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Hans Ulrich Obrist Interviews Anton Vidokle and Julieta Aranda

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Hans Ulrich Obrist Interviews Anton Vidokle and Julieta Aranda 16 17 Ever. Ever. Ever. Hans Ulrich Obrist, Anton Vidokle, and Julieta Aranda The following is an email conversation, which took maybe we should try to email some press releases HUO: From Courbet who set up his own “artist this has no effect on their programming or the content place between Hans Ulrich Obrist, Anton Vidokle, to our friends. The result was really a surprise – hun- run” space to show his work, to the proliferations they generate would be naïve. There is virtually no and Julieta Aranda in late July 2006. dreds of people came to the hotel room throughout of artist run spaces in the 1990s (Transmission, period of experimentation before this type of “normal- the night; even at 3 in the morning it was completely City Racing, etc.) there is a long history of artists ized” behavior sets in. And this is really deeply trou- packed. Around 4am, Ernesto Neto showed up with a setting up their own exhibitions. Do you see e-flux bling. Actually, I am now organizing a pretty extensive case of wine, the party continued. as an extension/continuation of this idea of the workshop, together with a curator from Istanbul, Pelin artist-run space? Tan, to try to discuss and analyze why this is happen- Hans Ulrich Obrist: To begin at the beginning, I was very worried all night because I expected the ing, why there are so few new models emerging. rumors say that e-flux started in the Holiday Inn hotel people to start asking questions, because so AV: You know, the way things developed, e-flux is in Chinatown, a gathering in a hotel room? many people were coming up to the room; so we told probably more complex and cannot be classified With me it was a rather different situation: we started them that we are doing auditions for a film and the simply as an artist-run space. without fully knowing what we were doing. In the Anton Vidokle: Yes, actually the rumors are correct: director was a very eccentric person who was only in beginning there was no desire to form any sort of in November 1998, together with Regine Basha New York for one night. This worked, but in the morn- Part of the problem is that while at a certain point an organization, or to raise funds or any such thing, and Christoph Gerozissis, we organized a one night ing some people from the hotel desk came anyway artist-run spaces were very inventive, independent, but merely to do certain things that were personally exhibition called The Best Surprise Is No Surprise, with because they wanted to audition ... and aimed to be some type of an alternative to existing interested in and to try to ignore the kind of stalemate Michel Auder, Carsten Nicolai, Tomoko Takahashi, and cultural centers, museums, and other officially “man- we felt in New York at the time, to imagine that the Peter Scott. It took place at the Holiday Inn on Center A few days later I thought that this is something that dated” institutions or commercial galleries, it seems city itself was a space for projects whether they were Street in Chinatown, from 10 in the evening till 10 in could be structured into a service that galleries and that during the past decade much of this inventive- in the Holiday Inn, a public park, a forest outside the the morning the next day. We were all really broke at museums could use, and a month or two later, to- ness simply stopped. Artists’ initiatives these days city, and lasted for a weekend, for a day, or even an the time and had only enough money to rent a room gether with another group of artists friends, Adriana from the start mimic existing institutional and com- hour, without funds or budget, without publicity or for a night, and absolutely nothing to pay for invita- Arenas, Josh Welber, and Terence Gower, we formed mercial structures: incorporate, establish a board of any structure whatsoever. One of our press releases tions or even mail press releases. At the time, I had a company we called e-flux. directors, sell memberships, produce benefit auctions from the time started by saying: “We have a day: May just opened my first email account and thought that and market editions, sell artworks, etc. To think that 17 1998 ... ” and this was really all we needed. e-flux 18 19 came out of all this as a kind of strange bonus: there space instead. After we got our current storefront in AV: Liberated space/time? Hans Ulrich, this is really a really a private or state-operated factory. was no business plan, no strategy, just the pure plea- Chinatown, we began talking about the possibility of question for the early 20th century; it would be inter- sure of improvization and mass communication, like incorporating a level of physicality into our projects. I esting to know what