Interview
Ricardo Nicolau
Ricardo Nicolau
– (PART OF RECORDING MISSING)
– [ABRUPTLY, SHE TURNS TO AN OBJECT]
– [ENTER LAURA, TALKING TO HERSELF]
– [LAUGHING] I KNOW THAT!
– [LAUGHS]
– [LAUGHS] YES, SOME RULES ARE BROKEN THERE, TOO, RIGHT?
– [LAUGHS] YOU ASKED HIM THAT?
– [SHE BECOMES MORE ANIMATED]
– [SHE GESTURES ALONG A WALL]
– [SHE INHALES DEEPLY]
– [SHE PAUSES FOR A MOMENT, LOOKING]
– [SILENT FOR A MOMENT]
– ‘WHAT IF I CHOOSE THE WRONG ONE?’?
– “A ENTREVISTA PERPÉTUA”?
– “ALL OF US INVENT OURSELVES, SOME OF US JUST HAVE MORE IMAGINATION THAN OTHERS” CLAIMED CHER. DO YOU AGREE?
– “ANA MARIA” – IT’S NOT REALLY ABOUT ANA MARIA, IS IT?
– “ANA MARIA”?
– “ARE ANIMALS PEOPLE?”
– “ARE YOU EXPERIENCED?”?
– “ASHES TO ASHES”.
– “COMETA”?
– “DRAWING THE LINE, AND CROSSING IT”?
– “ENCORE!”?
– “GROWTH AND CULTURE”?
– “GUILT IS AN IMPORTANT FORM OF KNOWLEDGE”?
– “I WANT MORE”?
– “I WOULD LIKE TO BE REMEMBERED…”
– “I’D DESCRIBE MYSELF AS…”
– “IS IT POSSIBLE TO DO EVERYTHING WRONG?”
– “IS THE GLASS HALF EMPTY OR FULL…”
– “ISOLATED ROOMS”?
– “L’ATTENTION ET SES MALADIES”?
– “LOVE IS LOST”.
– “MAKE IT EASY ON YOURSELF”?
– “MEIO CONCRETO”?
– “MULTIPLE SOLITUDE” – THIS IS HOW DELEUZE WAS TALKING ABOUT GODARD. CAN YOU SHARE SOME LONELINESS WITH ME?
– “MUSIC CHANGED ME…”
– “MY BIGGEST REGRET IS…”
– “MY BIGGEST VICE…”
– “MY FORMAL QUALIFICATIONS ARE…”
– “MY MOST TRASURED POSSESSION IS… “
– “OPPOSITE OF A DANDY”?
– “PONTINHA, ESTAÇÃO RATEIRA”?
– “PRINT THE LEGEND”?
– “PROTECT ME FROM WHAT I WANT”?
– “QUE SAIS-JE?”
– “RAYUELA”?
– “REPETITION”?
– “RUA ANA JOTTA”?
– “SHOULD I SWALLOW LESS?”?
– “SO, YOU WOULD SELL ME TIME?”?
– “TELL IT TO MY HEART”?
– “THE BEST BOOK I’VE EVER READ…”
– “THE CYNIC”?
– “THE LAST TIME I CRIED…”
– “THE LAST TIME I WAS EMBARRASED…”
– “THE RIGHT WAY TO DO WRONG”?
– “TO WHOM WHO KEEPS A RECORD”?
– “WHAT DO THEY KNOW ABOUT ME?”?
– “WHAT HAPPENS WHEN WE DIE…”
– “WHEN I’M NOT MAKING ART…”
– “WHERE TO BEGIN?”?
– “WHY DOESN’T SHE CALL?”?
– “WHY SHOULD I SAY ANYTHING AT ALL?”?
– “WILD THING”?
– “WITH THE FEET IN THE HEAD AND THE HEAD IN THE FEET”?
– “WOULD ANYBODY LOOK FOR ME IF I DISAPPEARED?”?
– … BUT THAT YOU MANIPULATED A LOT!
– … COURAGE ANYMORE?
– … THE MIND EITHER AS A PROPERTY TO WHICH ONE NEVER HOLDS CLEAR TITLE (OR WHOSE TITLE ONE HAS LOST) OR AS PHYSICAL SUBSTANCE THAT IS INTRANSIGENT, FUGITIVE, UNSTABLE, OBSCENELY MUTABLE.
– … WHEN SOMEBODY GETS THE JOB BECAUSE THEY KNOW THE BOSS?
– A BLANK?
– A BODY ONLY EXISTS TO BE OTHER BODIES.
– A BROKEN, SELF-MUTILATED CORPUS, A VAST COLLECTION OF FRAGMENTS.
– A CHARMING IDEA…
– A COMPENSATORY GESTURE?
– A CONFLICT?
– A DIAGRAM MAKES RELATIONS.
– A DIALECTIC OF DESIRE…
– A DREAM OR A TRAUMA?
– A DREAM?
– A FALSE…
– A GLOBAL TASTE OF MASS REPRODUCTION, YET CHARACTERIZED BY EXCEPTIONAL FORMAL QUALITIES.
– A GREAT PLACE TO END.
– A LITTLE CHAMPAGNE?
– A LITTLE MESSAGE TO YOURSELF?
– A LOT HAS BEEN SAID ABOUT YOUR HUMOR. WHAT ROLE DOES IT PLAY IN YOUR WORK?
– A LOT OF PEOPLE DID.
– A PERSONAL THERAPY?
– A SCRIPT TO FOLLOW?
– A SORT OF NEW MOVEMENT WAS BEING FORMED?
– A VICTIM OF LOVE?
– A WHAT?
– A WHOLE SERIES?
– ABOUT FAREWELL?
– ABOVE IT?
– ACCORDING TO TYPOLOGIES?
– ADOLFO BIOY CASARES?
– ADOLFO BIOY CASARES’ MOREL?
– ADVANTAGES OF THE UNINTENTIONAL?
– AGE NIGHTMARE?
– AGENT PROVOCATEUR?
– ALEXANDRE ESTRELA?
– ALL CRITICAL COMMENTARY IS PIGSHIT?
– ALL EVIDENCE OF HER PRESENCE IS NOW GONE?
– ALL THINGS MUST PASS…
– AN ALCOHOLIC FATHER?
– AN ART WORK IS A THING, OR IS IT NOT?
– AN AUTHENTIC EXPERIENCE?
– AN ETERNAL LIFE?
– ANA ALLIEN?
– ANA JOTTA, DO YOU BELIEVE IN GOD?
– ANA JOTTA, THE GREAT DESTROYER…
– ANA JOTTA, WHO ARE YOU?
– ANA, DO YOU BELIEVE IN GOD?
– ANA, GUESS THE YEAR.
– ANA, WHAT ARE YOU WORKING ON NOW?
– ANA, WHAT DO YOU BELIEVE IN?
– ANA, WHAT DO YOU MEAN?
– ANA, WHEN I SAY “POP”, WHAT’S THE FIRST THING THAT COMES TO MIND?
– ANA, WHO ARE YOU?
– ANA, WHO DO YOU THINK YOU ARE?
– ANA, WHY DO YOU CHOOSE TO LIVE IN LISBON? WHY NOT LIVE SOMEPLACE MORE EXOTIC OR EXCITING?
– ANA, YOU’VE ALWAYS RESISTED TALKING ABOUT DRUGS IN INTERVIEWS. WHY?
– ANA: SILENCE.
– AND A MORE PERSONAL WISH?
– AND ALSO TO KEEP ON PRODUCING.
– AND ARCHITECTURE?
– AND ARE THERE OTHER MAJOR COLLECTIONS OF IMAGES BY ARTISTS THAT HAVE PROFOUNDLY STIMULATED YOUR PASSION?
– AND AREN’T THEY JUST MARVELOUS?
– AND AT AIRPORTS?
– AND BETWEEN FEMININITY AND MASCULINITY?
– AND BOXES THAT DOESN’T OPEN?
– AND CAN POLEMICAL REFERENTIALITY STILL HAPPEN, TOO?
– AND CANNIBALISM?
– AND DEMONSTRATING THAT TO OTHERS.
– AND DID YOU FEEL HAPPY?
– AND DID YOU KNOW YOU WERE DOING IT?
– AND DO YOU CONSIDER ORIGINALITY A SIN AS WELL?
– AND DO YOU DERIVE SOME KIND OF PLEASURE FROM THAT?
– AND DO YOU FEEL IT’S DIFFERENT NOW?
– AND DO YOU HAVE IMAGINARY CONVERSATIONS WITH OTHER ARTISTS – PEOPLE WHOM YOU KNOW OR DON’T KNOW? DO YOU EVER ASK YOURSELF, ‘WHAT WOULD SO AND SO THINK OF THAT?’
– AND DO YOU HAVE UNREALIZED PROJECTS, PROJECTS THAT WEREN’T POSSIBLE UNDER THE GIVEN CIRCUMSTANCES?
– AND DO YOU KNOW EXACTLY WHAT CRUELTY IS?
– AND DO YOU STILL APPROACH YOUR WORK LIKE THAT NOW?
– AND DURING THESE TRIPS DID YOU MEET ANY ARTISTS, INTELLECTUALS?
– AND EACH TIME JUST ONE OF MANY POSSIBILITIES.
– AND FINALLY, WHAT WOULD YOU LIKE YET TO ACCOMPLISH?
– AND FOR THE SENSE OF TASTE?
– AND FOR WHAT?
– AND HIS PICTURES?
– AND HOW DID THIS EXPERIENCE BEGIN?
– AND HOW DID YOU FIRST LEARN OF IT?
– AND HOW DID YOUR PARENTS KNOW THAT YOU’D BE ABLE TO DO IT?
– AND HOW DO WE USE ALL THIS INFORMATION AVAILABLE TO US?
– AND HOW DO YOU DESCRIBE YOUR WORK?
– AND HOW DO YOU SEE YOURSELF IN THE FUTURE?
– AND HOW HAVE YOU INSTALLED THE WORK?
– AND HOW LONG HAS THAT BEEN?
– AND HOW WAS THIS WILL TO COMBAT EXPRESSED? WERE YOU IN COMPLETE AGREEMENT OVER IT?
– AND HOW?
– AND I THINK SUSAN SONTAG IS BRILIANT!
– AND IF IT IS FUN, WHY IS IT TAKEN SO DAMN SERIOUSLY?
– AND IF IT’S SUCCESSFUL YOU’LL WANT TO REPEAT IT.
– AND IF THEY FIND THAT AN UNUSUAL REQUEST?
– AND IS IT WORKING?
– AND IT IS ALSO ABOUT TAKING RISKS?
– AND IT IS SOMEHOW FROM THE PERSPECTIVE OF PERFORMANCE, OF RITUAL.
– AND LUXURY?
– AND MUST THIS ACT ALWAYS OCCUR INDIVIDUALLY FOR THE VIEWER WHILE MOVING THROUGH THE INSTALLATION OR EXHIBITION?
– AND NOW THE STANDARD QUESTION: WHAT ARE YOU WORKING ON AT THE MOMENT?
– AND NOW WHAT DO YOU THINK?
– AND NOW?
– AND SCATOLOGICAL LANGUAGE?
– AND SHE DIDN’T BECOME PREGNANT?
– AND SO, INDUCED.
– AND STILL MATTER?
– AND THAT IS WHAT PHOTOGRAPHY IS ABOUT – HOLDING A MOMENT.
– AND THAT WAS?
– AND THAT’S WHAT LED TO THAT PIECE?
– AND THE ANSWER IS…
– AND THE CONTEXT…
– AND THE NEXT DAY, AND THE NEXT DAY, AND THE NEXT…
– AND THE OBLIGATION TO PROMOTE ONESELF? SURELY THAT’S ANOTHER THING THAT CAN’T BE AVOIDED? YOU CREATE AN ENVIRONMENT FOR YOURSELF, CULTIVATE A PERSONA – A PROCESS THAT HAS AS MUCH TO DO WITH INTUITION AS WITH INTENTION.
– AND THE OLD CAN BE ROTTEN.
– AND THE PAPER ON THE WALLS?
– AND THE SCIENTISTS?
– AND THE TAPESTRY?
– AND THE TITLES?
– AND THEIR MOVEMENTS ARE MUCH MORE LIMITED?
– AND THEMATICALLY?
– AND THEN THERE’S NO NEED TO DO A WORK LIKE THIS AGAIN?
– AND THEN THERE’S YOUR USE OF LANGUAGE. IN THE SAME WAY THAT YOU COLLECT IMAGES, YOUR CLIPPINGS, DO YOU ALSO KEEP EVERYTHING THAT YOU READ, THE TEXTS THAT YOU FIND?
– AND THEN THIS KNOWLEDGE AFFECTS YOUR WAYS OF LIVING?
– AND THEN WHAT DID YOU DO?
– AND THEN YOU CAME TO PORTUGAL.
– AND THEY WERE CLEARLY WRONG!
– AND THEY WILL BE REALIZED IN THE EXHIBITION?
– AND THIS MIXTURE OF STYLES, THE HASTY WORK, FAST TEMPO AND FRAGMENTATION ARE PART OF AN ATTEMPT TO CREATE A SORT OF AUTHENTICITY?
– AND THIS WAS A RETURN TO REALITY, ALMOST.
– AND THIS WENT ON FOR FIVE YEARS?
– AND TO WHAT CAUSE?
– AND TODAY, WHAT DO YOU THINK OF YOUR OWN IDEAS OF THAT TIME?
– AND TODAY?
– AND WAS IT IMPORTANT FOR YOU THAT THEY WERE EVERYDAY OBJECTS? THEY’RE JUST THINGS THAT ARE LYING AROUND YOUR PLACE. ONE CAN IMAGINE OBJECTS THAT WOULD HAVE MORE APPEAL THAN A PLASTIC BUCKET.
– AND WAS IT?
– AND WAS THAT A PARTICULAR CHALLENGE IN TERMS OF HAVING TO IMAGINE HOW THE FINISHED SPACE WOULD LOOK?
– AND WHAT ABOUT MARCEL PROUST’S CLASSIC À LA RECHERCHE DU TEMPS PERDU? WHAT IS YOUR MADELEINE?
– AND WHAT ABOUT POP MUSIC?
– AND WHAT ABOUT THE YOUNGER GENERATION?
– AND WHAT ABOUT TRIPS YOU’D LIKE TO MAKE BUT HAVEN’T YET?
– AND WHAT ABOUT YOU: IS YOUR WORK ABOUT GENEROSITY OR EXPLOITATION?
– AND WHAT ABOUT YOUR REFERENCES IN CONTEMPORARY ART?
– AND WHAT ARE YOU PAINTING THEN?
– AND WHAT DID YOU ADVISE HER?
– AND WHAT DO THEY THINK OF THAT?
– AND WHAT DO YOU MEAN BY THAT?
– AND WHAT DO YOU THINK I DID?
– AND WHAT DO YOU THINK THAT BELIEVE IS?
– AND WHAT DOES HE SAY?
– AND WHAT EXPLAINS THIS FILTHY ABASEMENT?
– AND WHAT FOLLOWS AFTER?
– AND WHAT IS ELEGANCE?
– AND WHAT IS THE DIFFICULTY NOW?
– AND WHAT IS YOUR FAVORITE MUSEUM AND WHY? WHAT DO YOU THINK OF THE EVOLUTION UNDERTAKEN BY MUSEUMS IN THE LAST FEW DECADES? IN YOUR VIEW, WHAT ROLE DO MUSEUMS PLAY TODAY? AND IDEALLY WHAT DO YOU THINK THEIR ROLE SHOULD BE?
– AND WHAT IS YOUR LEAST FAVORITE WORD?
– AND WHAT OF FASHION?
– AND WHAT OF MONEY, OWNERSHIP, PROPERTY?
– AND WHAT REMAINS?
– AND WHAT WAS THE LAST BOOK YOU READ?
– AND WHAT WAS YOUR OWN WORK LIKE AT THE TIME?
– AND WHAT WERE THE SUBJECTS OF YOUR PAINTINGS THEN?
– AND WHAT WERE YOUR ANSWERS?
– AND WHAT WOULD PEOPLE DO?
– AND WHAT’S AFTER THE STORIES?
– AND WHEN DID YOU GIVE IT THE NAME?
– AND WHEN DID YOU LEAVE FOR NEW YORK?
– AND WHEN YOU FINISH A WORK THAT YOU’RE NOT HAPPY WITH? HOW DOES THAT FEEL? FLAT?
– AND WHERE DID IT END?
– AND WHERE DOES THIS LEAVE US NOW, WITH REGARD TO YOUNGER PAINTERS?
– AND WHERE HAVE YOU HAD YOUR MOST CHALLENGING ENCOUNTERS WITH OTHERS?
– AND WHERE IS THIS PERSON NOW?
– AND WHERE WAS THIS REPUBLIC?
– AND WHERE WAS THIS?
– AND WHICH IS YOUR FAVOURITE AIRPORT?
– AND WHO SET IT UP?
– AND WHY NOT?
– AND WOULD YOU SAY THAT HUMOUR WAS A VEHICLE WITH WHICH EACH TRIED TO MAINTAIN THIS POSITION?
– AND YET MIGHT THERE BE SOME SHADE OF A POSSIBILITY FOR A COMBINATION OF THOSE ELEMENTS NOW?
– AND YOU DECIDED TO COME OUT HERE – WHY, AND WHAT KIND OF DECISIONS WERE INVOLVED?
– AND YOU DID IT WITHOUT PERMISSION?
– AND YOU ENDED UP A PAINTER.
– AND YOU HAD A STUDIO AT THAT TIME?
