Claire Williams Land scape CONTEMPORARY ART REVIEW open a new path to an artistic project. The audience reception is very important but even when sometimes my approach can seem a bit obscure to a large public, I think that it still leaves a space for imagination and personal interpretation. The mix of a familiar mediums and languages such as textiles with electronics and computers makes it also maybe more accessible and mysterious to the audience. Their is also just a fun part when wearing the antennas like playing a game with people you don't know. But as i mentioned before being an observer is also a role you can take and it will give again a different experience, their is no specific rules. The different reactions are of course all precious and reused in future projects as an important contribution. I also transmit my artistic experiments through workshops. The Antennas are evolving (and getting bigger!) to be able to receive data from satellites for example. Their will be an exhibition in Nantes, France this summer with the Antennas project too. Otherwise we are working with a sound artist on a generative installation on the relation between patterns and scores, we are currently looking for a residency to develop the project. I still regularly give workshops, i also hope to get more time to document more on my blog and share other inspiring projects.
Miles Rufelds M Lives and works in Montreal, Quebec, Canada
An interview by , curator and , curator Land scape CONTEMPORARY ART REVIEW LandEscape meets Hello to you as well, and thanks a lot for having me – I’m thrilled to be able to participate in such an illustrious publication as LandEscape. My artistic background is a bit of a scattershot, to be honest: I started my BFA with a background in painting and drawing, transitioned toward interactive, New Media art during my degree, then wound up working almost exclusively in video by the time I finished. Doing a BFA was an essential experience for me, but since moving away from the University, and its emphasis of firm mediatic divisions, I’ve become more and more comfortable combining various different aesthetic strategies with relative freedom, which I think is essential in the contemporary artistic landscape. In terms of my cultural Miles Rufelds
Miles Rufelds Land scape CONTEMPORARY ART REVIEW
substratum, the most important factor that I think shows up in my art is the relationship that I’ve always had to cinema and television. Watching television and movies, playing video games, exploring the internet, and ultimately just consuming video-media were veritable pillars of my epistemological development, and were unquestionably essential to how my aesthetic sensibilities were formed. It took me a while to identify, but I think Land scape Miles Rufelds CONTEMPORARY ART REVIEW Single channel HD video; 16:9 aspect ratio; 00:01:42 (loop)
that throughout all of my art making, past and present, there’s been a desire to understand and explore, or at least manifest, the bizarre and kind of perverse phenomenon that is having a thought process fundamentally defined by commercial media. That’s absolutely the case. The ideas that I’ve been grappling with in my recent work – the relationships between humans and products, products and the world, the epistemological influence of media images, or the political blurring of reality and fiction – are all circulated throughout the world via a whole constellation of aesthetic strategies, manifest across every medium available, at all times. While my research into the philosophies of advertising and consumerism is very much ongoing, it became clear to me early on that capitalist manipulation is advanced equally through objects, images, sounds, and ideas, and that any investigation I might pursue could only Miles Rufelds Land scape CONTEMPORARY ART REVIEW
be properly carried out through mixtures of all of those forms. I started working on Nonparticipant when I had just begun to acknowledge and explore the bizarre way that vegetable objects are able to appear as both object and subject to human beings – vegetative matter seems to fill this liminal space between commercial product and living thing, kind of like pet-store animals, but even more bizarre – and how art works can activate or make clear the strangeness of that relationship. The post-Enlightenment, Euro-American attitude towards the non-human world – its treatment of all non-human things as dead matter that exists solely to be manipulated by the human subject – is something that I’ve always taken issue with in my work, and was definitely an inspiration for Nonparticipant. There could have been many outlets for these ideas throughout European art history, but Romantic landscape painting has a particular theatricality and grandiosity to it that I find kind of humorous. I’ve also always found it interesting that the very notion underlying Romantic “sublime” painting, or conversations of the sublime in general, is one that fundamentally acknowledges a power in the natural, non- human world so strong that the autonomous power of Land scape Miles Rufelds CONTEMPORARY ART REVIEW Single channel HD video; 16:9 aspect ratio; 00:01:42 (loop)