Malevitch or Chlebnikov would Molly Nesbit told me once that Duchamp had a very running a small radio station or something. Surpris- remember around that time having a dinner conversation say to this. That was exactly their project: art liberating strange approach to circulating his work: basically he ingly it turned profitable, and this enables it to stay fully with Lawrence Weiner, where we started talking about humanity from space/time dictatorship – i.e. material- either did not sell anything or intentionally sold it at independent of normal power structures that are just immateriality, and he raised a very important question for ism. Victory over sun. prices that were merely symbolic as he did not want killing everything these days: the market, government me, which was the degree of dependence of our projects to depend on sales of his work; he made his liveli- funding organizations, collectors and sponsors. But on electricity and the internet. After this conversation, I really Liberated exactly from what – alienation? I think most hood by sales of the works of others. I read a book of the independence was there from the start; it was re- became interested in bringing a more tangible dimension artists function in very alienated conditions: if you are his letters recently, and it seems he was pragmatically ally independence of intent behind all these activities. to our activities. I started discussing this with Anton, and I “successful,” the product of your labor immediately turning down exhibitions for decades, while quite a think that we both felt a little bit the same, so the moment becomes someone else’s property, enriching a number of galleries in Paris wanted to show and deal I would say that e-flux is not an artist-run space, it’s was really ripe for this, and then after that, things happened number of middlemen in the process, and you are his work. It’s easy to forget just what an obscure figure probably closer to a long-term artists’ project. really fast… That was the summer of 2004, and within 2 actually separated from it – so basically for most part he was from the 1920s to early 1960s, that he was months of the conversation we had started the e-flux video artists feed the market (if they are so lucky) and in completely absent from most art-history books written (Maybe here we can have Julieta’s input as she had a rental project. return get a semblance of economic stability and during that time. Most people then were only peripher- big influence on how things developed … ) attention, or a hope of attaining these things one ally aware of him as an artist who showed some sort HUO: Artist-run space, day. Or, if one goes via a public route, you basically of a scandalous painting in New York once ... It’s really Julieta Aranda: A few years ago, Anton and I used to share artist-run time become instrumentalized for all sorts of unrelated remarkable that he chose to disengage from certain a studio on the fifth floor of a building with no elevator. We to liberate space? agendas from urban renewal to the building of aspects of the art system, while, at the same time, never really used the space, partly because the climb up To liberate time? “official” national cultural links or the enlargement of staying completely engaged with its other sides: was really terrible, and partly because the space itself didn’t Then civic space, etc. This all sounds very negative, but it curating shows, advising, designing exhibitions, etc. seem suited for our work. So I started talking with Anton can you talk about the economy of e-flux is how the art system operates right now. I don’t know What a peculiar choice! about giving up our studio and renting a smaller, street-level and how it changed in time? where “artist’s liberty” comes in – the art world is The Best Surprise Is No Surprise. An installation/exhibition in the form of e-flux office. Initiated by A. Vidokle and J. Aranda in collaboration with: Adriana Arenas, Assume Vivid Astro Focus, Regine Basha, Minerva Cuevas, Felix Gonzalez-Torres, Terence Gower, Jens Hoffmann, Rob Pruitt, Miljohn Ruperto and Tomoko Takahashi. Dimensions - 6 x 5 meters. Ceiling height 4 meters. Entrance: standard commercial glass/aluminum facade with a door. CONTENTS: 20 21 1. on the glass facade/door (visible both from outside / inside the space) a. E-flux vinyl logo b. e-flux video rental logo c. Holiday Inn Sign (light box) d. neon sign: American Fine Arts A) B) C) I think for e-flux, the idea of liberating space and time beginning it was about a hundred email addresses HUO: Can you tell me aboutAmerican organization and just terribly condescending both toFine these hypothetical Arts consists of not being at all concerned with exhibitions, of friends, then it just snowballed as people started self-organization inD) relation to e-flux? audiences and to the artists’ work.
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