When I Kiss You, I Can Taste Your Soul
I saw the view of public area - Yohei Takahashi
GHOST BRUSH - NOH Sangho
Stories from Africa : Group Show「Resonant Harmonies」
"me ISSEY MIYAKE" STRETCH PLEATS
Berlinde De Bruyckere
Pierre Huyghe
10 FAVORITE ARTISTS - in progress
CADAN YURAKUCHO 有楽町
KO＋GEI prologue
Theaster Gates: Afro-Mingei
Jose Dàvila - River Stones
Venezia Biennale - Giardini - FRANCE
Betye Saar: Drifting Toward Twilight
WHAT WILL YOU GIVE? Veronica Fernandez Tidawhitney Lek
Coco Young - Passage
Clare Woods - I Blame Nature
Elaine Stocki
Ursula magazine - artists Fabien Giraud and Raphael Siboni in conversation with Anne Stenne about possible futures and the influence of Pierre Huyghe
FG: I think a good work is a work that doesn't know its audience. Upon its creation, it doesn't yet know what its audience is, because otherwise it's just communication. Communication is about the transfer of information between two pre-constituted subjects. But the question mark is what I'm obsessed with — and I think Pierre is also. You don't know the identity of the audience or the viewer. And I think that's crucial, not to presuppose. Otherwise, you do bad work.
AS: I agree with you. The work should not be addressed intentionally to an audience as such. It should be indifferent. To push the idea further, it can also exist independent of the presence of the viewer, which is something essential in Pierre's work. He often says, "I'm not exhibiting some thing to someone. I'm exhibiting someone to something.”
FG: It's very difficult to presuppose what the human really is. The only definition of the human I can come up with is that it's something always in the process of transformation of de-identifying itself to become itself.
AS: The human is an escape route.