the human subject is overwhelmed or rendered null. The Nonparticipant series was my way of wrapping this whole set of ideas into a kind of tragicomic meditation on the history of Western art, progress, and ethics. Miles Rufelds Land scape CONTEMPORARY ART REVIEW
Land scape Miles Rufelds CONTEMPORARY ART REVIEW Single channel HD video; 16:9 aspect ratio; 00:01:42 (loop)
That’s a very interesting question, but I’m not sure how satisfactory an answer I can give. As I was saying earlier, the only cultural “tradition” that I feel I have rightful claim to is being a child of the video-media generation, which is an extremely new phenomenon when seen in relation to general art history. I think that in some ways I adhere to the ethos of the early Video Art “canon”, which generally concerned the disruption of passive spectatorship, but the state of the video-spectacle even 50 years ago was immensely different than it is now, and it occurs to me that an artistic medium essentially born in the frenzy of 20th century industrialization must necessarily operate with a more fluid relation to tradition than older, more historically-routed practices. I think the idea of the non-lieu, or the non-place, is a beautiful association to make with these works! That certain spaces, objects, or subjects have fallen through the cracks of our inherited EuroAmerican aesthetic canon is absolutely at the heart of the series. The forced associations between triumphant, arthistorical landscapes and these spaces of Miles Rufelds Land scape CONTEMPORARY ART REVIEW
contemporary banality, or between dramatic human subjects and these pathetic vegetable objects, are a way of illuminating the fluidity and contingency of the terms that comprise aesthetic esteem. The videos’ restrained, itchy movements are kind of the final element of subversion – each individual feature of the historical painting is irreverently replaced, and reassembled in a form of image that is fundamentally moving and changing; the mutability and dynamism of aesthetic, artistic discourses, contrasted with the ostensibly eternal – what Barthes would call “Mythologized” – schema of Western art history. The idea that video media, particularly cinema and television, might be the past century’s most stable form of collective imagery is one that I find very interesting. As for metaphor, though, I think I tend to approach art, as both creator and observer, from a perspective more akin to Deleuze’s idea of the “assemblage” than to metaphor. I’ve long felt that the notion of the assemblage more closely resembles the artwork’s lifecycle than metaphor does, as it allows the materials, images, and subjects of an artwork to be seen as agents in their own right, influencing one another in an irreducible way, and, importantly, giving the audience credit as a Land scape Miles Rufelds CONTEMPORARY ART REVIEW Single channel HD video; 16:9 aspect ratio; 00:11:29
fundamental element of the work’s generative capacities. While all of my work might not adhere to the assemblage model, it’s definitely the artistic methodology I feel closest to. This is probably really obvious to anyone who’s seen it, but Cinema of Miles Rufelds Land scape CONTEMPORARY ART REVIEW
Expanding Things is a completely shameless reference to filmmaker David Lynch. Lynch’s idiomatic use of image and sound, as well as his tendency to make unapologetically opaque work, has a kind of antagonistic relationship with the whole of cinema that has always had a great influence on how I’ve conceived of art making. The combination of dark, languid images with a subtle, drone-like score is a tactic that Lynch repeatedly uses in his films to instill the general sense that something in the presented scenario is Land scape Miles Rufelds CONTEMPORARY ART REVIEW Single channel HD video; 16:9 aspect ratio; 00:11:29
very off – uncanny is a great word for it – which was very much the tonality I had in mind for Cinema of Expanding Things. Borrowing the strategies of a cinematic iconoclast to problematize the logic of cinema seemed like a perfect opportunity. Making video pieces that are to be shown in galleries or public spaces necessitates an entirely different approach to viewership than work intended for theatres or broadcasting. Cinema and television influence my work in a big way, so I do construct each production in a more-or-less linear fashion, providing the most complete experience to those that might stay to watch the piece from beginning to end; time-based works, though, have a very different relationship with audiences than any other type of art, because they fundamentally demand that the audience give up their time, which is a commodity of ever-increasing value in the late-capitalist world. I’m fully aware that most people will not sit and view the entirety of any given video piece, so I work with equal care to try to make each shot or moment function by itself as a compelling experience. It’s a balance that I’m still very much trying to navigate. Miles Rufelds Land scape CONTEMPORARY ART REVIEW
