix between music (written music), performance and visuals by William. It is closely related to the spirit and themse of Gogol and Shostakovich in his opera The Nose. So it is inspired by the stalinist terror, the censorship, the absurdity as a reaction to fear.
9. You have come to collaborate artistically over a number of years in South Africa. What brings you back here this time and again?
I developed artistic and friendly connexions which give a very special value to South Africa for me. This time it will be a set of exhibition of my visuals, shows and concerts with a percussion group, called Drumming grup de percussao. We'll be here for 15 days of non stop concerts and shows all over the country.
questions by Gayle Edmunds