– AND YOU HAVE ALL THIS ENERGY…
– AND YOU SAID THAT HE WAS A HUGE INFLUENCE. CAN YOU TALK A LITTLE BIT ABOUT THIS?
– AND YOU THEREFORE FEEL THAT THE PROCESS HAS FINISHED, THAT IT’S COME TO AN END.
– AND YOU WANT TO RECORD THAT?
– AND YOU WERE RIGHT?
– AND YOU, DID YOU READ BOOKS?
– AND YOUR BIGGEST EXHIBITION?
– AND YOUR KIND OF MADNESS?
– AND YOUR MOM’S NAME AND MAIDEN NAME?
– AND YOUR RELATIONSHIP TO OTHER CONTEMPORARY ARTISTS?
– AND YOUR SUNDAY MORNING RECORD?
– AND?
– AND…
– ÂNGELO DE SOUSA?
– ANGST?
– ANOTHER ANCHOR?
– ANOTHER ASPECT OF YOUR WORK IS DANGER.
– ANOTHER KIND OF CIRCLE?
– ANY DIFFICULT MEMORIES AROUND PAINTING?
– ANY KIND OF ART, BUT OF COURSE CONTEMPORARY ART AS WELL.
– ANY OTHER ARTISTS?
– ANY OTHERS?
– ANY PLANS FOR ACTING?
– ANY SPECIAL PLACE FOR THE SENSE OF SIGHT?
– ANY THOUGHTS TOWARD THE FUTURE?
– ANY TIPS?
– ANYWAY, WHAT’S THE POINT?
– ARCHITECTURE IS AUTHORITARIAN.
– ARE ARTISTS USELESS?
– ARE BOTH MEDIA TO BE VIEWED AS EQUIVALENTS?
– ARE THE “TRUISMS” ORIGINAL?
– ARE THE EFFECTS OF DRUGS WORSE THAN THOSE OF ALCOHOL?
– ARE THE MATERIALS YOU USE A LIMITATION?
– ARE THERE A LOT OF THEM IN YOUR LIFE?
– ARE THERE ANY ARTISTIC AFFINITIES?
– ARE THERE ANY ARTISTS WHO YOU’D LIKE TO COLLABORATE WITH?
– ARE THERE ANY ELEMENTS OF DESTRUCTION IN YOUR WORK?
– ARE THERE ANY SEXUAL UNDERTONES?
– ARE THERE ANY SIDE EFFECTS?
– ARE THERE OTHER ARTISTS YOU ADMIRE?
– ARE THERE PEOPLE YOU THINK GOT LEFT OUT?
– ARE THEY FUTURE PROJECTS?
– ARE THEY HAPPY ANYWHERE?
– ARE THEY MOSTLY ARTISTS AS WELL?
– ARE THEY OTHER PEOPLE?
– ARE THEY SCULPTURES?
– ARE THEY SELF-PORTRAITS?
– ARE THEY VERY PRECISE?
– ARE THOSE THINGS THAT TROUBLE YOU AND THAT YOU NEED TO RESOLVE?
– ARE WE REALLY FREE?
– ARE WE TALKING ABOUT THE 50S HERE?
– ARE YOU A DRUG ADDICT?
– ARE YOU A FRIEND OF HIS?
– ARE YOU A GAMER? IF SO, WHEN DID YOU START PLAYING? WHICH GAMES DO YOU LIKE?
– ARE YOU A GOOD LEADER?
– ARE YOU A MUSIC LOVER?
– ARE YOU A NICE PERSON?
– ARE YOU A PROFESSIONAL ARTIST?
– ARE YOU AFRAID OF THE DARK?
– ARE YOU ALL RIGHT?
– ARE YOU ALONE IN THE WORLD?
– ARE YOU AN ACTRESS?
– ARE YOU AN ATTENTION-SEEKER?
– ARE YOU AN INDOORS PERSON OR AN OUTDOORS PERSON?
– ARE YOU AWARE OF THESE QUESTIONS WHEN YOU’RE WORKING?
– ARE YOU BORED YET?
– ARE YOU BORED?
– ARE YOU EASILY LED?
– ARE YOU EGOTISTICAL?
– ARE YOU ENCOURAGING TO OTHERS?
– ARE YOU FAITHFUL?
– ARE YOU FAMOUS?
– ARE YOU GETTING DEPRESSED?
– ARE YOU GOING TO PUSH THIS PRACTICE OF SOUND MAKING FURTHER?
– ARE YOU IN FAVOUR OF PLASTIC SURGERY?
– ARE YOU IN LOVE?
– ARE YOU INSPIRED BY WHAT YOU DO NOT UNDERSTAND?
– ARE YOU INTERESTED IN SPORT?
– ARE YOU INTERESTED IN THE EFFECT OF WHAT YOU ARE DOING IN MANKIND?
– ARE YOU INTERESTED IN THE PARANORMAL?
– ARE YOU MAKING PAINTINGS EVERY DAY?
– ARE YOU MEEK?
– ARE YOU NICE TO PEOPLE?
– ARE YOU PREPARING A CATALOGUE AS WELL?
– ARE YOU REALLY THE OUTSIDER YOU OFTEN INSIST YOU ARE?
– ARE YOU SAYING THAT IT COULD BE RECEIVED AS JUST SUBJECTIVE, PURE MISE-EN-SCÈNE IN A SUBJECTIVE SENSE?
– ARE YOU SAYING THERE’S A LACK OF MORALITY?
– ARE YOU SCARED OF THE DARK?
– ARE YOU SORRY ABOUT IT?
– ARE YOU STILL SAYING THE ONE THING YOU SAY NEEDS TO BE SAID OVER AND OVER AGAIN AND THAT THIS THING IS THE ONLY THING FOR AN ARTIST TO SAY?
– ARE YOU SUCCESSFUL?
– ARE YOU SUGGESTING THERE IS AN AURA OF DRAMATIC MYSTIQUE BEHIND IT?
– ARE YOU SUPERSTITIOUS?
– ARE YOU SURE YOU WEREN’T SUICIDAL?
– ARE YOU THINKING ABOUT THE TRANSLATION OF THE EXPERIENCE INTO AN IMAGE OR WORK?
– ARE YOU TIRED NOW?
– ARE YOU TRYING TO CLAIM A NEUTRAL POSITION?
– ARE YOU TRYING TO SAY THAT ANYTHING CAN BE DESTROYED?
– ARE YOU TRYING TO TELL A STORY?
– AROUND WHICH YEAR DID YOU START THEM?
– ART AND LIFE?
– ART THAT’S RECENTLY WOWED YOU?
– ARTAUD, OUR CONTEMPORARY?
– ARTAUD’S KIND OF MADNESS?
– AS A CRITERION OF QUALITY?
– AS AN AESTHETIC AGENDA?
– AS IN AN ART FAIR.
– AS LONG AS IT LASTS.
– AS MUCH AS YOU’D LIKE [LAUGHS].
– AS PERFORMED BY PIERRE LEGUILLON?
– AS THE PROJECT DEVELOPED, WHAT WAS YOUR VISION OF WHAT MIGHT HAPPEN? DID YOU HAVE AN IDEA OF WHAT WOULD HAPPEN TO IT OR WAS IT OPEN?
– AS THOUGH EVERYTHING IN YOUR ART WAS BORN OF NECESSITY, THE PRODUCT OF AN EMERGENCY?
– AS WE’RE ON THE SUBJECT OF YOUR TRAINING PERIOD, LET ME ASK YOU TO GO BACK OVER THAT A LITTLE MORE. IT MIGHT SEEM BANAL TO YOU, BUT I THINK YOUR CASE IS VERY INTERESTING. PEOPLE SEEM TO HAVE A KIND OF OBSESSION TO GET INTO CIRCLES WHERE THEIR WORK CAN BE PROMOTED RIGHT AWAY, BUT YOU WERE PARTICULARLY SLOW ABOUT THAT.
– AS YOU STILL DO TODAY.
– ASYLUM?
– AT THE EDGE OF HYSTERIA?
– AT WHAT POINT DO YOU THINK THIS MIGHT COME TO AN END?
– AT WHICH POINT, YOU FLED?
– AT YOUR HOME?
– AT YOUR HOUSE IN LISBON, YOU HAVE AN AMAZING ARCHIVE – A WORLD OF THE INDEXICAL AND ENCYCLOPEDIC. HOW DID YOU START THIS PROCESS OF ACCUMULATING OBJECTS?
– BACK TO YOUR EDUCATION: WHICH ARTISTS IMPRESSED YOU AT THAT TIME?
– BAD?
– BASICALLY YOU’VE NEVER WORKED FOR A LIVING.
– BE HONEST, IS IT WORKING?
– BE INSENSIBLE?
– BECAUSE OF COMPLEXITY?
– BECAUSE OF MONEY?
– BECAUSE OF THE WAY HE CONNECTS TO EARLIER HISTORICAL PAINTING?
– BECAUSE SEX AND FEELINGS GO TOGETHER?
– BECAUSE SHE ENTERED?
– BECAUSE THERE WAS A LOT LESS GOING ON IN IT?
– BECAUSE THEY HOPE TO BE ABLE TO MAKE MONEY.
– BECAUSE WHERE DOES IT END?
– BECAUSE WITH TOO MUCH KNOWLEDGE ONE REACHES AUTOMATICALLY TO THE PREVIOUSLY EXPERIENCED, TO THE KNOWN?
– BECKETT? GENET?
– BEFORE YOU KNEW ABOUT IT OR BEFORE IT HAPPENED?
– BEHIND THIS IS A STRONG AFFINITY TO BARTHE’S WRITING?
– BETRAY?
– BEYOND FASHION?
– BEYOND THE STRICTLY PROFESSIONAL, WHAT IS YOUR RELATIONSHIP WITH NICOLAU TODAY?
– BIG THINGS?
– BLOOD ON THE TRACKS?
– BODY AS OBJECT?
– BOTH PHYSICAL AND MENTAL?
– BRIAN DE PALMA?
– BRUTAL, MAYBE.
– BUCKMINSTER FULLER?
– BUT AFTER THE PAINTING IS DONE, ISN´T IT POSITIVE?
– BUT ALSO, THE HEARING OF OTHER VOICES IN ONE´S OWN HEAD, AS IN SCHIZOPHRENIA, APPEARS TO OCCUPY AN IMPORTANT PLACE, NO?
– BUT ARE THERE CUT OFF POINTS FOR YOU?
– BUT ARE YOU AN ART FAN, SOMEONE WITH A BROAD INTEREST IN OTHER PEOPLE’S ART?
– BUT ARE YOU SATISFIED INTELLECTUALLY?
– BUT AREN’T WE ALWAYS ON THE LOOKOUT FOR THINGS THAT ARE INTERESTING, THAT SURPRISE US?
– BUT CAN IT BE CAST AS JUST A DICHOTOMY?
– BUT CAN YOU ANSWER THE QUESTION? OTHERWISE WE WILL BE HERE ALL DAY.
– BUT CAN YOU GIVE ME AN EXAMPLE?
– BUT CERTAINLY NOT “INDECENT EXPOSURE” AS IT IS USED IN COURT CASES?
– BUT DID YOU ALWAYS WORK THAT WAY?
– BUT DID YOU HAVE ANSWERS SOMETIMES?
– BUT DID YOU PAINT?
– BUT DO YOU AGREE WITH THAT?
– BUT DON’T YOU LIKE TO CRY WHEN YOU GO TO THE MOVIES?
– BUT HAD YOU SEEN THOSE FILMS AT THAT TIME?
– BUT HAVE YOU BEEN ONE OF THEM?
– BUT HE GOT UPSET?
– BUT HOW WOULD YOU DEFINE YOUR PRACTICE?
– BUT HOW?
– BUT HOW? INSTINCTIVELY?
– BUT I DO BELIEVE YOU!
– BUT I WANT TO TALK ABOUT YOU, SEE?
– BUT IF YOU HAD ANY IDEAS, DID YOU SHARE THEM WITH ANYBODY?
– BUT IN A RATHER PERVERSE WAY…
– BUT IN TERMS OF NOSTALGIA?
– BUT IN WHAT SENSE? – AS ABSTRACTIONS?
– BUT IS IT ALSO A WAY OF UNDERMINING FORMALITY?
– BUT IS THAT OKAY FOR YOU? DO YOU FEEL SOMETIMES THAT THERE IS A GAP NOW BETWEEN WHAT YOU ARE, BY THE HISTORY OF YOUR LIFE, BY YOUR AGE, WHATEVER, AND WHAT YOU ARE MAKING; THAT YOU HAVE A VERY DIFFERENT POSITION FROM THAT OF A KID, WHEREAS IT USED TO BE IDENTICAL? DO YOU SUFFER FROM THIS IN ANY WAY OR DO YOU TAKE IT AS IT IS?
– BUT IS THERE A NEED TO CHOOSE? CAN’T YOU GO IN BOTH DIRECTIONS AT THE SAME TIME AND DELIVER THE TASK OF CREATING MEANING OF DIFFERENT, AND MAYBE EVEN MISLEADING CONNECTIONS BETWEEN MATERIALS AND NARRATIVES TO THE VIEWER?
– BUT ISN’T THIS WHAT WE WANT?
– BUT IT COULD BE ARGUED THAT THAT’S THE JOB OF THE MUSEUM CURATOR, NOT A GALLERIST.
– BUT IT SEEMS LIKE YOU’RE SHOUTING AT A BRICK WALL…
– BUT MAYBE YOU ARE DEPRESSED.
– BUT MAYBE YOU NEED AN ANTIDEPRESSANT OR SOMETHING?
– BUT NO MORE LOSING?
– BUT NOT YOUR PSYCHIATRIST?
– BUT PAINTING REMAINS YOUR MOST IMPORTANT MEANS OF ARTISTIC EXPRESSION?
– BUT PUNISHMENT FOR WHAT?
– BUT SLIP AWAY TO WHERE? IS THERE ANY PLACE OUT THERE?
– BUT THAT WAS THE WORK OF FOUR OR FIVE YEARS? WHEN DID YOU DECIDE THAT?
– BUT THAT’S AGAIN SO GENERAL: ACCOMPLISH IN WHAT RESPECT? COGNITIVELY, EMOTIONALLY, PSYCHOLOGICALLY, POLITICALLY?
– BUT THAT’S NOT NECESSARILY GOING TO MAKE YOU FEEL BETTER.
– BUT THAT’S SUCH A WASTE!
– BUT THE PERCEIVED EFFEMINACY ATTRIBUTED TO INTERIORS AMOUNTS TO A STIGMATIZATION OF INTERIOR DESIGN.
– BUT THE PHOTOGRAPH WAS THERE BEFORE?
– BUT THE PRINCIPLE BEHIND IT WAS OFTEN REUSED?
– BUT THE QUESTION WAS ABOUT CHILDHOOD MEMORIES.
– BUT THEN, WHERE DOES THE NEXT STEP COMES FROM?
– BUT THERE ARE CERTAIN THINGS YOU PREFER TO BELIEVE IN, NO?
– BUT THERE IS ALWAYS AN AGENT INVOLVED IN THE MANIPULATIONS OF SELF-EFFACEMENT OR DISPLAY. IS THERE A PUPPETEER PULLING THE STRINGS?
– BUT THERE WERE OTHER MOTIVATIONS WITH REGARD TO HIS CHOICE OF SIZE.
– BUT THEY HAVE NO MORE USE.
– BUT THEY STILL DON’T HAVE MUCH CLASS.
– BUT THEY STILL DON’T HAVE MUCH MASS.
– BUT VERY DIFFICULT, OF COURSE – NO? A VERY LABORIOUS PROCESS?
– BUT WERE YOU INTERESTED IN JUNG OR FREUD PARTICULARLY?
– BUT WERE YOU SURPRISED THAT OPPORTUNITY KNOCKED TWICE IN YOUR LIFE?
– BUT WHAT ABOUT BOXES YOU CAN SEE INTO?
– BUT WHAT ARE YOU DOING? I MEAN DOCUMENTING THAT OR EVEN COMMUNICATING THAT SEEMS ALMOST AN IMPOSSIBILITY.
– BUT WHAT DIRECTION WILL HE TAKE?
– BUT WHAT DOES IT ACTUALLY SOUND LIKE?
– BUT WHAT IF THEY SAY NO?
– BUT WHAT WAS THE MEANING FOR YOU WHEN YOU MADE THIS SERIES?
– BUT WHAT WERE YOU THINKING?
– BUT WHEN DID YOU FIND THE “COURAGE” TO SHOW THEM?
– BUT WHEN WAS THIS?
– BUT WHEN YOU SIMPLY SEE THE PAINTING, YOU DON’T SEE OR KNOW THAT, RIGHT?
– BUT WHEN YOU WORK, ARE YOU IN A STATE OF EXCITEMENT, OF EMOTION, OR DO YOU WORK IN A VERY COLD MANNER?
– BUT WHERE DID THEY COME FROM?
– BUT WHO WERE THESE OTHERS?
– BUT WHY DO YOU CHOOSE THIS FORMAT?
– BUT WHY DO YOU THINK THAT IS?
– BUT WHY OUTSIDE THE CITY?
– BUT WHY? WHAT WERE YOU AFRAID OF?
– BUT WILL THIS WORK BE PRODUCED AFTER ALL?
– BUT WOULDN’T THEY BE RATHER HARD TO DIGEST?
– BUT YOU AGREED TO THAT.
– BUT YOU ARE CONCERNED WITH THE IDEA OF LASTING?
– BUT YOU DID DO IT?
– BUT YOU DO CREDIT YOUR ART WITH A POLITICAL DIMENSION?
– BUT YOU DON’T HAVE ANY RELIGION.