Audience reception is absolutely something I think about while I’m working. Aside from the presentational, experiential concerns that I just mentioned, a tremendous amount of thought goes into the imagery and material of each work. I’m not sure if it’s because I’m working with ideas like advertising or cinema, which are fundamentally tied to a relatively public aesthetic lexicon, or if it’s unrelated to the medium and I’m simply neurotic, but I spend a great deal of time laboring over the aesthetic and cultural signification inherent to of each material or image I make use of. Once again, thanks a lot for speaking with me. I’ve always found it difficult to answer questions like this, because my relationships to the ideas I work with change so radically and so often. I find that any new book, film, article, essay, or exhibit can flood me with an entirely new spread of questions, so every farfuture artistic plans that I make tends to fall by the wayside. There are a number of sculptural, video, and photographic works that I’m presently on the cusp of finishing. I’ve also definitely been scape Miles Rufelds CONTEMPORARY ART REVIEW Land Single channel HD video; 16:9 aspect ratio; 00:11:29
thinking more and more about digital forms of art making, such as digital graphics, 3d modeling, or simply internet-distributed content. I suppose I’ll just say that the research and creation is always ongoing, and that you can always follow the progress or contact me through my website, . Miles Rufelds Land scape CONTEMPORARY ART REVIEW
va Athanasiadou Lives and works in Thessaloniki, Greece E D
Hello! Before we begin I would like to thank the Land scape for hosting on its pages. The title of “artist’’ is just a title for me. I think my studies did not affect at all my choice to deal with art. Since I can remember myself I wanted to communicate with alternative ways. For me art is communication. Your works interact with viewers even when you are not there to support them. However, my studies in art was a way to enrich my knowledge and share my concerns. My main interest concerns the knowledge of my inner world (selfknowledge) and outer world (Cosmologyontology). I have chosen to deal with conceptual art because it triggers my mind, my expression and creativity. It also helps me to both understand better myself and the world around me. This is subjective. Art is a liberty and I find it difficult to fit in ‘’molds’’. If I was trying to give a more specific answer I would say that it is both. Eva Athanasiadou An interview by , curator and , curator Land scape CONTEMPORARY ART REVIEW LandEscape meets
Christopher Reid Land scape CONTEMPORARY ART REVIEW
Yes when I investigate something I make use of as many angles as possible. The Interdisciplinary opens you new horizons in the journey of expression and leads to reliable conclusions offering you a comprehensive knowledge. Thanks! Here is an opportunity to say that, if someone believes that we have something in common and wants to work on a future project with me, please don't be hesitate to communicate in [email protected] Land scape Eva Athanasiadou CONTEMPORARY ART REVIEW
Eva Athanasiadou Land scape CONTEMPORARY ART REVIEW
Land scape Eva Athanasiadou CONTEMPORARY ART REVIEW
I’m glad that an autonomous aesthetic can attributes the results of my research. The truth is that I have affected by my research in experimental psychology and many times I am in questioned if the messages which someone sends, perceived without being misrepresented their content. On the occasion of your question, I want to share with readers that as many projects started spontaneously without conceptual status, I did neither completed nor I completed after I tried to find the root causes. So according to my conclusion, the project is a result of transfer of an idea into a sensory perceived situation, which explains why I express with as much as tools dispose and I am not faithful in a material or a technique. Indeed. The beings and cubes consist of two parts as you have noticed, the cubemirror with strict geometry and the series of sculptures that were placed inside cubes, are semantically sculptures, abstract geometry. Using consciously the cube, a ultimate shape that builds the world (according to the alchemists), triggered a series of Visual stimuli, in fact, they do not correlate random with the cube, with the Eva Athanasiadou Land scape CONTEMPORARY ART REVIEW
