Tristant Eaton 1/3 : Art as a Common Thread
Artistes/Artists
Special Episode – Apichatpong WEERASETHAKUL – How Everything Started
The Thai visual artist Apichatpong Weerasethakul is better known as a director. Considered the most brilliant of his generation in his country, he is internationally recognized after winning multiple awards including the Palme d’Or at the Cannes Film festival in 2010 for Uncle Boonmee. We discover here how, born to two doctors in a small city in northern Thailand, he was able to find his way. He explains why, wanting first to become a veterinarian, he studied architecture before becoming the artist and filmmaker we know today.
Apichatpong Weerasethakul shares also the doubts in his career, even after winning the Jury Prize in the Cannes Film Festival. He then explains how he came to video art, which ultimately took more volume than cinema. He ends by giving advices on how to find his way as an artist. And finally explain why he decided to shoot his upcoming movie, Memoria, outside of Thailand.
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1. Damian ELWES – Artist
Damian Elwes is a British painter born in 1960 who lives in L.A. From a family of famous portrait painters, his grandfather being Queen Elizabeth’s favourite, he studied in Harvard because he was good at maths but learned playwriting. In the early 1980s, Elwes moved to New York, where he met Keith Haring who encouraged him to start painting, and became an early exponent of graffiti. From 1992–2000, Damian Elwes lived in southern Colombia in a house that he built overlooking a rainforest. There he created four vast, interactive paintings which viewers can walk around inside. His work now focuses on re-creating the studios of famous artists (Picasso, Matisse, Yayoi Kusama, Alex Katz, Keith Haring, Basquiat) through his deep research in documentation and historical records.
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Recorded on May 5th 2020
Iván Navarro 3/3 – Passion as Art
Iván Navarro évoque dans cette dernière partie sa passion d’adolescent pour les concerts clandestins qui à l’époque étaient à la fois l’expression de la liberté artistique et une réponse au pouvoir en place. L’artiste pousse sa passion de collectionneur de bootleg et de vinyls jusqu’à lancer son propre label, Hueso Records, sur lequel il signe un groupe emblématique de cette période, les Pinochet Boys.
Il explique ensuite comment il a développé sa connaissance du Light Art au delà des images qu’il connaissait d’artistes comme Dan Flavin ou Keith Sonnier. Puis à quel point les voyages et sa découverte d’artistes tels que Meyer Vaisman ont pu élargir ses horizons et lui donner confiance en lui en tant qu’artiste.
Pour Iván Navarro, toute passion doit à un certain moment être abordée et approfondie sérieusement, c’est la clé pour en faire un art.
In this last part, Iván Navarro talks about his passion as a teenager for underground concerts which at the time were both an expression of artistic freedom and a response to the ruling power. The artist pushes his passion for bootleg and vinyl up to launch his own label, Hueso Records, on which he signs an emblematic group of this period, the Pinochet Boys.
He then explains how he developed his knowledge of Light Art beyond the images he knew of artists like Dan Flavin or Keith Sonnier. Then how much traveling and discovering artists like Meyer Vaisman would broaden his horizons and give him self-confidence as an artist.
For Iván Navarro, all passion must at some point be approached and deepened seriously, this is the key to making it an art.
Iván Navarro 2/3 – Light Rooted in Darkness
Iván Navarro a passé son enfance et son adolescence sous la dictature chilienne à son apogée. Au cours de ces années, les Chiliens ont découvert que des personnes avaient été assassinées et torturées et ont commencé à protester contre le pouvoir en place. En réponse, pour maintenir l’ordre et contrôler la population, le gouvernement a créé des pannes d’électricité; plongeant les gens dans l’obscurité et l’insécurité. Navarro raconte comment il a vécu ces situations, et nous comprenons comment la lumière et la privation de lumière ont eu une influence majeure sur son travail. L’artiste parle également de deux de ses mentors: Eduardo Vilches, un ancien élève de Josef Albers, qui lui a enseigné la théorie des couleurs et Eugenio Dittborn dont il a appris à être un artiste professionnel en étant son assistant de studio. Son aventure artistique se poursuivra à New York où il fera ses premières expositions majeures après 7 ans de travail en temps que restaurateur de meubles anciens.
Iván Navarro spent his childhood and his teenage years under the Chilean dictatorship at its peak. During those years, Chileans discovered that people were murdered and tortured and began to protest against the power in place. In response, to maintain order and control the population, the government created blackouts ; plunging people into darkness and insecurity without electricity. Navarro tells how he dealt with those issues, and we understand how light and privation of light was a major influence on his work. The artist also speaks about two of his mentors : Eduardo Vilches, a former student of Josef Albers, who taught him theory of color and Eugenio Dittborn from whom he learned how to be a professional artist by being his studio assistant. His artistic adventure will continue in New York where he will make his first major exhibitions after 7 years of work as an antiques restorer.