– BUT YOU DON’T HAVE ANY SENSE OF MISSION.
– BUT YOU GET SOMETHING DIFFERENT HERE.
– BUT YOU HAD NOT SEEN THEIR FILMS?
– BUT YOU HAVEN’T EXPERIMENTED WITH IT?
– BUT YOU KEPT THOSE CLIPPINGS IN A VERY SPECIAL WAY.
– BUT YOU MIGHT COLLABORATE WITH ARCHITECTS?
– BUT YOU SEEM TO EMBRACE THE ASSOCIATION.
– BUT YOU STILL HAVEN’T DECIDED ONCE AND FOR ALL THAT YOU DON’T MAKE ART? THAT YOU ARE NOT A CREATIVE PERSON ANYMORE?
– BUT YOU’RE ALSO TRANSFORMING IT.
– BUT YOUR PAINTING HAVE TITLES.
– BUT YOUR ROLE AS AN ARTIST IS STILL AN UNRESOLVED DILEMMA?
– BY DISPLAY I SIMPLY MEAN THE WAY YOU MAKE SOMETHING AVAILABLE FOR BEING LOOKED AT.
– BY THE WAY, DID YOU WORK ON SOMETHING SPECIFIC IN BRUSSELS?
– BY THE WAY, WHAT ARE THE MATERIALS AND SKILLS YOU ARE USING IN YOUR CURRENT WORK?
– BY WHICH YOU MEAN?
– C’MON, REVEAL SOMETHING.
– CAN I FINISH READING?
– CAN I SEE IT?
– CAN LISTENING TO THE NEWS GET BE TOO MUCH SOMETIMES? OVERWHELMING?
– CAN LYING NEVER BE A VIRTUE?
– CAN OBJECTS MAKE US HAPPIER?
– CAN OTHER POSSIBLE URBAN WORLDS BE IMAGINED?
– CAN SHE RESCUE HER REPUTATION?
– CAN SOMEONE ELSE REDO YOUR PIECES IN ANOTHER SITUATION OR SOMEWHERE ELSE?
– CAN SUCH AN EXPERIENCE SHAPE THEATRICAL TRADITION?
– CAN THIS DEMAND BE FORMULATED?
– CAN WE TALK ABOUT YOUR RELATIONSHIP TO THE COUNTRY?
– CAN YOU ACTUALLY TELL WHEN ONE OF YOUR PAINTINGS IS FINISHED?
– CAN YOU BE MORE SPECIFIC?
– CAN YOU DESCRIBE THAT MORE EXACTLY?
– CAN YOU DESCRIBE THE CULTURAL LIFE IN LISBON IN THE 60S AND 70S?
– CAN YOU DESCRIBE THE FIRST WORKS?
– CAN YOU DESCRIBE THE PUBLIC ART PIECES IN DEVELOPMENT?
– CAN YOU DESCRIBE WHAT A DAY IN THE STUDIO IS LIKE?
– CAN YOU DESCRIBE YOUR FAMILY LIFE, WHAT YOUR PARENTS DID?
– CAN YOU DESCRIBE YOUR PROCESS WHEN YOU DECIDE TO WORK WITH PAINTING, INSTALLATION, SCULPTURE, DRAWING OR SOUND? YOU MOVE SO FREELY IN AL THESE TERRITORIES.
– CAN YOU DISCUSS THE ROLE OF THE ACCIDENT IN YOUR WORK? MIGHT ACCIDENT BE CONSIDERED AS A KIND OF MATERIAL?
– CAN YOU DO THAT?
– CAN YOU ELABORATE ON WHAT ORIGINALITY MEANS TO YOU?
– CAN YOU ELABORATE?
– CAN YOU EXPAND ON THIS?
– CAN YOU EXPLAIN A BIT ABOUT YOUR PROCESS?
– CAN YOU EXPLAIN SOME OF THE IDEAS INFORMING THIS NEW WORK?
– CAN YOU EXPLAIN THIS WORK A BIT FURTHER?
– CAN YOU GIVE ME AN EXAMPLE?
– CAN YOU GIVE SOME EXAMPLES?
– CAN YOU GO INTO DETAILS?
– CAN YOU IMAGINE YOURSELF LIVING ANOTHER LIFE?
– CAN YOU MAKE A COMPARISON BETWEEN THAT PERIOD AND NOWADAYS? WHERE DO YOU STAND?
– CAN YOU PINPOINT THE MOMENT YOU FELL IN LOVE WITH HER?
– CAN YOU PLEASE STOP SIGNIFYING? WE’VE NEVER BEEN GOOD AT IT, SO WE’RE NOT GOING TO START NOW.
– CAN YOU PLEASE TELL US MORE ABOUT THIS TEXT?
– CAN YOU RECALL YOUR IMPRESSIONS OR THOUGHTS AT THE TIME?
– CAN YOU RECONSTRUCT WHAT INTERESTED YOU IN HER?
– CAN YOU REMEMBER THE FIRST TIME YOU HEARD IT PLAYED?
– CAN YOU REPEAT?
– CAN YOU SAY SOMETHING ABOUT THE WAY YOU HAVE APPROACHED SCALE IN THESE AND OTHER RECENT WORKS?
– CAN YOU SAY SOMETHING ABOUT YOUR RELATIONSHIP WITH THEATER?
– CAN YOU SPEAK TO ME A LITTLE ABOUT THEM?
– CAN YOU STAND TO BE FORGIVEN?
– CAN YOU TAKE US INSIDE THAT PROCESS?
– CAN YOU TALK A BIT HOW GENRE CONVENTION INFLUENCES YOUR CREATIVE PROCESS?
– CAN YOU TALK A LITTLE MORE ABOUT THIS?
– CAN YOU TALK ABOUT HER?
– CAN YOU TALK ABOUT HOW TEXT IS IMPORTANT TO YOUR PRACTICE?
– CAN YOU TALK ABOUT THAT? IT SEEMS TO BE A SPECIAL DIALOGUE.
– CAN YOU TALK ABOUT THE MATERIAL?
– CAN YOU TALK ABOUT THESE COLLABORATIONS?
– CAN YOU TALK ABOUT THIS SHOW?
– CAN YOU TELL ME A LITTLE ABOUT HOW THIS CAME ABOUT?
– CAN YOU TELL ME A LITTLE ABOUT IT?
– CAN YOU TELL ME A LITTLE BIT MORE ABOUT THIS MISUNDERSTANDING DIMENSION?
– CAN YOU TELL ME ABOUT HOW THE PIECE WAS TRIGGERED? IT IS SUCH AN ICONIC PIECE.
– CAN YOU TELL ME ABOUT PROJECTS YOU HAVE NOT YET REALIZED?
– CAN YOU TELL ME ABOUT THE EARLY VISITS TO MUSEUMS?
– CAN YOU TELL ME ABOUT THE VENICE EXPERIENCE?
– CAN YOU TELL ME ABOUT THIS INTERDISCIPLINARY APPROACH AND THE IMPORTANCE OF FLUIDITY AND CIRCULATING BETWEEN THESE SEPARATE DISCIPLINES?
– CAN YOU TELL ME ABOUT THIS SHOW?
– CAN YOU TELL ME SOME OF THE ARTISTS YOU ADMIRE?
– CAN YOU TELL US A LITTLE OF HOW YOU HAVE WORKED OVER THE YEARS? DO YOU WORK ONLY WHEN INSPIRATION STRIKES?
– CAN YOU THINK OF SOME MATERIALS THAT YOU CAN FIND AT YOUR HOME?
– CAN YOU UNFOLD THIS CONTRADICTION A LITTLE BIT? IS IT A DIALECTIC OF FAILURE, A PERFORMANCE OF RESISTANCE, OR IS IT SOMETHING ELSE?
– CAPTURING THE MOMENT.
– CELEBRATE THE MESS?
– CHELSEA LIGHT MOVING?
– CHOOSE CHAPTERS IN A COMPLETELY RANDOM ORDER PERHAPS?
– CIGARETTE BURNS?
– CLARITY IN WHAT SENSE?
– CLASHES?
– COLLABORATE HOW?
– COLLABORATE?
– COLORISTS THAT WERE OFTEN INTERESTED IN BAD TASTE…
– COME ON, WE’RE INTERESTED…
– COME ON…
– COMEDY AND VIOLENCE HAVE A PRETTY MARAUDING HISTORY; CARTOON PUNCH-OUTS, STAND-UP – THEY’RE SO SADISTIC OR MASOCHISTIC.
– COMMISSIONED WORKS…
– COMPLETELY SELFLESS?
– CONTEMPORARY ART PRACTICES ARE NO REMEDIES TO ANY SOCIAL PROBLEM.
– CONTRAST, MAYBE.
– COULD YOU DESCRIBE HOW?
– COULD YOU DESCRIBE THESE WORKS?
– COULD YOU DRAW THEM?
– COULD YOU ELABORATE ON THIS IRONIC ASPECT?
– COULD YOU EXPAND ON YOUR ATTACHMENT TO NON-ORIGINALS, AND YOUR INTEREST IN AVOIDING “UNIQUE” OBJECTS?
– COULD YOU PLEASE EXPLAIN THAT TO US MORE STRAIGHTFORWARDLY?
– COULD YOU SAY A LITTLE MORE ABOUT YOUR EXPERIENCES OF TIME TRAVEL? PERHAPS RELATING IT TO YOUR EXPRESSED INTEREST IN FRONTIERS?
– COULD YOU SAY THAT YOU MAKE YOUR AREA OF WORK A PLACE WHERE YOU CAN EXPLORE YOUR OWN INTERESTS AND FEARS?
– COULD YOU SAY WHAT THE ESSENTIAL QUESTIONS ARE?
– COULD YOU SPEAK ABOUT YOUR BEGINNINGS AND HOW THIS DIVERSE ACTIVITY WAS BORN?
– COULD YOU TALK A LITTLE ABOUT TAKING THAT STEP FROM THE INTIMATE TO THE LARGE SPACE?
– COULD YOU TALK MORE ABOUT COLLABORATION? YOU’VE COLLABORATED WITH A LOT OF DIFFERENT PRACTITIONERS?
– COULD YOU TELL US ABOUT THE ART SCENE AT THAT TIME AND WHO WERE THE ARTISTS THAT YOU MET?
– COULD YOU TELL US ABOUT YOUR RELATIONSHIP TO PHOTOGRAPHY?
– COULD YOU TELL US SOMETHING ABOUT THIS EARLY AND LITTLE-KNOWN CHAPTER OF YOUR CAREER?
– COULD YOU TRY TO MAKE THAT SOUND?
– COULD YOUR PROJECTS STAY AT THE UNREALISED STAGE?
– COULDN’T KEEP SILENT ANY LONGER.
– COULDN’T YOU SEE THAT COMING?
– CREATION THROUGH DESTRUCTION, SO TO SPEAK.
– CRISIS? WHAT CRISIS?
– CRITICAL ELEGANCE?
– CYPRUS?
– DAILY QUESTION?
– DAN GRAHAM SAID THAT WE ALWAYS LOOK EITHER AT THE PAST OR THE FUTURE, BUT RARELY AT THE JUST-PAST.
– DAN GRAHAM SAYS WE CAN ONLY UNDERSTAND AN ARTIST IF WE UNDERSTAND WHAT KIND OF MUSIC HE OR SHE LISTENS TO. WHAT ARE YOU LISTENING TO?
– DANCE OR STILL POETRY?
– DARE YOU.
– DARK DARK DARK?
– DAVID BOWIE IS?
– DEBBIE HARRY?
– DECEPTION AS A MEANS TO CLARITY AND COHERENCE?
– DELIVERANCE FROM WHAT? FROM SPEAKING? FROM ART?
– DESCRIBE IT HOW?
– DESCRIBE YOUR PERSONAL STYLE…
– DESCRIBE YOUR STYLE…
– DESCRIBE YOURSELF…
– DESPITE YOUR REPUTATION FOR BEING KIND OF A HARD ASS, YOU SEEM TO BRING OUT THE BEST IN PEOPLE.
– DEVENDRA BANHART?
– DEVIL WOMAN…
– DIANE ARBUS?
– DICHOTOMY?
– DID ALL THE PAIN YOU FELT AFFECT HOW YOU DEAL WITH OTHERS?
– DID EVERYTHING GO WELL AFTER THAT?
– DID HE HAVE ANY INFLUENCE ON YOU?
– DID HE ONLY BUY ONE?
– DID I SAY THAT? HOW INTERESTING.
– DID I SUGGEST THAT?
– DID IT CAUSE PAIN?
– DID OTHER PEOPLE THINK OF YOU AS AN ARTIST?
– DID POP LOSE ITS AMBIGUITY AND THEREFORE THE INTEREST OF YOUNGER ARTISTS?
– DID SHE EVER SPANK YOU?
– DID SHE GO?
– DID SHE GOT UPSET?
– DID SHE LIKE TO PLAY GAMES OF SEDUCTION WITH WOMEN?
– DID SHE SAY ANYTHING ELSE?
– DID SHE TAKE ANTI-DEPRESSANTS?
– DID THAT MAKE A DIFFERENCE FOR YOU?
– DID THAT PIECE REPRESENT A TURNING POINT, HAVING SPENT THAT AMOUNT OF EFFORT?
– DID THAT REPRESENT A THREAT AS WELL?
– DID THE COLLABORATION CONTINUE?
– DID THE EXPERIENCE MAKE YOU A FAN OF ANY ARTISTS YOU DIDN’T KNOW BEFORE?
– DID THE NATURE OF YOUR OWN WORK CHANGE AS A RESULT OF TECHNOLOGICAL ADVANCES?
– DID THE WORK CHANGE DURING THE MAKING OF IT?
– DID THEY ENCOURAGE THAT, WERE THEY BOOKISH PEOPLE AT ALL?
– DID THIS FEELING DISAPPEAR WHILE WORKING?
– DID WE?
– DID YOU ALLOW IT?
– DID YOU ALSO FIND A MORE SUPPORTIVE PLATFORM FOR THOSE WORKS IN FRANCE?
– DID YOU ALWAYS KNOW HOW TO DRESS?
– DID YOU ASK QUESTIONS?
– DID YOU ASK THEM?
– DID YOU COME FROM A BIG FAMILY?
– DID YOU DO ANY ART WHEN YOU WERE A KID?
– DID YOU DO THE SCHOOL RUN AND ALL THAT?
– DID YOU DREAM ABOUT IT WHEN YOU WERE ASLEEP?
– DID YOU ENJOY BEING SUCCESSFUL?
– DID YOU ENJOY THIS?
– DID YOU EVER CONSIDER THAT ART MIGHT NOT BE AN IDEAL VEHICLE FOR SUCH THOUGHTS?
– DID YOU EVER DO MUCH ‘HANGING’ WITH YOUR CONTEMPORARIES?
– DID YOU EVER FEEL UNCOMFORTABLE REVEALING SO MUCH OF YOURSELF?
– DID YOU EVER GO INTO ANALYSIS?
– DID YOU EVER SAY YOU WERE AN EXPERIMENTAL ARTIST?
– DID YOU EVER TRY ANY POETRY?
– DID YOU EXPECT THIS TO HAPPEN?
– DID YOU EXPECT TO WIN?
– DID YOU FEEL TAKEN CARE OF?
– DID YOU FEEL THAT WAY ABOUT VENICE?
– DID YOU FIND THE PIECE?
– DID YOU FIND YOURSELF BECOMING ENTANGLED IN HIS SEARCH?
– DID YOU GET INTERESTED IN MARXISM?
– DID YOU GET IT BECAUSE YOU WHERE GOING TO USE IT, OR DID IT JUST COME INTO YOUR LIFE?
– DID YOU GET TO ART SCHOOL?
– DID YOU GET TO THE END YET?
– DID YOU GO SHOPPING IN LONDON IN THE 60S?
– DID YOU GO TO COLLEGE ANYWHERE?
– DID YOU GO TO MUSEUMS AND GALLERIES?
– DID YOU GO TO MUSEUMS AS A YOUNGSTER?
– DID YOU GO TO THAT SCHOOL?
– DID YOU GO TO THE PUBLIC LIBRARY WHEN YOU WERE A LITTLE KID?
– DID YOU HAND-PAINT OR SPRAY-PAINT THEM YOURSELF?
– DID YOU HAVE A SENSE YOU WERE MAKING HISTORY?
– DID YOU HAVE A VERY STRICT RELIGIOUS UPBRINGING?
– DID YOU HAVE ANY DISAGREEMENTS?
– DID YOU HAVE ANY INFLUENCE ON HIM?
– DID YOU HAVE ANY TIME TO SIGHTSEE?
– DID YOU HAVE BOOKS AROUND THAT WERE INVOLVED WITH THESE TOPICS?
– DID YOU HAVE BROTHERS AND SISTERS?
– DID YOU HAVE TO AUDITION FOR THE ROLE?
– DID YOU KEEP A DISTANCE FROM THEM?
– DID YOU KNOW THEM SOCIALLY?
– DID YOU LEARN ANYTHING ABOUT YOURSELF?
– DID YOU LIKE IT?
– DID YOU LIKE PRIMARY SCHOOL OR HIGH SCHOOL?
– DID YOU LISTEN TO THEM?
– DID YOU MAKE THEM YOURSELF?
– DID YOU MEET HIM?
– DID YOU MEET HIM?
– DID YOU PAINT WHEN YOU WERE A KID?
– DID YOU PARTICIPATE IN VISITING COLLECTIONS OR OTHER EVENTS?
– DID YOU REACH ANY CONCLUSIONS?
– DID YOU READ A LOT AS A KID?