notion of internment. Such a powerful and stable shape can bring out the lead into obscurity a series of polymorphous sculptures. I believe that it is necessary in my work to leave space to the viewer to fill mentally in the forms and create new levels and impressions by the project. With perfectly expressed this view. Paul Klee once said '' the art does not represent the visible, but it makes visible. ‘‘ I try to convey in my works the path of my thinking. Plato rejects the artists because they mimic the imitation (the objects according to Plato is faded imitations of ideas). What I want to do is to leave the world and feel objects to replicate the concepts in my projects. This gives them an oddity because ideas have no material substance, found in our minds. The result though is subjective in terms of imitating Land scape Eva Athanasiadou CONTEMPORARY ART REVIEW
Eva Athanasiadou Land scape CONTEMPORARY ART REVIEW
Land scape Eva Athanasiadou CONTEMPORARY ART REVIEW
the idea, opens a dialogue with the Viewer by focusing on personal perception. What fascinates me is that every spectator is confronted with the internal images and beliefs about the world. The power of thought might form its new conditions. Everything around us is thoughts that made acts of ... But what happens when reverse cause and effect relationship? The arrow of time? When art can contribute to the understanding of relativity? The answer is art, this controversial field which associated both with philosophy, physics, psychology and other scientific fields. It is very important for the man to understand that truth is independent of the observer. Many people claim to be sure of what you believe, at the same time scientific evidence the break. I once read that '' science is belief in ignorance of experts ''. All I can say is that we have to learn a lot more. I don't think that this cannot happen. Every creative process involves the creator of and Eva Athanasiadou Land scape CONTEMPORARY ART REVIEW
integrally personal experiences. Even when trying to disconnect, manifested its effort. I have some doubts about the topic of copying works. I do not think that it is a creative process but technical. (But even this personal experience is). The vision is the most powerful sense of man in General. In addition, we live in an age of image. The review is directly connected with the aesthetic concept, based mostly on visual experience. When I decided to deal with the subjective perception, like to work with people suffering from blindness. Exactly why the viewing experience would not have color and format in their minds. Also, their criticism is transparent and thoughtful. Unlike common superficial opinion, this derived from the shallow knowledge of vision. The art must ''be'' in public space, not as a decorative element, but must cease to serve interests and becoming useful in every conceivable viewer. scape Eva Athanasiadou CONTEMPORARY ART REVIEW Land An interview by , curator and , curator
Eva Athanasiadou Land scape CONTEMPORARY ART REVIEW
appearance of my environment”, says Ivonne Dippmann of her own work. However, she changed her environment constantly. Born and raised 1981 in KarlMarx-Stadt, former East Germany, a city that has changed its name twice within fifty years. No place that would guarantee consistency, unless for a constancy of change and loss. Since Dippmann has left her hometown, she made stations in the United States, in the Basque country in Spain and lived in Tel Aviv, Jerusalem and Berlin. The origin can not explain what happens in her work, and it would also be one-dimensional to look for a simple and simplistic basis in this bundle, which defines it – technique, expression, style and color, a will and political passion which seeks for space and its power being transformed into images. Nevertheless, the place where a drawing, graphic or other image of work is produced, plays a special role. Ivonne Dippmann generally starts from relatively small-scale drawings. A starting point, a beginning, because these small formats will later encounter a different situation, an exhibition space, a stage or a book. They will transform themselves in order to adapt to a new room. Nothing remains as it was and if Dippmann uses templates – which were originally used as illustrations for a book – and converts them into largescale murals combined with colorful yarns stretched within a space, it creates a unique effect. Because she phrases a no man’s land, which is both politically and geographically allocated. A paradoxical everywhere. An artist's statement ince the beginning of my work the artistic discourse is situated very S much within the aesthetics and Ivonne Dippmann LandEscape CONTEMPORARY ART REVIEW Ivonne Dippmann Lives and works in Berlin, Germany 22
