What made you choose the topic “Artists’ publications and their dissemination in the offline” (“Publicațiile de artist și diseminarea acestora în mediul offline”) for the CAMPart online mentorship program? In how far do you think the topic is relevant for the new generation of artists?
The topic I chose for CAMPart focused on artists’ publications. It is a format that I have only relatively recently started using and a medium of expression that can help outline certain projects quite well, be they personal or collaborative. Here I could give my project “ziar” (newspaper) as an example. It is a publication with no name or other information which I distribute by mail. It is the result of a collective process, involving other artists, and this aspect is important to me. The collaboration can extend outside the realm of visual art, and the results can be surprising.
Is there a connection between studio practice and teaching practice?
I think teaching is something I “dabble in.” 15 years ago I realized how important the link between art and teaching was for me, and, in connection to the school system, I had a few initiatives in this direction.
From volunteering, to failed attempts at elective classes in schools and kindergartens in Bucharest, around 8-9 years ago, to ideas for contemporary art courses and even self-publishing a book, ABC 80, in collaboration with writer Evelin Márton.
Were you inspired by your contact with the young artists? What would you say to artists who are just starting out and looking for a direction?
I am happy that the participants had the chance to take part in these informal classes, to have direct contact with the mentors and their projects, and to exchange ideas. The online format is good in terms of accessibility. I would advise them to take part in as many such events as they can, to get to meet part of the artistic community, to be open to collaborations, and to experiment.
How do you see the reinvention of art practice, of art making and exhibiting systems, in the context of the current changes, which will impact the art world? What do you think will change in the long run?
I will answer with a joke: maybe the “ziar” project could be an alternative: Mohammed going to the mountain, instead of the other way around, and it is in physical format, not online.
I don’t really understand the context of the question. The current context can be everything connected to the pandemic and its consequences, which can become increasingly dramatic. Then, worst case scenario, we might be forced to bring our immediate needs to the forefront.
On a more optimistic note, I think the online medium and collaboration in general will be our main tools.