– DID YOU READ NEWSPAPERS?
– DID YOU READ SOME DU BOIS BIOGRAPHY?
– DID YOU RECORD THE PROCESS?
– DID YOU SEE ART AS TEENAGER?
– DID YOU SEE RESULTS OF THAT?
– DID YOU SEE YOURSELF AND YOUR WORK FITTING IN THERE?
– DID YOU SPEAK ENGLISH AT THE TIME?
– DID YOU SPEAK MUCH ABOUT ART?
– DID YOU SPEND THE NIGHTS THERE?
– DID YOU TAKE OFF YOUR GLASSES WHEN YOU WENT TO THE MOVIES?
– DID YOU THINK YOU WERE LEAVING FOR GOOD AT THAT POINT?
– DID YOU? THAT WAS CERTAINLY NOT MY POINT. I THOUGHT I WAS BEING SARCASTIC.
– DIDN’T YOU ONCE MENTION THAT YOU LIKED MIKE KELLEY?
– DO GOOD AND EVIL REALLY EXIST?
– DO IT WHILE YOU CAN…
– DO PEOPLE OFTEN ADMIRE YOU?
– DO PEOPLE TELL YOU WHAT TO DO?
– DO POLITICS AND ART MINGLE?
– DO THE FIGURES ACT OUT A SCENE?
– DO THE WORKS HAVE ALLEGORICAL TITLES?
– DO THEY EVER GIVE YOU TROUBLE?
– DO THEY HAVE FEWER OPPORTUNITIES?
– DO THEY HAVE SEX?
– DO THEY MISS ME?
– DO THEY REALLY LIKE IT?
– DO THEY WANT TO GET TO THAT POINT?
– DO THOSE VIVID COLOURS, IN COMBINATION WITH CERTAIN SYNTHETIC MATERIALS, NOT CONJURE UP THE WORLD OF KITSCH?
– DO WE LIVE IN A “TIME OF LONELINESS”?
– DO WE NEED TO BE EVEN MORE VIOLENT, OR LESS VIOLENT?
– DO YOU ACKNOWLEDGE THAT THERE IS AN ANTI-PSYCHOLOGICAL TENDENCY IN YOUR WORK?
– DO YOU AGREE WITH THAT?
– DO YOU ALSO PROFIT FROM THIS LUCRATIVE FRAMEWORK?
– DO YOU ALWAYS COME UNDER SUCH PRESSURE, WITH EVERY EXHIBITION?
– DO YOU ALWAYS THINK OF YOUR WORKS BEFOREHAND?
– DO YOU AND NICOLAU EVER STARTLE EACH OTHER WITH WHAT YOU WRITE?
– DO YOU BELIEVE IN GOD?
– DO YOU BELIEVE THAT VIEWERS OUTSIDE OF THE INNER CIRCLE OF THE ART WORLD KNOW WHAT IT IS?
– DO YOU BELIEVE THAT?
– DO YOU CHOOSE PEOPLE LIKE THIS?
– DO YOU COMPLAIN?
– DO YOU CONSIDER WORKING FOR A LIVING SLIGHTLY IMBECILIC?
– DO YOU CONSIDER YOURSELF A POLITICAL ARTIST?
– DO YOU CONSIDER YOURSELF AN ARTIST?
– DO YOU CONSIDER, AS GODARD DID, THAT THE VIEWER SHOULD COMPLETE A TASK?
– DO YOU CONTINUE TO FREQUENT OPORTO?
– DO YOU COUNT ON AN IMMEDIATE FEELING OF BEAUTY IN YOUR WORK?
– DO YOU DESERVE ANY OF YOUR REPUTATION?
– DO YOU DESTROY ANY OF YOUR WORK?
– DO YOU DIFFERENTIATE STILL BETWEEN TRUE ART AND ART AS A COMMODITY?
– DO YOU DISTINGUISH BETWEEN THE EROTIC, THE SEXUAL, AD THE PORNOGRAPHIC?
– DO YOU EVER COMPLAIN?
– DO YOU EVER FEEL THAT ENTERTAINMENT BECOMES AN EMPTY SPECTACLE?
– DO YOU EVER FEEL THAT YOU’RE TRYING TO ESCAPE THE BACK CATALOGUE OF YOUR OWN VISUAL LANGUAGE?
– DO YOU EVER GO TO MUSIC CONCERTS? WHO WAS THE LAST PERSON YOU SAW PLAYING LIVE?
– DO YOU EVER HEAR FROM TERESA CARRINGTON ANYMORE?
– DO YOU EVER SEE YOUR LIFE AS A REALITY SHOW? OR A FILM? OR A FUNK SONG? I THINK IT WAS JILL SCOTT WHO SAID THAT “YOU BECOME WHAT YOU SING ABOUT” – SHE WAS TALKING ABOUT FUNK. IS IT TRUE THAT THE ART-WORK YOU DO CAN HAVE A TRANSFORMATION POWER ON YOUR LIFE?
– DO YOU EVER WAKE UP AND THINK, ‘NO ART TODAY´?
– DO YOU EXPECT OTHERS TO ADMIRE YOU?
– DO YOU FEEL A WEIGHT OF EXPECTATION?
– DO YOU FEEL ANY OF YOUR TEACHERS INFLUENCED YOU?
– DO YOU FEEL ARTISTS ARE WIRED DIFFERENTLY TO THE REST OF US?
– DO YOU FEEL ARTISTS SHOULD HAVE A MORAL OR POLITICAL RESPONSIBILITY?
– DO YOU FEEL BLOCKED ARTISTICALLY?
– DO YOU FEEL CONNECTED TO OTHER ARTISTS AS PART OF A GROUP OR A MOVEMENT?
– DO YOU FEEL FLATTERED WHEN YOU ARE BEING SAMPLED?
– DO YOU FEEL LIKE AN ARTIST OR IS YOUR WORK JUST THE RESULT OF WHAT IS HAPPENING IN LIFE TO YOU?
– DO YOU FEEL THAT THESE TWO PROCESSES ARE COMING CLOSER TOGETHER?
– DO YOU FEEL THAT YOU FIT INTO THE HISTORY OF ART?
– DO YOU FEEL THE EXPERIENCE IS GOING TO INFORM WHAT YOU’R UP TO NEXT, OR IS IT TO SOON TO SAY?
– DO YOU FEEL THE OPPOSITE WAY?
– DO YOU FEEL THINGS HAVE CHANGED FOR THE BETTER?
– DO YOU FEEL YOU HAVE A SPECIAL GIFT?
– DO YOU FIND NATIONAL IDENTIFICATION IMPORTANT, USEFUL, OR INCONSEQUENTIAL?
– DO YOU FIND YOURSELF DIFFICULT?
– DO YOU FOLLOW A PROTOCOL WHEN YOU WORK?
– DO YOU GET DRUNK A LOT?
– DO YOU GET LETTERS FROM PEOPLE YOU DON’T KNOW?
– DO YOU GET THAT?
– DO YOU GO TO A LOT OF SHOWS?
– DO YOU HAVE A FAVORITE EXAMPLE OF THIS KIND OF ARTWORK?
– DO YOU HAVE A FAVORITE WORD?
– DO YOU HAVE A FAVORITE?
– DO YOU HAVE A FITNESS ROUTINE?
– DO YOU HAVE A FONDNESS FOR ANY OF THESE INSTRUMENTS IN PARTICULAR?
– DO YOU HAVE A HOT TEMPER?
– DO YOU HAVE A METHODOLOGY?
– DO YOU HAVE A PARALLEL ACTIVITY?
– DO YOU HAVE A PET FEAR, SUPERSTITION?
– DO YOU HAVE A PREFERENCE?
– DO YOU HAVE A PREFERRED GENRE?
– DO YOU HAVE A RECOGNIZABLE HANDWRITING?
– DO YOU HAVE A SENSE OF WHY THAT IS?
– DO YOU HAVE A STRANGEST “ONLY IN OPORTO” MOMENT?
– DO YOU HAVE A STUDIO?
– DO YOU HAVE AN IMPULSE TO SATIRIZE?
– DO YOU HAVE ANY DREAM THAT YOU WOULD LIKE TO MAKE A REALITY?
– DO YOU HAVE ANY FAVOURITES?
– DO YOU HAVE ANY FRIENDS?
– DO YOU HAVE ANY IDEA WHERE HE IS, BY ANY CHANCE?
– DO YOU HAVE ANY MEMORIES OF IT?
– DO YOU HAVE ANY PROPOSALS, WISHES OR SUGGESTIONS FOR IMPROVEMENT IN THE FUTURE?
– DO YOU HAVE ANY ROUTINES?
– DO YOU HAVE ANY VISION OF UTOPIA?
– DO YOU HAVE ENOUGH MONEY?
– DO YOU HAVE FAVOURITE ADJECTIVES?
– DO YOU HAVE MODELS ON WHICH YOU ORIENT YOURSELF?
– DO YOU HAVE SOMETHING IN THE WORKS NOW?
– DO YOU KNOW CEDRIC PRICE, THE BRITISH ARCHITECT?
– DO YOU KNOW HOW TO GET IN CONTACT WITH HIM?
– DO YOU KNOW THE REASON?
– DO YOU KNOW THEM ALL PERSONALLY?
– DO YOU LIKE CATS?
– DO YOU LIKE DAVID BOWIE?
– DO YOU LIKE OTHERS?
– DO YOU LIKE POETRY?
– DO YOU LIKE PORN FILMS?
– DO YOU LIKE READING?
– DO YOU LIKE THE DRAWINGS OF SAUL STEINBERG?
– DO YOU LIKE THEATER?
– DO YOU LIKE TO BE CALLED ARTIST?
– DO YOU LIKE TO BE PHOTOGRAPHED?
– DO YOU LIKE TO COMPETE WITH OTHERS?
– DO YOU LIKE TO PLAY GAMES OF SEDUCTION WITH WOMEN?
– DO YOU LIKE WELL MADE THINGS?
– DO YOU LIKE, HAVE YOU SEEN HIS SCULPTURES?
– DO YOU LISTEN TO MUSIC WHEN YOU WORK? WHAT KIND?
– DO YOU LISTEN TO MUSIC?
– DO YOU LOOK AT DEATH VOYEURISTICALLY?
– DO YOU MAKE A LIVING FROM PAINTING?
– DO YOU MEAN IT WAS REAL?
– DO YOU MISS DRINKING?
– DO YOU MISS THAT?
– DO YOU MISS THE DRUGS?
– DO YOU NOTICE CERTAIN PARALELLS THAT SURFACE BETWEEN THE TWO OF YOU?
– DO YOU NOW, OR HAVE YOU EVER SEEN A PSYCHIATRIST?
– DO YOU OFTEN TALK TO THINGS?
– DO YOU PAINT FAST?
– DO YOU PLAY SPORTS?
– DO YOU PROVOKE A SENSE OF THE MARVELLOUS OR GENERATE CURIOSITY IN OUR DAY AND AGE?
– DO YOU REALIZE HOW MUCH HE ADMIRES YOU?
– DO YOU REALLY THINK THAT CIVILISATION MAKES VERY MUCH SENSE IN ITSELF?
– DO YOU REGARD THIS AS A PERIOD OF GREAT DEGENERACY?
– DO YOU REJECT A LOT?
– DO YOU RELISH THAT POSITION?
– DO YOU REMEMBER ANYTHING IN PARTICULAR FROM THAT VISIT?
– DO YOU REMEMBER WHAT YOU SANG?
– DO YOU REMEMBER WHEN YOU FIRST VISITED SERRALVES?
– DO YOU REMEMBER WHERE YOU LIVED?
– DO YOU REMEMBER WHERE YOU WERE?
– DO YOU REMEMBER YOUR DREAMS?
– DO YOU REPEAT YOURSELF WHEN UNDER STRESS?
– DO YOU SEE ANY CONNECTION AT ALL TO SO CALLED “APPROPRIATION ART”, WHICH WITH ARTISTS LIKE STURTEVANT OR GENERAL IDEA FOUND A SIGNIFICANT FORMULATION IN THE 1960S – THOUGH THEY THEMSELVES CATEGORICALLY REJECTED THAT TERM?
– DO YOU SEE IT AS MORE OF A DEPARTURE FROM THE OTHER WORKS YOU MADE THERE, OR AS A CONTINUATION OF YOUR IDEAS AND INTERESTS?
– DO YOU SEE IT AS ONE THING?
– DO YOU SEE THAT AS AN INFLUENCE ALSO?
– DO YOU SEE YOUR ROOTS IN POP ART?
– DO YOU SEE YOUR WORKS AS POLITICAL?
– DO YOU SEE YOURSELF AS AN INFILTRATOR, AS SOMEBODY WHO INFILTRATES THE INSTITUTION?
– DO YOU SEEM THEM AS FICTION?
– DO YOU SOMETIMES FEEL LIKE THAT AMITH SERAFINA?
– DO YOU SOMETIMES GET THE FEELING YOU JUST HAVE TOO MUCH GOING ON?
– DO YOU START WITH A CERTAIN SET OF QUESTIONS OR CONCERNS?
– DO YOU STILL FEEL YOUNG?
– DO YOU STILL HAVE IT OR IS IT LOST?
– DO YOU STILL PAINT?
– DO YOU STILL USE THEM?
– DO YOU SUBSCRIBE TO THE IDEA THAT AN ARTIST ONLY MAKES ONE WORK IN THEIR LIFETIME?
– DO YOU TAKE PHOTOGRAPHS?
– DO YOU TEND TO READ A LOT YOURSELF? DO YOU HAVE A PREFERRED GENRE?
– DO YOU THINK ANY MEANS, INCLUDING PHYSICAL VIOLENCE, WILL ACTUALLY CHANGE PEOPLE WHO ARE COMPLETELY TIED UP?
– DO YOU THINK IT IS IMPORTANT TO BE AN ANIMAL LOVER? I’VE TENDED TO NOTICE THAT ARTISTS SOMETIMES REVEAL A GREATER SENSITIVITY TO ANIMALS.
– DO YOU THINK IT IS POSSIBLE FOR ARTISTS WORKING IN COLLABORATION OR GROUPS TO EXCEED THESE PARTICULAR INDIVIDUALITIES IN ORDER TO REACH A MORE UNIVERSAL LEVEL?
– DO YOU THINK IT’S STILL THE CASE?
– DO YOU THINK OF HIM AS A DANDY IN A BAUDELAIREAN SENSE?
– DO YOU THINK SHE’S HAPPY?
– DO YOU THINK THAT CLASSICAL PHILOSOPHICAL THOUGHT HAS HAD A DAMAGING EFFECT ON HUMAN LIFE?
– DO YOU THINK THAT IS HAPPENING BECAUSE PEOPLE FEEL A NEED TO GET IN TOUCH WITH THE PAST – THEIR OWN OR OTHER PEOPLE’S?
– DO YOU THINK THAT IT’S A GUT FEELING THAT YOU HAVE?
– DO YOU THINK THAT PAINTING COULD BE LANGUAGE IN ESCAPE?
– DO YOU THINK THAT THE STRUGGLE BETWEEN ABSTRACTION AND SURREALISM IN THE THIRTIES HAS ANY RELEVANCE TODAY?
– DO YOU THINK THAT THESE ARE SYMPTOMS OF OUR TIMES, PERHAPS CONSEQUENCES?
– DO YOU THINK THAT’S A VULNERABLE POSITION, OR MORE LIKE STAND-UP?
– DO YOU THINK THE FRENCH ARE MORE INTO IRONY?
– DO YOU THINK THERE IS A KIND OF HISTORICAL EXHAUSTION OF THE POSSIBILITY OF INVENTION IN ART?
– DO YOU THINK THERE IS A POSSIBILITY OF TRANSCENDING REPRESENTATION?
– DO YOU THINK THERE IS ANY TRUTH IN HER STORY?
– DO YOU THINK THERE IS ANYTHING ‘POLEMICAL’ LEFT IN REFERENTIALITY TODAY?
– DO YOU THINK THERE IS SOME DIRECT CAUSAL RELATIONSHIP?
– DO YOU THINK THERE´S ROOM FOR HUMOR IN HISTORY?
– DO YOU THINK THESE TERMS MAKE ANY SENSE WHEN DISCUSSING AND THINKING ABOUT YOUR PRACTICE
– DO YOU THINK THEY’RE PRETTY?
– DO YOU THINK THIS IS CORRUPTING THE WAY PEOPLE BEHAVE BEHIND CLOSED DOORS?
– DO YOU THINK WE LACK IDEAS?
– DO YOU THINK WE’RE LIVING IN OVERLY MORAL TIMES?
– DO YOU THINK WOMEN ARTISTS HAVE AN EASIER TIME OF IT TODAY, PARTICULARLY IN TERMS OF THE MARKET?
– DO YOU THINK YOU ARE MAKING ANY MORAL CHOICES?
– DO YOU THINK YOU HAVE A ROLE TO PLAY WITH YOUR PAINTING?
– DO YOU THINK YOU HAVE GOOD TASTE?
– DO YOU THINK YOU’RE A FAMOUS PERSON?
– DO YOU THINK YOU’RE A GREAT ARTIST?
– DO YOU THINK YOUR WORK RUNS THE SAME RISK OF, SAY, PREACHING TO THE CONVERTED?
– DO YOU THROW THE FAILURES AWAY?
– DO YOU TRUST THAT?
– DO YOU UNDERSTAND WHAT I’M SAYING?
– DO YOU USE A MATERIAL IN ORDER TO FORGET IT?
– DO YOU WANT IT TO STOP?
– DO YOU WANT SOME HELP?