Hello Ivonne and a warm welcome to LandEscape. I would start this interview with my usual introductory question: what in your opinion defines a work of Art? By the way, what could be in your opinion the features that mark an artwork as a piece of Contemporary Art? Do you think that there's a dichotomy between tradition and contemporariness? Honestly, Art? I don't know. A more colorful, overpriced version of the New York Times? Good Art for me is characterized by attitude and having something to say. It derives out of curiosity, playfulness, a very own opinion and the capacity to take responsibility for. Essential - a good sense of humor! Contemporary basically means today, so I guess Contemporary Art should talk about your own time and generation in an eloquent and unpretentious way. Tradition for me preserves values and rituals that influence social structures and norms, publicly and in private. Contemporariness is somehow a different basket. I associate this term more with trends in the fashion industry. Unlike tradition it comes along very unpredictable, eccentric and a bit overrated. But a well executed contemporariness may transform into a tradition one day? Would you like to tell us something about your background? Besides your studies in Visual Communication at the University of the Arts in Berlin, you have attended classes in Israel, Spain and in the USA, where, among the others, you attended the Skowhegan School of Painting and Sculpture. How have these experiences impacted on the way you currently produce your artworks? By the way, I sometimes I wonder if a certain kind of formal training could even stifle a young artist's creativity... what's your point? My studies were an unforgettable 10 year life experience. I received my Meisterschüler in Visual Communication, cross studied in Experimental Media Design and finished with a Master in Fine Arts in Israel. Coming from East Germany, I saw my "education plan" as a free ticket to conquer and explore the world, not just creatively. Being a student at the University of the Arts Berlin, I have spent 70% of my time abroad. By learning within different creative fields and manners abroad, I created considerably, with a clear agenda attached my personal "box of tools". These skills now define the spine of my daily work flow and led to a personal freedom and artistic independence. It was a very privileged time and experience. I don't believe in a formalistic discourse of "art education". The outcome is very hollow without significant substance! In my opinion it is of relevance to have a life first and with it, hand in hand, a good education which will help to sharpen your qualities, to find your own language and to have the opportunity to encounter great people on the way. I am drawing since I am 5, I guess the only though very comforting consistency in my life so far. Now let's focus on your art production: I would start from Broad street line and Aktivisten und Westarbeiter 1 & 2, that our readers have already started to admire in the introductory pages of this article. Would you tell us something about the genesis of these projects? What was your initial inspiration? A&W was based on a collaborative project with the German author J. Kuhlbordt, now living and working in Leipzig. I produced a series of black An interview by Josh Ryder, curator [email protected] Ivonne Dippmann LandEscape Ivonne Dippmann CONTEMPORARY ART REVIEW LandEscape meets
and white drawings for his upcoming publication "Stoetzers Lied - der Gesang vom Leben danach". Stoetzer is a character who takes on everything that rolls him over: politics, economics, art, history. Out of statics he is commenting the movements, the decay of the past and the arrival of the new millennium. It is a philosophical interwoven volume of poetry, that addresses with humor and sharpness the complex approach to history. I connected to his work right away since we shared common grounds by being raised and educated in Karl - Marx - Stadt. Aktivisten und Westarbeiter works with the former qualities of my hometown, which has been the center of textile production in East Germany. I basically grew up in the middle of cotton and wool. The center pieces of the two installations in A&W 1/ 2 were made out of yarns of different colors of VEB POLAR KarlMarx-Stadt, taken from my personal archive of my family. All the drawings and wall-paintings were based on the drawings for Kuhlbordts book. My works are oftentimes inspired by texts, by works of authors I collaborated with for their own publications (J. Kuhlbrodt, C. Wagner or R. Winkler). I also use dialogues from movies (I had a great Woody Allen time in Jerusalem), the everyday talk outside, dreams and outside observations which I write down separately. Broad street line is a textile project, executed within a 3 month apprenticeship at the FWM in Philadelphia. Out of my own designs, I created a two (Broad street line) and a four way repeat (Hallah). I printed 3 months straight and it was a pleasure experimenting and playing around with techniques, shapes and colors. As in A&W the initial design was drawn out in one of my sketchbooks (Book 05 PH2012, Broad Street Line). Some of the printed fabrics were used for designing the fashion line "Hallah", a project in collaboration with the Berlin designer Kunji Baerwald. It was very much a last minute project for a shooting planed to be included in an art book publication (Ivonne Dippmann - My hostilities Are Distributed In A Justified Way, 2013 Revolver Publishing). As you have remarked in the starting lines of your artist's statement, "the artistic discourse is situated very much within the aesthetics and appearance of my environment"... I can recognize such a socio political feature in your pieces, and even though I'm aware that this might sound a bit naïf, I'm sort of convinced that Art these days could play an effective role not only making aware public opinion, but I would go as far as to say that nowadays Art can steer people's behavior... what's your point about this? Do you think that it's an exaggeration? Art talks about time, to some extend it embodies history, which is more less an archive of "steering" peoples behaviors. I think the power of art is that a piece of work keeps on communicating without you. It shapes time historically and provides a peek into someone's personal agenda and perception. By showing a specific selection of art to the public, institutions create an archive stuffed with experiences, remarks, thoughts and insides, defining and redefining a "Zeitgeist" within an era or time period. By walking through a retrospective feels like flipping through someone's fotoalbum which is for generations to keep and remember. My personal decisions or choices can be seen as a summation of experiences based on the people I met on my way and whose works and personality touched me somehow. Another interesting pieces that have particularly impressed me and on which I would like to spend some words are from your Les Modes Personnels project: by the way, as our readers can view at your website, http://www.ivonnedippmann.eu/index.php?id =123, multidisciplinarity is a crucial aspect of your art practice: I would go as far as to state that you seem to be interested in creating a multi-sensory, kinetic and relational art experience... while crossing the borders of different artistic fields have you ever happened to realize that a synergy between different disciplines is the only Ivonne Dippmann LandEscape CONTEMPORARY ART REVIEW 22
way to achieve some results, to express some concepts? I think "disciplines" how you call it or a medium are simply tools to execute an idea. The more you have the more freedom you experience in expressing your thoughts and ideas. LMP just happened by going through old fabrics and towels made in former East Germany at my parents house last summer. I found those old, worn out crystal salt bags from my grand father in our basement and wanted to make something out of it. Since I planed a shooting for documenting "Broad street line" anyways, I thought why not including a recent line of textile work? I had an apartment to work in and a printing place at a friends design firm (Zwoelf Medien Berlin). Since I had no budget, I could not hire a model / make up person in Berlin. As I was looking desperately, a friend just commented on fb: "Why don t you do it yourself?" So based on the circumstances I did everything myself and I had a very patient and passionate photographer. I see LMP like a series of drawings, it flips through shapes, material and movement in real time. It is one of my favorite pieces so far, it really came out of nothing and says everything. Your pieces La vie c’est moi!, Wir sind viele (we are many) and especially the interesting Reformation clearly show that your art practice is strictly connected with the chance to create a deep involvement with your audience, both on a intellectual aspect and on an emotive side... I would like to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process... Do you think that a creative process could be disconnected from direct experience? Well I guess this phenomena of being disconnected from a direct experience is called "conceptual art"? I am not a fan. It feels like a dry dessert. I personally admire artists who work passionately hands on, going through a work period which requires time, involves physical movement and transpiration on the way. My drawing routine is the spine of my daily life experience and vice versa. It is a safe place I can always go back to. I started literally "shooting" 22 LandEscape CONTEMPORARY ART REVIEW Ivonne Dippmann
Ivonne Dippmann Land CONTEMPEORARY ART REVIEW scape 22
22 LandEscape Ivonne Dippmann CONTEMPORARY ART REVIEW
