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anne michaux volume 1, 2005, #005
anne michaux is a luxembourgish artist living in berlin. she specialises in photographic illustration and spends many hours building small scale models of 'worlds' she envisions, before photographing and destroying them a couple of hours later. she sometimes works on projects with her husband, the dutch artist dirk krechting, and currently dreams of living somewhere warm and sunny. 1. how would you explain 'art' - in 19 words or less? something that tickles your brain in a place no other medium can reach. 2. what is the first work of art you ever loved? honestly i cannot remember. what i can think of right now is the big calder sculpture in chicago, because it gave me, as a kid coming from the european countryside, an idea that art can be much more than only paintings. 3. how important is theory to your art? in as far as an absence of theory means the absence of reflection, then theory is important to my work. i am not interested in creating 'mindless' work just for the sake of it being pleasing to the eye, but i define theory in a very broad way. it is important to me to see how my work is related to what is going on in the contemporary art scene, but at the same time i do not let that influence my work too much. 4. describe your ideal art workspace. a space of my own! . . . with good light and big windows, but that i can make totally dark without too much of an effort. warm in winter, cool in summer. with a lot of storage space. and enough electricity points. and high speed internet, so that i can do my computer work in that space as well. close to where i live, but not too close. big enough that i do not bump into stuff whenever i take a step back. 5. describe your current art workspace. an improvised high 'table/storage-thing' in a corner of my husband's studio - this is where i build my works and photograph them. any work on the computer is done at home in a corner of the living room. 6. if you could be placed in suspended animation and safely reanimated at some time in the future with the sole purpose being to see how history treated you / your art, would you do it? no - because i am pretty sure that the world in the future will be totally different then the world we know now. and that ideas like 'history treating my art' will be obsolete. my art will probably be included in some kind of general overall consciousness, and looking for how history treated it will be an impossible quest. 7. who are some of your favourite artists (contemporary or canonical)? pipilotti rist, patricia piccinini, jake and dinos chapman, janet cardiff, paul mc carthy, carsten höller, kara walker, swoon, marcel duchamp, william turner, johannes vermeer, etc., etc. actually i cannot really answer this question - there are many more artists whose work i find fascinating, inspiring, beautiful, courageous . . . and i am not able to say why . . . those are the ones that i thought about spontaneously ... 8. tell us about a gallery (online or physical space) that you think rocks, and why you think it rocks. ok, this is not a gallery, but, still, the berliner kunstsalon rocks . . . this fair for young and alternative galleries is a parallel art fair to the big art forum berlin. last year was the first edition and it was refreshing to see what is done in the 'not so official' art scene in berlin. and what was amazing was the huge number of visitors who came to see the show. 9. would you choose the baked bean jaffle or the caramelised pumpkin and red onion tart with crispy radicchio and hazelnut salad with apple vinaigrette? what is a jaffle? anyway, the onion tart sounds delicious . . . 10. finish this sentence: "the work of art can / cannot be considered separately to the artist because ________." the work of art can be considered separately to the artist because everything you need to know about the artist is in his/her work. check out more of anne's work at: www.annemichaux.net |
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