– DO YOU WANT TO BE ‘RADICAL’? AND IF SO, IS THAT POSSIBLE?
– DO YOU WANT TO CHANGE THE REALATIONSHIP TO THE AUDIENCE?
– DO YOU WANT TO TELL ME HOW YOU GOT STARTED?
– DO YOU WANT UNCERTAINTY TO BE THE CONTENT?
– DO YOU WANT YOUR WORK TO BE PRESERVED?
– DO YOU WATCH IT? FIND IT USEFUL?
– DO YOU WATCH SPECIFIC TELEVISION SHOWS OR MOVIES THAT INFLUENCE YOUR PRACTICE?
– DO YOU WEAR GLASSES?
– DO YOU WORK ALONE?
– DO YOU WORK WHILE TRAVELING ON TRAINS OR BOATS?
– DO YOU WRITE A DIARY?
– DO YOU WRITE A LOT?
– DO YOU WRITE YOURSELF?
– DO YOU YOURSELF USE E-MAIL?
– DO YOUNGER ARTISTS HAVE AN EASIER TIME THAN YOU HAD?
– DO YOUR ANIMALS PROVIDE SOMETHING FOR YOU THAT YOU DON’T GET FROM BEING AN ARTIST?
– DO ZINES BRING US SOMETHING UNIQUE?
– DOES A RADIO WORK OF THIS SORT EXIST IF NOT HEARD BY AN AUDIENCE? WHAT ABOUT THE PURE PLAY OF THE RADIO WAVES THEMSELVES?
– DOES HE WANT TO SEE NICOLAU?
– DOES IT AMAZE YOU THAT YOU COULD PICK UP SO MUCH BACK THEN?
– DOES IT COME FROM SOMETHING RELATED TO THE SUBJECT MATTER OR THE PLACE, OR IS IT COMPLETELY RANDOM?
– DOES IT HAPPEN FREQUENTLY?
– DOES IT HURT MORE?
– DOES IT MAKE ANY SENSE TO SAY THAT IN AUTOBIOGRAPHICAL WORK “THE PERSONAL IS POLITICAL”?
– DOES IT MATTER TO YOU HOW CRITICS DEFINE YOUR WORK OR IS AMBIGUITY A DEFINITION IN ITSELF?
– DOES IT MATTER TO YOU?
– DOES IT SOMETIMES HAPPEN THAT YOU LIGHT UPON MATERIAL AND SAY SIMPLY, ‘I’D LIKE TO WORK WITH THIS STUFF’?
– DOES SEXUALITY PLAY AN IMPORTANT ROLE IN YOUR WORK?
– DOES SHE COMMENT ON IT?
– DOES SUCH A THING EXIST?
– DOES SUPPORT NEED TO CONSENT TO WHAT IT SUPPORTS?
– DOES TECHNOLOGY EXCITE YOU?
– DOES THAT ANNOY YOU?
– DOES THAT MAKE THEM SIMILAR TO YOUR EARLY WORK?
– DOES THAT MAKE YOU MAD?
– DOES THAT SURPRISE YOU?
– DOES THE ART LIVE THERE, THOUGH, IN ILLUSION-BUILDING?
– DOES THE INTERNET HOLD ANY PROMISE FOR YOU?
– DOES THE MAKING OF ART BRING CATHARSIS AND RELEASE OR DOES IT SERVE TO INCREASE THE AGONY?
– DOES THE RELENTNESS OF ABUNDANT MATERIALS IN THIS WORK REFLECT THE OVERWHELMING IMPRESSIONS AND IMAGES OFFERED BY THE WORLD IN GENERAL?
– DOES THE VENUE ALSO AFFECT THIS TUNING?
– DOES THERE HAVE TO BE A SPATIAL LIMIT TO IT?
– DOES THIS AFFECT YOUR WORK AT ALL? DOES THIS PART OF IT INTERESTS YOU?
– DOES THIS HAVE SOMETHING TO DO WITH IT?
– DOES THIS ISOLATION HELP YOU THINKING?
– DOES THIS MEAN THAT WE HAVE A PERMANENT PRESENT?
– DOES THIS SUMMARIZE YOUR POSITION/COMMENT ON ROLE PLAY STEREOTYPES?
– DOES TOTAL DESTRUCTION SEEM TO YOU A DESIRABLE OUTCOME?
– DOES TRAVEL HELP TO MAKE SPACE FOR THE INCREDIBLE TO HAPPEN?
– DOES YOUR BACK STORY EVER SEEM LIKE A BURDEN? YOU SIT DOWN FOR AN INTERVIEW, AND PEOPLE EXPECT YOU TO BEGIN AT THE BEGINNING.
– DOES YOUR DOCTOR KNOW?
– DOES YOUR METHOD NOT LEAD TO A NEW SYSTEM?
– DOES YOUR MOOD HAVE ANY INFLUENCE ON THEM?
– DOESN’T FASHION HEIGHTEN UNSELFCONSCIOUS ACTIVITY THOUGH?
– DOESN’T ONE LOSE ONE’S IDENTITY? WHAT DOES ONE GIVE IN?
– DOESN’T THAT WORRY YOU?
– DOESN’T THAT WORRY YOU?
– DOESN’T THE SENSE OF GUILT PRESUPPOSE A MORAL SENSIBILITY?
– DOESN’T THIS BRING US BACK TO YOUR OWN AMBIVALENCE ABOUT PHOTOGRAPHY?
– DOESN’T THIS MEAN THAT THE PUBLIC HAS CHANGED?
– DON’T BE MORBID.
– DON’T YOU BELIEVE IN LASTING LOVE, IN BEING FAITHFUL?
– DON’T YOU CONSIDER YOUR SUCCCESS A MASSIVE ‘PISS OFF!’ TO THE BULLIES?
– DON’T YOU FIND THE ADMIRATION OF YOUR FANS SUSPICIOUS?
– DRESS CODE?
– DRUG-INDUCED HALLUCINATIONS?
– DRUGS?
– DUCHAMP THOUGHT THE TITLE OF A WORK OF ART WAS EVERYTHING, BUT PICASSO THOUGHT IT WAS OF LITTLE SIGNIFICANCE. HOW IMPORTANT ARE THE TITLES TO YOUR WORKS?
– DURING THE SHOOTING?
– DURING YOUR EARLY YEARS AT SCHOOL WERE THERE SIGNIFICANT EVENTS, FRIENDSHIP, ETC. THAT INFORMED YOUR RELATIONSHIP WITH ART?
– EASIER TO SAY THAN TO DO.
– EDIT?
– EDUARDO BATARDA?
– EDUARDO MALTA?
– EMPHASISING KEY WORDS WITH A TEETH-BARED SHOUT?
– ENTERTEINMENT IS A GREAT RESOURCE.
– ESPECIALLY BECAUSE YOU DON’T PUT FLOWERS WHERE PEOPLE WANT THEM.
– EVEN BY COMPARISON TO OTHER ANA JOTTA EXHIBITIONS, “ANA MARIA” IS INCREDIBLY SPARSE.
– EVEN BY YOURSELF?
– EVEN IF THEIR CONTENT IS DIFFERENT, THEY ALL SEEM TO SHARE A CERTAIN ATTITUDE TOWARD PAINTING THAT IS PECULIARLY MATTER-OF-FACT.
– EVEN MORE OPEN?
– EVER CONSIDERED KILLING YOURSELF?
– EVERYTHING IS EPHEMERAL. AS SOON AS YOU SAY IT, IT IS ALREADY GONE.
– EXCUSE ME?
– EXPLAIN WHAT?
– EXTENDING THE OPERATION OF CITATION, I NOTICED THAT YOU PUT YOUR INFLUENCES IN THE FOREGROUND, THE THING’S THAT YOU’VE READ, SEEN OR WHATEVER. I’M INTERESTED IN THE DEGREES OF TRANSPARENCY IN YOUR WORK.
– FEAR IS THE THING? THE RESULT?
– FEAR?
– FEELING CONFUSED OR ANXIOUS ABOUT CONTEMPORARY ART?
– FEELS LIKE YOU’RE EXORCISING YOUR DEMONS, AND THERE’S PLENTY OF THEM…
– FELLINESQUE?
– FERTILIZER?
– FIERCER?
– FINAL ACT?
– FIRST, COULD YOU TALK ABOUT WHAT YOU’RE DOING NOW?
– FIVE YEARS AGO, WHEN WE FIRST MET, YOU WERE ALREADY “OBSESSED” ABOUT WASTE.
– FLAMING LIPS?
– FOR CONTEMPORARY ARTISTS THERE WAS AN INCREDIBLE LACK OF VISIBILITY.
– FOR INSTANCE.
– FOR ME ALSO.
– FOR ME, RADIO MEANS ONLY ONE LISTENING, AND WITH A CD YOU CAN LISTEN AS MUCH AS YOU WANT. MAYBE YOU ARE MORE OF A OWNER WITH THE CD THAN WITH THE RADIO; AND WHEN YOU KNOW YOU CAN LISTEN ONLY ONCE, MAYBE YOU PAY MORE ATTENTION.
– FOR NOW OR POSTERITY; ARE YOU CAPTURING THE ZEITGEIST, OR SHAPING THE FUTURE?
– FOR THIS MODEL HERE?
– FOR WHOM DO YOU WORK?
– FOR YOU, A LONG TRIP IS…
– FREEDOM OF MIND?
– FROM THE BEGINNING THERE IS SOME THREAD OF CONSISTENCY.
– FROM WHAT DEPTHS?
– FROM YOUR PERSPECTIVE, RADIO IS MORE THAN JUST A VEHICLE FOR TRANSMISSION OF SOUND ART: ITT OFFERS ITS OWN AUTONOMOUS SPACE, ITS OWN MATERIAL?
– GATSBY FOREVER?
– GEE, IS IT THAT BAD?
– GENERIC?
– GIGS ARE CURATED NOW.
– GIORGIO FRIFFA?
– GIRL WHO GOT AWAY?
– GIVE A SECOND HEARING?
– GIVEN ALL THAT WE’VE TALKED ABOUT SO FAR, WHEN YOU THINK ABOUT YOURSELF AS A PAINTER, AS AN ARTIST, SOMEBODY WHO’S DRIVEN TO GATHER IMAGES AND THEN TO MAKE PICTURES, DO YOU SEE YOURSELF ENGAGED IN ANY KIND OF DISCURSIVE PRACTICE AIMED AT DETERMINING A VALUE FOR PAINTING IN THIS MOMENT IN HISTORY?
– GIVEN THE OPPORTUNITY, HOW WOULD YOU CHANGE LISBON?
– GIVEN THE OVERWHELMING PREVALENCE OF COMPUTERS AND COMMUNICATION TECHNOLOGIES, WHY DO YOU CHOOSE TO USE SUCH OLD TOOLS AND METHODS IN YOUR WORK?
– GOD, I HAD NO IDEA.
– GOING TO MOVIES? READING BOOKS?
– GOOD CONCERT?
– GOOD LUCK WITH THAT!
– HA HA.
– HA!
– HAD YOU ALREADY BEEN ADMITTED TO THE FINE ARTS SCHOOL?
– HAD YOU EVER BEEN AWAY FROM HOME BEFORE?
– HAD YOU GROWN ON A PERSONAL LEVEL?
– HADN’T THIS HAPPENED SOMEWHERE, ONCE, DIFFERENT MUSEUM, DIFFERENT CITY?
– HAPPY DAYS?
– HARD TO BELIEVE?
– HARDWORKING ANA?
– HAS IT IMPINGED ON YOUR LIFE?
– HAS PAINT BEEN WET AT OPENINGS?
– HAS SHE EVER HAD AN AFFAIR?
– HAS THAT PROCESS CHANGED OVER THE YEARS?
– HAS THE LANDING ON THE MOON CHANGED YOUR THINKING AT ALL?
– HAVE ANY OF THE PLACES YOU LIVED CHANGED YOUR ART IN A WAY THAT YOU HADN’T EXPECTED?
– HAVE CERTAIN ENCOUNTERS BEEN DECISIVE FOR YOU?
– HAVE FILMAKERS GONE TOO FAR, DO YOU THINK?
– HAVE THINGS CHANGED NOW?
– HAVE YOU ANY IDEA HOW MANY PAINTINGS YOU’VE MADE?
– HAVE YOU BEEN ABROAD RECENTLY?
– HAVE YOU BEEN GOING OUT LATELY?
– HAVE YOU BEEN LOOKING AT OTHER THINGS IN THE MUSEUM?
– HAVE YOU BEEN THINKING THIS WAY SINCE THE VERY BEGINNING?
– HAVE YOU CONSIDERED YOURSELF AS WORK?
– HAVE YOU ENCOUNTERED ANY?
– HAVE YOU ENDED UP MAKING ANY REASSESSMENTS OF YOUR CAREER?
– HAVE YOU EVER BEEN CONVICTED OF A CRIMINAL OFFENCE?
– HAVE YOU EVER BOUGHT ANYTHING FROM EBAY, IF SO WHAT WAS IT?
– HAVE YOU EVER GOTTEN SO LOST THAT YOU’VE LOOKED BACK ON YOUR OLDER WORK TO REMEMBER WHO YOU ARE AS AN ARTIST?
– HAVE YOU EVER HELD AN EXHIBITION OF YOUR OWN COLLECTION?
– HAVE YOU EVER MADE ANY MOVING IMAGE WORK?
– HAVE YOU EVER NOTICED ALL THOSE NUTJOBS WHO ARE ALWAYS GOING ON ABOUT ACCEPTING JESUS CHRIST AS YOUR PERSONAL SAVIOR?
– HAVE YOU EVER SEEN HER STUFF?
– HAVE YOU EVER THOUGHT ABOUT ARCHITECTURE?
– HAVE YOU EVER WONDERED WHAT MIGHT BE BEHIND THIS INCIDENTALLY ADMIRABLE “PROCLIVITY” OF YOURS?
– HAVE YOU EVER WORKED WITH PHOTOGRAPHY AND FILM?
– HAVE YOU GOT AN ANSWER?
– HAVE YOU KNOWN NICOLAU FOR A LONG TIME?
– HAVE YOU NEVER BEEN FRUSTRATED THAT WAY?
– HAVE YOU READ IT?
– HAVE YOU SAID GOODBYE TO THEATRE?
– HAVEN’T YOU EVER SEEN HER?
– HE WAS GOOD?
– HIS EXAMPLES?
– HIS WHAT?
– HM?
– HMM. YOU REALLY THINK SO?
– HOME?
– HORROR MOVIES?
– HOW ABOUT THE LIMITS OF KNOWLEDGE? IN THE CATALOGUE FOR THE 2009 EXHIBITION ‘FOR THE BLIND MAN IN THE DARK ROOM LOOKING FOR THE BLACK CAT THAT ISN’T THERE’, CURATOR ANTHONY HUBERMANN ASKS: ‘CAN ONE IMAGINE A NEW EPISTEMOLOGICAL MAP THAT REACHES OUTSIDE AND BEYOND THE FAMILIAR NORTH/SOUTH POLES OF KNOWING AND NOT-KNOWING?’ DO YOU THINK ART CAN PROVIDE THIRD POSITION OF NON-KNOWLEDGE?
– HOW ABOUT YOUNGER ARTISTS IN GENERAL?
– HOW AM I DOING?
– HOW AND WHY DID YOU MEET, AND HOW DID YOU APPROACH THIS PROJECT?
– HOW ARE THEY DIFFERENT?
– HOW ARE THINGS IN COMETA?
– HOW ARE VIEWERS MEANT TO APPROACH THE TEXTS?
– HOW ARE WE DOING?
– HOW ARE YOU FEELING THESE DAYS?
– HOW ARE YOU THINKING OF IRONY IN THIS INSTANCE?
– HOW BIG WAS THE PIECE?
– HOW CAN A GALLERY SPACE BE USED RATHER THAN PUT ART OBJECTS INTO IT?
– HOW CAN I HELP?
– HOW CAN IT BE MORE THAN THE SITE OF SHRINKAGE AND DISAPPOINTMENT?
– HOW CAN PAINTING BE EMOTIONAL WITHOUT BEING EXPRESSIONIST?
– HOW CAN THE EPHEMERAL, THE CONTINGENT, AND THE FUTURE BE THINGS OF THE PAST?
– HOW CAN THE GAP BE CLOSED?
– HOW CAN WE PREVENT ART BOREDOM?
– HOW CAN WE TRUST THEM?
– HOW CAN YOU COPE WITH YOUR BODY?
– HOW CAN YOU NOT BE THANKFUL?
– HOW CAN YOU PROTECT YOURSELF WITH WORDS?
– HOW CLOSE ARE THEY?
– HOW COME?
– HOW CONSISTENT ARE YOU WITH YOUR WORKING PRACTICE AND STUDIO HABITS?
– HOW COULD SHE DO THAT?
– HOW COULD THE CONTEMPORARY AS SUCH BE SHOWN?
– HOW COULD THEY REFUSE YOU?!
– HOW DID HE DESCRIBE IT TO YOU?
– HOW DID HE DESCRIBE THE CHARACTER TO YOU?
– HOW DID IT AFFECT YOUR WORK?
– HOW DID IT FUNCTION AS A DISPLAY?
– HOW DID IT WORK?
– HOW DID SHE GET SO INTENSE?
– HOW DID SHE HAPPEN TO DO THAT?
– HOW DID SHE REACT? WAS SHE CONCERNED ABOUT THE OUTCOME?
– HOW DID THAT COME ABOUT?
– HOW DID THAT HAPPEN?
– HOW DID THAT HAPPEN?
– HOW DID THAT NOT END YOUR CAREER?
– HOW DID THE MOVIE COME ABOUT?