myself by documenting myself in relationship to my work or to a specific environment. It helped me to establish a connection with a new place. It caught the way I felt. For La vie c’est moi!, Wir sind viele (we are many) I was meeting a friend in Paris who works by chance in the Louvre, Paris. He gave me a tour in the Museum after everyone left, no lines, no crowds, no school classes. The place was empty and while walking with him through this impressive collection of art, I felt the urge to make a work there. Two days later we got the permission to photograph for 10 minutes. Of course I did not find the room I wanted, so I chose the center hallway of the old Masters. The piece goes together with a 3 m x 6 m written wall work, containing excerpts of dialogues of the war movie Lakonia in combination with expressions of a crossword puzzle. The works mentioned are not performance pieces, I see them purely as a documentation of a work. And I couldn't do without mentioning E/Scapes - the disappearance from landscape, an extremely interesting collaborative project that you have established with Andrea van Reimersdahl... I personally find absolutely fascinating the collaborations that artists can established together as you did, especially because this often reveals a symbiosis between apparently different approaches to art... and I can't help without mention Peter Tabor who once said that "collaboration is working together with another to create something as a synthesis of two practices, that alone one could not": what's your point about this? Can you explain how your work demonstrates communication between two artists? "We believe that interdisciplinary collaboration today is an ever growing force in the art-, fashion- and design world. We believe that our traditional distinction between these fields is rapidly breaking apart, making room for crossplatform projects that question the authority of each classification. We strongly believe that most exciting things happen when creative minds from different fields of practice meet and collaborate on a project." Those 3 lines are Ivonne Dippmann LandEscape CONTEMPORARY ART REVIEW 22
taken from a recent proposal for an interdisciplinary workshop "The Art of collaboration", drafted by a colleague of mine (Marek Polewski, Floor5 Berlin). There is not much to add. For me to collaborate means an enrichment of my quality of life as an artist. I do only collaborate with people I like and get along with well, based on a mutual understanding of work attitude and respect. Collaborations are a great opportunity to learn and to have an artistic dialogue on a daily basis. I don' t want to be surrounded with my own state of mind and work always, so I decided to collaborate at least once a year in whatever field, rhe more diverse the better. E/Scapes is an ongoing textile based project in collaboration with the Berlin artist and designer AVR who I met by coincidence through a friend. What finally brought us together is the empathy and the immediate use of textiles and the material related printing craft. We are still looking for funding in order to finally execute this project in the coming months. 9) During these years your artworks have been exhibited across your country and abroad, and you recently had the solo CADAVRE EXQUIS in collaboration with the French painter Asnaby at Blick Gallery in Tel Aviv... It goes without saying that feedbacks and especially awards are capable of supporting an artist: I was just wondering if an award -or better, the expectation of positive feedback- could even influence the process of an artist... By the way, how much important is for you the feedback of your audience? Do you ever think to whom will enjoy your Art when you conceive your pieces? I sometimes wonder if it could ever exist a genuine relationship between business and Art... Awards and grants provided me with the financial basis in order to live and to execute my art work as I do. Without this support system I would not stand where I am now and I am grateful for that. Regarding feedback,I think you are better off if you don't give a crab. It doesn't really matter what people think of you. I did not become an artist in order to get compliments or to be liked. My audience should enjoy the ride and remain critical and opinionated. To push myself further, I appreciate honest, constructive critique. Business is something different. Therefore it is a lucky win, if you are represented by a gallerist who is professional and trustworthy. A genuine relationship? Never!, therefore the art market is too chaotic and biased. Thanks a lot for your time and your thoughts Ivonne. My last question deals 22 LandEscape Ivonne Dippmann CONTEMPORARY ART REVIEW
with your future plans: what's next for you? Anything coming up for you professionally that you would like readers to be aware of? Well, on one hand I am looking for a studio in Berlin in order to have a home base for production and meetings. On the other hand I would like to spend some time in Paris for collaborating on a fashion project, creating exclusive designs for a brand or label. Ongoing projects are the fundraiser for the project E/Scapes - the disappearance from landscapes, which can be accessed through both of our websites. There is a show coming up at the Kulturforum Alte Post Neuss next year and of course, worthwhile mentioning my recently published art book "Ivonne Dippmann - My hostilities Are Distributed In A Justified Way", 2013 by Revolver Publishing Berlin. Ivonne Dippmann LandEscape CONTEMPORARY ART REVIEW 22 An interview by Josh Ryder, curator [email protected]