– HOW DID THE PARAMETERS OF YOUR PRACTICE SHIFT?
– HOW DID THE TITLE OF THE WORK COME ABOUT?
– HOW DID THIS ENCOUNTERS AFFECT WHAT YOU MADE THERE?
– HOW DID THIS PROJECT COME ABOUT?
– HOW DID THIS SHOW COME ABOUT?
– HOW DID YOU ACTUALLY BECOME AN ARTIST, WHEN DID YOUR INTEREST IN CREATIVE FORMS OF EXPRESSION ARISE?
– HOW DID YOU ADVISE THEM?
– HOW DID YOU BECOME AWARE OF THAT?
– HOW DID YOU BECOME INTERESTED IN ART? THROUGH YOUR PARENTS?
– HOW DID YOU BECOME THE ARTIST, ANA JOTTA?
– HOW DID YOU COME TO PAINT YOUR SERIES?
– HOW DID YOU COPE WITH YOUR FEARS?
– HOW DID YOU COPE?
– HOW DID YOU DEAL WITH EMOTIONALITY?
– HOW DID YOU DECIDE WHAT FORM THE TRUISMS SHOULD TAKE?
– HOW DID YOU FEEL ABOUT THAT?
– HOW DID YOU FEEL ABOUT THE CONTEXT WITHIN WHICH YOU WERE WORKING AT THE BEGINNING?
– HOW DID YOU FIRST ENCOUNTER TERESA CARRINGTON?
– HOW DID YOU FIRST MEET SERAFINA?
– HOW DID YOU FIRST START WORKING IN THIS CONTEXT?
– HOW DID YOU FIX THIS PROBLEM?
– HOW DID YOU GET INTERESTED IN THIS SUBJECT?
– HOW DID YOU GET INVOLVED WITH DRUGS?
– HOW DID YOU GET INVOLVED WITH HIS MUSIC AND HIS MYTH?
– HOW DID YOU GET INVOLVED WITH IT?
– HOW DID YOU GET STARTED AS AN ARTIST? DID YOU ALWAYS WANT TO BE A PAINTER?
– HOW DID YOU GET THE PART?
– HOW DID YOU HANDLE THIS?
– HOW DID YOU HOOK UP WITH PIERRE LEGUILLON?
– HOW DID YOU KNOW WHAT TO MEASURE AGAINST?
– HOW DID YOU MAKE IT PUBLIC?
– HOW DID YOU MAKE THE DECISIONS TO GET INTO THE ACTIVITIES YOU’RE DOING NOW?
– HOW DID YOU MAKE THIS WORK?
– HOW DID YOU MEET HER?
– HOW DID YOU MEET HIM?
– HOW DID YOU NOT CONSIDER THAT?
– HOW DID YOU PROCEED?
– HOW DID YOU REACT WHEN YOU FIRST HEARD ABOUT THE PROJECT? WHAT DID YOU THINK ABOUT ITS POSSIBILITIES?
– HOW DID YOU SELECT HIM?
– HOW DID YOU START?
– HOW DID YOU THINK THAT THOSE ACTIVITIES WORKED FOR YOU? DID THEY ANSWER QUESTIONS FOR YOU? OR DID THEY JUST POSE NEW ONES?
– HOW DID YOU USE THAT?
– HOW DID YOU VIEW THIS PROJECT WHEN I FIRST MENTIONED IT?
– HOW DID YOUR FAMILY LIKE THIS DEVELOPMENT?
– HOW DO THE DIFFERENT PHYSICAL CHARACTERISTICS OF YOUR PORTRAITS EVOLVE?
– HOW DO THE DRAWINGS AND TEXTS WORK TOGETHER?
– HOW DO THE TEXT AND THE IMAGE WORK TOGETHER?
– HOW DO THESE SOURCES UNLEASH THE CREATIVE PROCESS?
– HOW DO WE AVOID OUR GOOD TASTE?
– HOW DO YOU ACTUALLY START A PAINTING?
– HOW DO YOU ARRIVE AT THOSE DIFFERENT AREAS?
– HOW DO YOU ATTEMPT TO WORK AROUND THESE OBSTACLES?
– HOW DO YOU CHOOSE YOUR MEDIA? HOW DO YOU DETERMINE THE MATERIAL YOU ARE GOING TO USE?
– HOW DO YOU COME UP WITH THE TITLES OF YOUR WORKS?
– HOW DO YOU DEAL WITH CRITICISMS THAT YOUR LIFE AND WORK HAD BECOME TOO CLOSELY ENTWINED?
– HOW DO YOU DEAL WITH THEM? DO YOU ACTUALLY LIKE THEM OR DO YOU FEEL CONSTRICTED IN ANY WAY?
– HOW DO YOU DEFINE (HOW DO YOU DECIDE) THE MEDIA YOU WORK ON: DRAWING, PHOTOGRAPHY, SCULPTURE, INSTALLATION ART?
– HOW DO YOU DEFINE PROCESS AND THE PERFORMATIVE ASPECT?
– HOW DO YOU DEFINE THE COMMON FEATURES OF THIS RESEMBLANCE?
– HOW DO YOU DEFINE YOUR OWN ARTISTIC WORK?
– HOW DO YOU DEFINE YOURSELF?
– HOW DO YOU DIVIDE YOURS?
– HOW DO YOU EQUATE THAT IDEA WITH MATERIALS?
– HOW DO YOU ESTABLISH AN ORDER?
– HOW DO YOU EXCITE YOURSELF TO START SOMETHING FROM SCRATCH?
– HOW DO YOU FEEL ABOUT BEING ASKED TO EXECUTE A COMMISIONED WORK FOR A SPECIFIC SPACE?
– HOW DO YOU FEEL ABOUT DUCHAMP’S CHESS PLAYING?
– HOW DO YOU FEEL ABOUT HUMAN BEINGS?
– HOW DO YOU FEEL ABOUT OPPOSITION?
– HOW DO YOU FEEL ABOUT PEOPLE WHO DO INTERPRET AND EXPLAIN THEM?
– HOW DO YOU FEEL ABOUT THAT KIND OF CONNECTION?
– HOW DO YOU FEEL ABOUT THAT PROSPECT?
– HOW DO YOU FEEL ABOUT THE YOUNGER GENERATION OF SO-CALLED “COOL” ARTISTS HERE IN LISBON THAT LOOK TO YOU AS A KIND OF PREDECESSOR? DO YOU THINK THAT YOUR WORK IS DIFFERENT FROM THEIRS OR SIMILAR?
– HOW DO YOU FEEL ABOUT THIS READING?
– HOW DO YOU FEEL THINGS HAVE CHANGED FROM WHEN YOU STARTED?
– HOW DO YOU FEEL, ANA?
– HOW DO YOU FIND AN IMAGE, OR A FORM, OR A PIECE OF PAPER, AND HOW DO YOU TAKE OWNERSHIP OF IT OR TRANSFORM IT FOR USE IN YOUR WORK?
– HOW DO YOU GENERATE MATERIAL FOR YOUR WORK?
– HOW DO YOU GET THAT EFFECT?
– HOW DO YOU KEEP FIT?
– HOW DO YOU KEEP YOUR FANTASTIC FIGURE?
– HOW DO YOU KEEP YOUR SKIN IN TIN-TOP CONDITION?
– HOW DO YOU LINK ALL THESE DIFFERENT PARTS OF YOUR PRACTICE?
– HOW DO YOU LINK HALLUCINATION TO THE EXPERIENCE OF A WORK OF ART?
– HOW DO YOU LOOK AT THE PAST, COULD THE PAST BE AFFECTED BY AN ARTIST’S GAZE?
– HOW DO YOU MANAGE TO ALWAYS BE SO PASSIONATE AND FULL OF LIFE?
– HOW DO YOU MANAGE TO LOOK SO SPLENDID?
– HOW DO YOU MEAN?
– HOW DO YOU NEGOTIATE BETWEEN ART AND DESIGN?
– HOW DO YOU PERCEIVE YOUR ROLE, AS AN ARTIST, WITHIN SOCIETY?
– HOW DO YOU PREPARE A PICTURE? IS THERE A DRAWING PHASE?
– HOW DO YOU RELATE TO IMAGINATION?
– HOW DO YOU RELATE TO THE 80S?
– HOW DO YOU RELATE TO THE TRADITION OF CONCEPTUAL ART?
– HOW DO YOU SEE DEATH, THEN?
– HOW DO YOU SEE THAT?
– HOW DO YOU SEE THE FUTURE?
– HOW DO YOU SEE THE INTERDEPENDENCE OF GALLERIES AND INSTITUTIONAL EXHIBITIONS?
– HOW DO YOU SEE THE RELATION BETWEEN THE DIFFERENT FORMS OF ARTISTIC EXPRESSION?
– HOW DO YOU SEE THEIR FUNCTION CHANGING?
– HOW DO YOU SEE YOUR DEVELOPMENT?
– HOW DO YOU SEE YOUR FUTURE AND WHAT EXPERIENCES DO YOU THINK WILL COME?
– HOW DO YOU SEE YOURSELF EXACTLY?
– HOW DO YOU SELECT A WINE?
– HOW DO YOU SLEEP AT NIGHT?
– HOW DO YOU START A PAINTING, OR A SCULPTURE? DO YOU FEEL LOADED WITH IDEAS?
– HOW DO YOU START A PROJECT? IS THERE A USUAL PROCESS OR DOES IT CHANGE FROM CASE TO CASE?
– HOW DO YOU STRIKE A BALANCE BETWEEN THE FACT THAT YOU HAVE TO GO ALONG WITH THINGS AND YOUR WISH TO RETREAT?
– HOW DO YOU THINK ABOUT HOW THE WORKS ARE DISPLAYED AND HOW PEOPLE MIGHT CIRCULATE AND SPEND TIME WITH IT?
– HOW DO YOU THINK IT EFFECTS THE AESTHETIC RECEPTION OF YOUR WORK?
– HOW DO YOU THINK THAT CAN BE DONE?
– HOW DO YOU VIEW THIS TENSION?
– HOW DO YOU WASH THEM?
– HOW DO YOU WORK?
– HOW DOES ART HISTORY WEIGH ON YOU AS AN INDIVIDUAL PRACTICING AS AN ARTIST?
– HOW DOES EACH FORM RELATE TO AND CONNECT WITH THE OTHER?
– HOW DOES FLIPPING IT CONTRIBUTE?
– HOW DOES IT AVOID JUST BEING SELF-REGARDING?
– HOW DOES IT RELATE TO YOUR EARLIER WORK?
– HOW DOES IT WORK, ANA?
– HOW DOES IT WORK?
– HOW DOES THAT WORK?
– HOW DOES THE COLLABORATION PROCESS WORK?
– HOW DOES THIS COOPERATION WORK?
– HOW DOES THIS RELATE TO, OR COMPLEMENT, THE WAYS IN WHICH YOU MAKE WORK IN A GIVEN SITE?
– HOW DOES THIS SURFACE IN CURRENT CULTURAL PRACTICE?
– HOW EXACTLY DID THAT COME ABOUT?
– HOW FAR CAN THE SPECTATOR FOLLOW YOU IN THAT?
– HOW FAR FROM THE GUTTER?
– HOW FAR HAVE WE COME IN THE LAST DECADE TOWARD A CURE?
– HOW FAR WOULD YOU GO FOR LOVE?
– HOW FREE IS FREE?
– HOW GOOD IS YOUR ENGLISH?
– HOW GOOD IS YOUR FRENCH?
– HOW HAS EBAY CHANGED THE WAY WE LIVE?
– HOW HAS THE CATALOGUE BEEN PUT TOGETHER?
– HOW HAVE MIGRATIONS AND LIVING IN DIFFERENT CITIES INFLUENCEND THE WAY YOU WORK?
– HOW HAVE YOU EXPLORED THIS LAST THOUGHT IN YOUR WORK?
– HOW HAVE YOU FOUND LIFE POST-ART SCHOOL?
– HOW HAVE YOUR SOCIAL RELATIONSHIPS CHANGED SINCE THE INTERNET WAS CREATED?
– HOW IMPORTANT IS FAME IN YOUR LIFE?
– HOW IS ILLNESS A MODEL OF EMOTION?
– HOW IS IT THAT YOU ALWAYS SEEM TO GET AWAY UNSCATHED FROM YOUR ESCAPADES?
– HOW IS MAKING A PICTURE AN ACT OF FAITH?
– HOW IS THAT DISTINCT FROM OTHER RECENT, MORE NOSTALGIC LOOKS BACK AT MODERNIST PRECEDENTS?
– HOW IS THE LANGUAGE IN THE WORK GENERATED? DOES IT COME FROM SOMETHING RELATED TO THE SUBJECT MATTER OR THE PLACE, OR IS IT COMPLETELY RANDOM?
– HOW IS THIS WORK MEDIATED?
– HOW IS YOUR CHOICE OF IMAGES ORGANIZED?
– HOW LONG ARE THEY?
– HOW LONG DID THE WORK TAKE TO COMPLETE?
– HOW LONG DID YOU HAVE IT?
– HOW LONG DID YOU STAY?
– HOW LONG IS THIS GOING TO LAST?
– HOW MANY ARE THEY?
– HOW MANY FIGURES ARE IN THE PIECE?
– HOW MANY YEARS WERE YOU TOGETHER?
– HOW MANY?
– HOW MUCH DID IT COST?
– HOW MUCH DO YOU THINK THAT WAS JUST TO DO WITH THE TIMES? THERE WAS A LOT OF WORK LIKE THAT IN THE LATE 1970S AND EARLY 1980S; IT WAS THE FASHION.
– HOW MUCH FORSIGHT DO YOU HAVE? ARE THEY SCRIPTED AT ALL?
– HOW MUCH IS ENOUGH?
– HOW MUCH MONEY DO YOU NEED?
– HOW MUCH OF THE WORK IS GENERATED DIRECTLY, OUT OF DOORS AND HOW MUCH LATER, IN THE STUDIO?
– HOW MUCH SYSTEM OR DISCIPLINE AND CONTROL IS INVOLVED IN GETTING WHAT YOU WANT?
– HOW MUCH TIME WOULD ONE HAVE?
– HOW OFTEN DO YOU DECIDE THAT IT’S MUCH BETTER TO LEAVE AN IDEA IN YOUR HEAD?
– HOW OLD ARE YOU?
– HOW OLD WERE YOU THEN?
– HOW OLD WERE YOU WHEN YOU BEGAN PAINTING?
– HOW OLD WERE YOU?
– HOW SHARP THE OUTLINES WILL BE…?
– HOW SO?
– HOW STRONGLY ARE THEY DESIGNED FOR THAT GALLERY? ONE OF THE COMMITMENTS TO THE MAKING OF AN INDIVIDUAL SCULPTURE IS THAT IT WILL TRAVEL TO ANOTHER SPACE.
– HOW TO GET OUT OF THIS PRISON?
– HOW WAS IT WHEN YOU TOLD YOUR PARENTS THAT YOU WANTED TO BE AN ARTIST?
– HOW WAS IT, LISTENING TO THE TAPES?
– HOW WAS NEW YORK TO A GIRL FROM LISBON?
– HOW WAS THE EXPERIENCE?
– HOW WERE THE SHOWS RECEIVED?
– HOW WERE YOU INVOLVED IN THIS CULTURAL ENVIRONMENT?
– HOW WERE YOU MAKING THOSE CHOICES?
– HOW WERE YOU SUPPOSED TO DRESS AROUND YOUR FAMILY?
– HOW WOULD YOU SAY YOUR WORK HAS DEVELOPED?
– HOW WOULD YOU CHARACTERIZE THE DIFFERENCE BETWEEN THE EARLY WORK AND THE RECENT WORK IN TERMS OF RECEPTIVITY TO IT?
– HOW WOULD YOU CHARACTERIZE YOUR ATTITUDE TO NATURE?
– HOW WOULD YOU DEFINE DESIGN?
– HOW WOULD YOU DESCRIBE OR DEFINE YOUR ART PRACTICE?
– HOW WOULD YOU DESCRIBE THE WAY YOU USE YOUR REFERENCES?
– HOW WOULD YOU DESCRIBE YOUR WORK?
– HOW WOULD YOU FEEL ABOUT BEING DESCRIBED AS A MODERNIST?
– HOW WOULD YOU TALK ABOUT A PROJECT YOU ARE WORKING ON RIGHT NOW?
– HOW YOU’RE SEEING YOURSELF IN A COUPLE OF YEARS?
– HOW, ANA?
– HOW, SPECIFICALLY, DID THESE ART MAGAZINES IMPRESS YOU?
– HOW?
– HOW? – IN WHAT WAY?
– HOW? WHAT ARE WE STEALING?
– HOW’S SERAFINA?
– HOW’S YOUR KNEE FEELING?
– HUMBLE?
– HUMOR?
– HUMOUR AND ABSURDITY ARE EVIDENTLY CRUCIAL TO THE WORK: PLAYS OF WORDS, CONTRADICTIONS BETWEEN TITLES AND FORMES, TENSIONS BETWEEN SHAPES, OBJECTS MISPLACED, DISPLACED, IRONY WITH HIGH-CULTURE, PARODY, ETC.
– HUNG AGAINST A WALL?
– HYPNOSIS. CAN ART IDEAS BE PLANTED AND REMOVED IN A MIND?
– I ASK MYSELF THAT QUESTION EVERYDAY.
– I AGREE.
– I AM CURIOUS ABOUT YOUR RELATIONSHIP TO OBJECTS IN GENERAL: DO YOU CONSIDER YOURSELF A COLLECTOR?
– I ASKED A SIMPLE QUESTION!
– I BEG YOUR PARDON?
– I CAN SEE THAT BY YOUR JACKET.
– I CAN UNDERSTAND THAT PRETTY WELL.
– I CAN’T RECALL, I’D HAVE TO GO BACK AND LOOK IT UP.
– I DIDN’T KNOW THAT.
– I DON’T BELIEVE THAT AT ALL.
– I DON’T GET IT.
– I DON’T HAVE TO TELL YOU THINGS ARE BAD. EVERYBODY KNOWS THINGS ARE BAD.
– I DON’T KNOW ANYONE WHO HAS DEALT WITH THAT SUBJECT.
– I DON’T KNOW IF IT HAPPENS TO YOU, BUT I CAN GET UPSET IF I HAVE A PICTURE IN THE ROOM AND NO ONE REALLY LOOKS AT IT. I KNOW IT’S GREEDY AND I SHOULDN’T ADMIT IT. DOES THAT HAPPEN TO YOU?
– I DON’T KNOW, MAYBE THERE IS NO INFLUENCE…
– I DON’T UNDERSTAND HOW YOU GOT ONTO THIS. DO PEOPLE FEEL THAT YOU SHOULD BE DOING SOMETHING ABOUT IT?
– I DOUBT YOU DO.
– I FEEL THE SAME WAY.
– I FIND THE THEATRICAL CONNECTION INTERESTING…
– I GET A BIT TIRED OF WORDS SOMETIMES, DON’T YOU?
– I GUESS THE TITLE WAS A CLUE.
– I GUESS THERE MUST BE OTHER SIDE TO THE STORY.
– I HATE THIS TOWN.
– I HAVE A REALLY OFF QUESTION: DO YOU HAVE ANY BELIEFS OR EXPERIENCES WITH UFOS?
– I HAVEN’T NO. WHY DO YOU DO IT?
– I IDENTIFY ENTIRELY WITH THOSE WORDS.
– I INVITED YOU BECAUSE I FIND YOUR WORK TO BE INTERESTING.
– I KNOW, BUT I STILL HAVE MY OBLIGATIONS AS AN INTERVIEWER.
– I LEAVE IT TO YOUR DISCRETION.
– I LIKED THAT BLUE WOOLEN SWEATER YOU WORE YESTERDAY.
– I LOST TRACK OF TIME HERE.
– I LOVE THAT YOU KNEW YOUR LIFE WAS NEVER GOING TO BE THE SAME.
– I LOVE THIS SONG.
– I MEAN IMAGES PLAY SUCH A VIVID PART IN OUR MEMORIES. WHAT ARE THE MOST… WHAT’S THE MOST VIVID PICTURE IN YOUR MIND THAT YOU EVER GAZED UPON?
– I MEAN THE WAY YOU PLACE YOUR WORKS IN THE SPACE.
– I NEED A TITLE BUT I’M NOT QUITE SURE WHAT YOU ARE… DO YOU CONSIDER YOURSELF AN ARTIST?
– I ONCE ACCUSED YOU OF HERO WORSHIP IN YOUR PLAGIARISM OF VARIOUS ARTISTS, WHICH YOU STRANGELY OBJECTED TO. WHY?
– I SEE.
– I SEE.
– I SENSE A CERTAIN RELUCTANCE ABOUT BEING INTERVIEWED.
– I SUPPOSE CONTEMPORARY ART IS ALSO ABOUT EDGES, PROVOKING QUESTIONS AND EMOTIONS…
– I THINK IT HAS BEEN, IN THE PAST.
– I THINK THAT’S ONLY TEMPORARY.
– I THINK YOU ARE RIGHT.
– I WANT TO ASK YOU A QUESTION ABOUT ANIMALS BUT I’M NOT SURE HOW TO PHRASE IT.
– I WANTED TO ASK IF YOU HAVE ANY HEROES.
– I WAS GOING TO SAY THAT!
– I WISH I’D SEEN IT.
– I WONDER IF THERE’S A DIFFERENCE BETWEEN THAT OLD IDEA OF THE DEATH OF THE AUTHOR AND SOMETHING MORE LIKE… THE DISAPPEARANCE OF THE AUTHOR. ROLAND BARTHES’ WHOLE IDEA OF THIS POST-STRUCTURAL KIND OF PRODUCER – THE AUTHOR – IS SOMEHOW A DEAD IDEA. I AM WONDERING IF THAT CAN BE A NEW IDEA OF THE AUTHOR.
– I WONDER IF YOU COULD TALK A LITTLE BIT ABOUT YOUR RELATIONSHIP WITH OTHER GENERATIONS OF ARTISTS, YOUNGER THAN YOU, AND OLDER THAN YOU, WHEN YOU WERE YOUNG?
– I WONDER WHAT YOUR INFLUENCES ARE?
– I WOULD LIKE TO BEGIN BY ASKING YOU ABOUT YOUR RELATIONSHIP WITH OBJECTS: HOWEVER COMMONPLACE OR “FAMILIAR” THE ORIGINS OF THOSE THAT YOU PRESENT IN YOUR WORKS MIGHT SOMETIMES SEEM, THEY APPEAR – SYSTEMATICALLY – AS A MYSTERY TO THE VIEWER. IT SEEMS THAT YOU DO NOT LOOK FOR THEM PER SE, BUT THAT THEY SIMPLY “COME TO YOU” AT SOME POINT. HOW DO YOU LOOK FOR THEM, IF INDEED YOU DO, OR OTHERWISE, HOW IS THAT THEY FIND YOU?
– I WOULD LIKE TO GO BACK TO THE NOTION OF ENIGMA. THE WORKS SEEM ENIGMATIC.
– I WOULD LIKE TO KNOW THE PROCESS THAT IN YOUR MIND GOES THROUGH BETWEEN HAVING THE SEED OF AN IDEA TO EXHIBITING OBJECTS IN A GALLERY.
– I WOULDN’T ASK TOO MUCH OF HER.
– I’D LIKE THAT WE TALK ABOUT IT NOW.
– I’D LIKE TO START OUT BY ASKING HOW THAT HAPPENED – HOW YOU CAME TO BE DOING BOTH.
– I’LL MAKE SOME MORE FOR YOU.
– I’M ALL OUT OF PRAC-.
– I’M ALWAYS AMAZED AT YOUR GENERATION’S CRAFTMANSHIP SKILLS. DO YOU THINK THAT THIS COMES FROM A TIME WHEN EVERYONE LEARNED HOW TO FIX AND MAKE THINGS PROPERLY?
– I’M CURIOUS ABOUT WHERE YOU AS AN ARTIST FIND YOUR GRATIFICATION. IN THE MAKING, OR THE ULTIMATE MEANING?
– I’M NOT SURE I SEE THE DIFFERENCE.
– I’M NOT SURE THAT THE EXHIBITION CAN BE A SPACE FOR DEMONSTRATION, IT IS NOT AN ARGUMENTATIVE SPACE, BECAUSE IT’S A SPACE FOR MONTAGE: AN EXHIBITION DOESN’T PROVE ANYTHING, IT ONLY PROPOSES A POSSIBLE, TEMPORAL ARRANGEMENT. AN EXHIBITION IS MORE ON THE SIDE OF HYPOTHESIS, PROPOSITION, THAN DEFINITIVE CONCLUSIONS.
– I’M SEEING SOMETHING SIMILAR HERE, AND I’M REALLY CURIOUS TO ASK, FIRST, WHERE DID ALL THESE DIFFERENT IMAGES COME FROM?
– I’M SORRY I BROUGHT IT UP!
– I’M SURE IT WAS VERY NICE.
– I’M VERY INTERESTED IN YOUR COMPOSITIONAL PROCESS.
– I’VE ALWAYS SENSED A MISTRUST TOWARDS, ON YOUR PART, TOWARDS ART HISTORY OR ART CRITICISM. WHY IS THAT?
– I’VE NEVER HEARD THAT BEFORE! THAT’S SUCH A GREAT WAY OF LOOKING AT IT.
– I’VE NEVER SEEN YOU COVERING YOUR EARS?
– I’VE SAID ALL SORTS OF STUPID THINGS. [LAUGHS] LUIS BUNUEL ONCE EXPRESSED AN INTEREST IN FILMING DEATH KIT. THAT COULD HAVE BEEN VERY NICE.
– IAN WILSON?
– IF I DIDN’T KNEW YOU, I WOULD THINK YOU’RE EXTREMELY SUPERFICIAL.
– IF THERE IS NO LOVE, WHAT THEN?
– IF VOLTAIRE WERE ALIVE TODAY, AND YOU WERE TO GIVE HIM A TOUR OF THE CITY, WHERE WOULD YOU BRING HIM?
– IF YOU ASK YOUNG ARTISTS WHOSE WORK REALLY SPEAKS TO THEM, MAY WILL ANSWER ‘ANA JOTTA’.
– IF YOU COULD BE A CARTOON CHARACTER, WHO WOULD YOU BE AND WHY?
– IF YOU COULD DO IT ALL AGAIN WHAT WOULD YOU DO DIFFERENTLY?
– IF YOU COULD NARROW IT, WHAT IS IT YOU THINK ARTISTS DO?
– IF YOU HAD TO CHOOSE BETWEEN CYNICISM AND HUMOR, WHICH POSITION WOULD YOU CHOOSE?
– IF YOU HAD TO WRITE YOUR OWN EPITAPH, WHAT WOULD IT SAY?
– IF YOU LEAVE…
– IF YOU LIKE.
– IGGY POP?
– IMPORTANT NEGATIVELY? IMPORTANT IN WHAT SENSE?
– IN 1981!
– IN A PHYSICAL REACTION.
– IN A TIME WHEN ART PRACTICES ARE FACING AN INCREASING DISPERSION, WHAT REMAINS UNIQUE IN THE DYNAMICS OF DAILY STUDIO PRACTICE?
– IN A VISUAL WAY, OR IN A CONCEPTUAL WAY?
– IN ART, DO YOU DISTINGUISH BETWEEN WHAT IS VISIBLE AND WHAT JUST EXISTS?
– IN BREAKING RULES.
– IN CONCLUSION, WHAT WOULD YOU SAY CHARACTERIZES YOU AS AN ARTIST?
– IN FACT YOU DO THE OPPOSITE, RIGHT?
– IN HIS 1987 ESSAY, ‘LA PAROLE QUOTIDIENNE’ (EVERYDAY SPEECH), MAURICE BLANCHOT CLAIMS THAT THE CONNECTION BETWEEN BOREDOM AND THE EVERYDAY IS A HUMAN PHENOMENON THAT DOES NOT BELONG TO NATURE. WHAT ROLE DOES BOREDOM PLAY IN YOUR EVERYDAY CONSIDERATIONS OF OUR BODIES AND OTHER OBJECTS?
– IN LITERATURE?
– IN ONE WAY OR ANOTHER, THROUGHT ALL OF HIS WORK.
– IN OTHER WORDS, IS THE ULTIMATE PRODUCT OF YOUR PROJECT A SERIES OF TEXTS OR A SERIES OF RECORDINGS?
– IN OTHER WORDS, YOU?
– IN RADIO, EVERYTHING IS HAPPENING SOMEWHERE ELSE…
– IN SHORT, IT IS THE CONTRACTION OF A MULTITUDE OF MEMORIES?
– IN SOME WAY, FOR ME.
– IN TERMS OF INTENSITY?
– IN TERMS OF NOSTALGIA?
– IN TERMS OF THE PARANOID REPRESENTATION OF THE FAMILY?
– IN TERMS OF WHAT?
– IN THAT REGARD, WHO DO YOU SEE AS THE PEERS WHO MATTER TO YOU?
– IN THE 1990S, THERE WAS MUCH TALK OF UTILIZING THE POLITICAL POTENTIAL OF IDENTITY FOR ARTISTIC PRODUCTION.
– IN THE LAST INTERVIEW, WE SPOKE ABOUT THIS EXTREMELY COMPLEX PROCEDURE, A PROCESS THAT IS VERY LAYERED?
– IN THE PRODUCTION?
– IN THE SAME PLACE WHERE IT REMAINED?
– IN THE SENSE OF…?
– IN TODAY’S “POST-MEDIUM” CONDITION,” NO SINGLE MEDIUM CALLS THE TUNE, AND YET “PAINTING” STILL EVOKES AN ENTIRE SYSTEM OF BELIEFS: THE BELIEF IN ITS TRUTH, ITS SELF-ACTIVITY, ITS ESSENTIALNESS, ITS VITALITY. THE MOMENT YOU PAINT, YOU DEAL WITH THIS PRETENSION THAT PAINTING IS SPECIAL, YOU HAVE TO TAKE A STANCE VIS-À-VIS THIS ASPIRATION ONE WAY OR ANOTHER.
– IN WHAT CONTEXT DID YOU SHOW THESE FILMS?
– IN WHAT EPOCH WAS THAT?
– IN WHAT TERMS?
– IN WHAT WAY?
– IN WHAT WAY? WHAT WERE THE QUALITIES?
– IN WHAT WAYS ARE YOU CRITICAL OF THEM NOW?
– IN WHAT?
– IN WHICH WORKS?
– IN YOUR EARLY TWENTIES, WHAT WERE YOU DOING?
– INCLUDING YOUR ENEMIES? WHY?
– INDIRECT CAUSALITY?
– INSTINCTIVELY?
– INTERESTING. WHY IS THAT?
– IRRELEVANT.
– IS ALCHEMY NOT A QUESTION OF LEAVING SIGNS?
– IS AN APPETITE.
– IS GENEROSITY THE RIGHT WORD?
– IS HE A MIRROR?
– IS HE STILL DOING ART?
– IS IT A CONSTANT IDEA THAT YOU KEPT WORKING WITH?
– IS IT A FORM OF PLAY, PERHAPS?
– IS IT A MODERN IDEA?
– IS IT A PART OF YOUR CHILD MEMORY?
– IS IT AGING YOUR SKIN TOO FAST?
– IS IT AT THIS TIME YOU WORKED WITH OSÓRIO MATEUS?
– IS IT EVER SAFE TO RETURN?
– IS IT HARD TO HANDLE?
– IS IT IMPORTANT THAT YOU EXPOSE YOURSELF IN THE END?
– IS IT JUST A MASS OF DETAILS?
– IS IT JUST A WAY TO EARN A LIVING, OR IS IT A CALLING?
– IS IT LIKE HIGH FASHION?
– IS IT OK SORRY OR IS IT OK TO SMOKE?
– IS IT ON THE BASE OF SPECIFIC CASE STUDIES THAT YOU DEVELOP YOUR ARGUMENTS?
– IS IT ONE OF THOSE OPTIONS THAT A SPECTATOR MAY HAVE, BUT WHICH YOU DON’T ACCOUNT FOR?
– IS IT POSSIBLE THAT YOU HAVE BEEN TAKEN MORE SERIOUSLY THAN YOU WISHED?
– IS IT PURELY A MATTER OF SIZE?
– IS IT SATISFYING TO DESTROY THEM?
– IS IT SOMETHING THAT JUST KIND OF OCURRED TO YOU, A SLOW BURNING REALIZATION?
– IS IT THE BAD KIND?
– IS IT THE DISAPPEARANCE OF THE ARTIST INTO THE CONTEXT?
– IS IT THE SAME IN YOUR CASE?
– IS IT TRUE YOU ARE JEW?
– IS KNOWLEDGE A SUBSET OF THAT WHICH IS BOTH TRUE AND BELIEVED?
– IS LOVE A SOLUTION?
– IS NOT ART HISTORY ITSELF, AT LEAST TO A CERTAIN EXTENT, PART OF THE PROBLEM?
– IS PERVERSITY A CHALLENGE?
– IS PHOTOGRAPHY HAVING A LOVE AFFAIR WITH PAINTING?
– IS SERAFINA AS INTENSE AS SHE SEEMS?
– IS SERAFINA HERE?
– IS SEX POLITICAL?
– IS SHE CRAZY?
– IS SHE FROM PORTO?
– IS SHE LYING?
– IS SUBVERSION A STRATEGY OF YOURS?
– IS THAT A CONSCIOUS THING, DO YOU THINK? OR DO YOU THINK IT’S TRUE?
– IS THAT A DEMOCRATIC DECISION?
– IS THAT AN IMPORTANT FACTOR IN YOUR WORK?
– IS THAT HOW YOU’VE SUPPORTED YOURSELF?
– IS THAT ONE A DOG?
– IS THAT PLEASING?
– IS THAT SOMETHING YOU’VE ALWAYS DONE?
– IS THAT STILL A PROBLEM?
– IS THAT WHAT HAPPENED?
– IS THAT WHAT YOU WANT TO BE, IN CONTROL?
– IS THAT YET ANOTHER PROGRESSION?
– IS THAT YOU?
– IS THAT YOUR DEFINITION?
– IS THE ARCHIVE AN IMPORTANT SITE FOR YOU, EITHER PHYSICALLY OR SYMBOLICALLY?
– IS THE BEAUTY OF YOUR PAINTINGS INTENTIONAL OR ACCIDENTAL?
– IS THE CONTEXT THE WORK?
– IS THE PAINTING PROCESS NECESSARILY A SURPRISING PROCESS?
– IS THE PROCESS MORE IMPORTANT THAN THE RESULT?
– IS THE SAME TRUE OF YOUR EVERYDAY LIFE?
– IS THERE A CERTAIN INSPIRATION?
– IS THERE A CONNECTION BETWEEN THEM?
– IS THERE A CONNECTION?
– IS THERE A DRAWING PHASE?
– IS THERE A FILM, OR A FILM SCENE, THAT IS AN INFLUENCE, OR OFTEN COMES TO MIND?
– IS THERE A PERIOD IN HIS LIFE THAT MOST INTERESTS YOU?
– IS THERE A PLEASURE IN THAT PROCESS, OR IS IT JUST THE RESULT THAT YOU’RE LOOKING FOR?
– IS THERE A RELATIONSHIP BETWEEN SPORT AND ART?
– IS THERE A RESISTANCE TO NOSTALGIA IN CONTEMPORARY ART?
– IS THERE A SENSE OF COHERENCE THAT CONVEYS A PARTICULAR IMPRESSION?
– IS THERE A TRIP YOU’D REALLY LIKE TO TAKE?
– IS THERE ANY ELEMENT, ISSUE, QUESTION, FEELING – ANYTHING – THAT HAS BEEN AN ESSENTIAL CONSTANT FOR YOU IN YOUR WORK EVER SINCE YOUR DAYS AS AN ART STUDENT?
– IS THERE ANY MORE YOU’D LIKE TO SAY ABOUT YOUR OWN WORK? [SILENCE]
– IS THERE ANYONE WHO WANTS TO SAY “EVERYTHING THAT COULD BE SAID”?
– IS THERE ANYTHING ELSE YOU WANT TO MENTION THAT WE HAVEN’T TALKED ABOUT?
– IS THERE ANYTHING ELSE YOU’D LIKE TO CLARIFY?
– IS THERE SOMETHING ABOUT LISBON YOU THINK WOULD SURPRISE PEOPLE WHO AREN’T FAMILIAR WITH THE CITY?
– IS THERE SOMETHING YOU ARE UNABLE TO GRASP THERE?
– IS THIS A NEW SITUATION?
– IS THIS A POTENTIAL NEW BEGINNING?
– IS THIS A SUBJECT OF YOUR WORK?
– IS THIS EXILE? ARE YOU IN EXILE HERE?
– IS THIS SENSE OF AMBIGUIYT AN INTENTIONAL PART OF THE PROJECT?
– IS THIS SOMETHING THAT WE CAN ALSO CONSIDER AS A POLITICAL POSITION?
– IS THIS SOMETHING THAT YOU WOULD DENY?
– IS THIS TRUE OR AM I IMAGINING IT?
– IS THIS YOUR LEGACY?
– IS WORK A DESEASE?
– IS WORK A SHAME?
– IS YOUR IRONY RELATED TO ANY KIND OF GNOSTICISM?
– IS YOUR RELATIONSHIP WITH HER SEXUAL?
– ISABEL CARLOS?
– ISABEL CARVALHO?
– ISN’T CURIOUS THAT HARDLY ANYONE CAN WRITE, BUT EVERYONE CAN REWRITE?
– ISN’T ENTROPY ACTUALLY METAMORPHOSIS, OR A CONTINUAL PROCESS IN WHICH ELEMENTS ARE UNDERGOING CHANGE, BUT IN AN EVOLUTIONARY SENSE?
– ISN’T EVERYBODY LIKE THAT?
– ISN’T THAT A LITTLE PRETENTIOUS?
– ISN’T THAT A RATHER ARTIFICIAL DICHOTOMY?
– ISN’T THAT RATHER PERVERSE?
– ISN’T THE ARTIST ALSO A CHILD IN A SANDBOX, EXPERIMENTING WITH THINGS?
– ISN’T THERE A DANGER THAT SUCH PRINCIPLES BECOME DOGMA?
– ISN’T THIS A FINE SUMMARY OF YOUR WORK TO DATE?
– IT ALSO CHALLENGES THE IDEA OF TASTE.
– IT BECOMES A PLACE?
– IT CAN INSTIGATE CHANGE.
– IT DEMANDS ALLOT OF ATTENTION, NO?
– IT DOES NOT DISTURB THEM, THEN?
– IT DOESN’T MATTER TO HIM.
– IT HAD A FINER RESOLUTION…
– IT HAS A HIERARCHY.
– IT IS A NEITHER HERE NOR THERE STATE?
– IT IS A SPECULATIVE PROCESS.
– IT IS ABOUT MOVING SIDEWAYS, LIKE A CRAB?
– IT IS CERTAINLY NOT A QUESTION OF PEDAGOGY. THERE IS A PLACE FOR MONSTRATION AND A PLACE FOR DEMONSTRATION. THERE’S A DIFFERENCE.
– IT IS NOT EASY TO COMPREHEND.
– IT IS THEN ALSO ABOUT BOREDOM? ONE OF MY FAVORITE IRANIAN POETS SAYS, THAT IF WE COULD LIVE FOREVER, WE WOULD NEVER STOP SEARCHING FOR THAT SOMETHING WE ARE CONVINCED WE ONCE LOST.
– IT MAKES A GREAT SOUND.
– IT MEANS A CHANGE OF PERSPECTIVE?
– IT SEEMS LIKE YOU’VE BEEN EVERYWHERE.
– IT SEEMS MORE LIKE AN INVISIBLE INVASION.
– IT SEEMS THAT YOU’RE MAKING VERY DEFINITIVE CHOICES, THOUGH. . .
– IT TOOK ON A LIFE OF ITS OWN?
– IT WAS A COMMISSIONED WORK, THEN?
– IT WAS A GOOD PROCESS…
– IT WAS A STRANGE COINCIDENCE…
– IT WAS ALSO A MUCH SMALLER ART WORLD THAN NOW.
– IT WAS AN IDEA WHICH DIDN’T WORK?
– IT WAS NOT SHOWN UNTIL THE ‘80S.
– IT WOULD TAKE US A FULL DAY TO DISCUSS EVERYTHING THAT HAS INFLUENCED YOUR WORK: MAJOR ARTISTS, SELF-TAUGHT ARTISTS, COMIC STRIPS, HOLLYWOOD FILMS, OPERA, WORKS IN NATURAL HISTORY MUSEUMS, AND MORE. CAN YOU EXPLAIN WHAT DREW YOU TO THESE VARIOUS THINGS?
– IT´S WHAT FOR SOME PEOPLE GIVES IT THE FLAVOUR AND THE CHARM…
– IT’S A DUMB QUESTION.
– IT’S A LITTLE LIKE THE MUSÉE IMAGINAIRE BY MALRAUX, ISN’T IT?
– IT’S A VERY CLOSED SOCIETY?
– IT’S AGAIN A WAY TO SPREAD CONFUSION?
– IT’S AID THAT WHEN HE TAKES OFF HIS MASK, THE ACTOR REVEALS HIS MAKEUP. DO YOU THINK THAT PICTURES CAN LET US SEE THE FACE OF THE WORLD?
– IT’S ALL ABOUT PROCESS, ABOUT THE STUDIO…
– IT’S ALSO A GENERATIONAL AFFAIR, RIGHT?
– IT’S ALSO NOT SO MUCH ABOUT COMMUNICATING.
– IT’S ALWAYS INTERESTING WHEN AN ARTIST TAKES ON ASPECTS OF A CERTAIN MEDIUM WITHOUT BEING TRAINED ON IT: BECOMES MORE INVENTIVE.
– IT’S CONNECTED TO WALKING, RIGHT? TO BEING A LITTLE BIT NAKED…
– IT’S EASIER TO TELL YOUR PARENTS, TOO.
– IT’S FUNNY HOW THE WORKS REFLECT THE LIFE. THE THEMES IN YOUR LIFE CERTAINLY SHOW UP IN YOUR ART.
– IT’S IMPERSONAL.
– IT’S IMPORTANT TO LOOK FORWARD?
– IT’S LIKE ACCIDENTALLY YOU OPENED SOMETHING UP.
– IT’S LIKE ARCHIVING OR COLLECTING YEAH?
– IT’S LIKE THERAPY?
– IT’S MEANT TO BE ENTERED. IT’S OPENED.
– IT’S NOT A MERE REPETITION THEN.
– IT’S NOT JUST A SORT OF GAME?
– IT’S NOT SELF-EXPRESSION.
– IT’S NOT STRAIGHTFORWARD.
– IT’S NOT SUPPOSED TO MAKE SENSE. WHAT MAKES SENSE?
– IT’S NOT THE COMMUNICATION.
– IT’S OKAY, I WON’T TELL ANYONE. [LAUGHS].
– IT’S OUTRAGEOUS, DON’T YOU THINK?
– IT’S PERFECT! YOU REMEMBER EVERYTHING.
– IT’S POIGNANT SOMEHOW.
– IT’S ROMANTIC, ISN’T IT, ANA?
– IT’S SO ANXIETY-PRODUCING.
– IT’S TO DO WITH EXPECTATIONS?
– IT’S VERY PHOTOGRAPHIC.
– ITS OWN CULTURAL WEIGHT…
– JANDEK?
– JEAN PROUVÉ?
– JOÃO FERNANDES?
– JOHN GRANT?
– JOHN ZORN?
– JULIE AULT?
– JULIO CORTÁZAR?
– JUST A DIFFERENT LIMIT, YOU MEAN?
– JUST A PROP?
– JUST AS MUCH AS YOU ARE.
– JUST AS YOU CONSTANTLY JUXTAPOSE FAMILIAR OBJECTS AND IMAGES WITH THOSE THAT ARE UTTERLY BIZARRE AND FOREIGN, SO YOU SEEM ALWAYS TO GROUND HUGHLY PERSONAL RESPONSES WITHIN A BROADER FRAME OF REFERENCE. IS THIS SORT OF INTERPLAY THAT YOUR CURRENT WORK EXPLORES?
– JUST HOLD ON A SEC. LET’S CHANGE THE TAPE.
– JUST LIKE BURROUGHS CUT AND PASTED THE POETRY HE DID?
– JUST OUR LUCK.
– JUST OUT OF CURIOSITY: WHA ARE YOUR TRULY FAVOURITE REFERENCES? THE ONES THAT MADE YOU BECOME AN ARTIST AND LED YOU IN A SPECIFIC DIRECTION, I. E., THE ONES THAT HAVE FOUNDED YOUR PERSONAL PATH.
– JUST SAY NO.
– JUST THAT I ADMIRE YOU SO MUCH.
– JUTTA KOETHER?
– LAST TIME WE SAW EACH OTHER YOU HAD JUST READ FLAUBERT’S L’EDUCATION SENTIMENTAL. I WAS WONDERING WHY YOU WERE INTERESTED IN IT?
– LAST WINTER.
– LAYERED.
– LEONOR ANTUNES?
– LET’S BEGIN WITH YOUR NAME.
– LET’S HEAR.
– LET’S TALK ABOUT POLITICS.
– LET’S TALK ABOUT SOME OF YOUR EARLY SCULPTURES.
– LIFE AND ART RUN IN CLOSE PARALLELISM.
– LIFE’S TOO SHORT?
– LIKE A BOOMERANG.
– LIKE A DAY?
– LIKE A DIARY ALMOST.
– LIKE A DOCUMENTARY?
– LIKE A PLAYGROUND?
– LIKE A RORSCHARCH?
– LIKE AN ARCHIVE?
– LIKE CHAMELEONIC ARCHITECTURE.
– LIKE INTERNET DELEGATION?
– LIKE MAKEUP?
– LIKE PEOPLE FINDING CONCEALED MESSAGES IN POP SONGS?
– LIKE THE JOKES IN YOUR WORK. THEY’RE FOLDED RIGHT INTO THE DOUGH. IT’S A KIND OF SYNTHETIC, WRONG SITUATION.
– LIKE THIS?
– LIKE TWO PERSONAE.
– LIKE WHAT?
– LIKE?
– LOOKING AT THE FINISHED BOX, DID THAT MAKE YOU SEE HOW ACCOMPLISHED YOU WERE WHEN YOU WERE YOUNG?
– LOOKING BACK, WOULD YOU HAVE DONE ANYTHING DIFFERENTLY?
– LORETTA FAHRENHOLZ & REENA SPAULINGS?
– LOUISE BOURGEOIS ONCE SAID THE ARTIST HAS THE GIFT OF BEING ABLE TO HAVE A SPECIAL RELATIONSHIP WITH THE SUBCONSCIOUS.
– LOVE IN VAIN?
– LOVELY G?!
– LUST FOR LIFE?
– MADAME GRÉS?
– MAINLY I WANT TO KNOW WHAT YOUR CONCERNS ARE. HOW YOU CAME TO THEM AND HOW. . . ?
– MAKE AN EFFORT TO REMEMBER.
– MAKE UP YOUR MIND!
– MAKING ART IN THE LARGER SENSE?
– MAKING FUN OF THE MODERNIST ATTRIBUTE OF FLATNESS.
– MAKING MONEY?
– MANY ARTISTS SAY THAT DOING ART PUTS ONSELF IN A RISKY SITUATION SOMEHOW.
– MANY CONSIDER CENSORSHIP A USEFUL SAFEGUARD, AND THINK THAT NOT EVERYONE SHOULD BE EXPOSED TO EVERYTHING. WHAT DO YOU THINK?
– MANY OF YOUR PROJECTS APPEAR OUTSIDE OF TRADITIONAL ART SPACES. WOULD YOU SAY THAT THE GALLERY IS NECESSARY TO CONCEPTUALIZE SUCH WORK, TO PROMOTE OR ENABLE IT?
– MARIA BURMESTER?
– MARIA RAMOS?
– MARTIN PURYEAR RECENTLY MADE THE FOLLOWING OBSERVATION: “THE MOST INTERESTING ART FOR ME RETAINS A FLICKERING QUALITY, WHERE OPPOSED IDEAS CAN BE HELD IN TENSE COEXISTENCE.” THIS STATEMENT REALLY RESONATES FOR ME AS CONTRADICTIONS ARE SUCH AN INTRINSIC PART OF OUR DAILY LIVES, AND THEY ALSO SEEM TO ANIMATE YOUR WORK. IS THAT A FAIR ASSESSMENT, DO YOU THINK?
– MATERIALS HAVE A PRECISE SIGNIFICANCE IN YOUR WORK, EVEN BEFORE BEING CONVERTED INTO FORMS.
– MATISSE.
– MAYBE IT ALSO HAS TO DO WITH THE FACT THAT YOU DIDN’T USE TO MAKE A LIVING FROM THIS.
– MAYBE THERE’S A REASON IT LOOKS THAT WAY. HAVE YOU CONSIDERED THAT?
– MAYBE YOU’DE LIKE A GLASS OF WINE?
– MEANING?
– MEMORY IS CONSUMED…
– MENTALLY?
– MICHAEL KREBER?
– MIGHT YOU CONSIDER ANOTHER FORM?
– MIGUEL NABINHO?
– MIGUEL WANDSCHNEIDER?
– MINDLESS DESTRUCTION?
– MIRRORS MIRRORING MIRRORS EXPANDING AND CONTRACTING TO THE FOCAL POINT OF VIEW AND INCLUDING THE LINES OF PERSPECTIVE BISECTING THE SUCCESSIVE FRAMES TO THE VANISHING POINT. THE GENERAL PUBLIC, THE AUDIENCE, THE MEDIA PLAYING THE PART OF THE SOUNDING BOARD, THE COMPREHENSIVE FRAMEWORK OUTLINING WHATEVER MEETS THEIR EYE.
– MORE DRUGS?
– MORE OF A PARODY OF ALL ISMS.
– MORE SO THAN MEN?
– MORE THAN MANET?
– MORE TIMID MAYBE?
– MOST ARCHIVES ARE DIVIDED INTO DIFFERENT SECTIONS OF THEMES. HOW DO YOU DIVIDE YOURS?
– MOST LIKELY.
– MUSA PARADISIACA?
– MY PARANOIA?
– NECESSARY ANESTHETIC?
– NEVER FEAR THE YOUNGER GENERATION?
– NEVER WAS?
– NICE.
– NICK DRAKE?
– NICOLAU: SILENCE.
– NO COMMENT.
– NO EMPHASIS ON EXPERIMENTATION OR VIDEO AS AN ART MEDIUM?
– NO IT DOESN’T REALLY MATTER BECAUSE THAT’S WHAT GOSSIP DOES, ISN’T THAT WHAT GOSSIP IS?
– NO MORE PAINS?
– NO MORE ROCK BANDS?
– NO NEED. [HE LIGHTS ANOTHER CIGARETTE]
– NO OFFENSE?
– NO RETURN TO ENLIGHTENMENT VALUES OF TECHNICAL SKILL AND TRANSCENDENT MORAL VALUES DETECTED?
– NO SEX SCENES?
– NO WAY!
– NO, NO, NO, I SEE ALL KINDS OF STUFF. WHO KNOWS IF IT’S REAL OR NOT?
– NO, NOT TOO MANY. I GUESS I WANT TO KNOW MORE ABOUT YOUR ANIMALS. DO YOU OWN ANY?
– NO, SERIOUSLY, DO YOU HAVE ANY FRIENDS?
– NOBODY SAW THE EXHIBITION. IT WAS A SORT OF GHOST EVENT…
– NOBODY WILL EVER READ THIS THING RIGHT THROUGH.
– NOT EVEN AS A CONTESTATION REACTION?
– NOT EVEN AT THE FINE ARTS SCHOOL?
– NOT IN SO MANY WORDS.
– NOT INTO HEALTH FOOD BUT INTO CHAMPAGNE?
– NOT IRONIC?
– NOTHING OFF THE TOP OF YOUR HEAD THAT YOU REALLY WANTED TO DO? A REGRET?
– NOTHING TO SEE, NOTHING TO HIDE.
– NOW I UNDERSTAND WHY YOU GO TO SEE FOR YOURSELF.
– NOW YOU ARE A CINEPHILE, WERE YOU SO AT THE TIME?
– NOW, HAD YOU TAKEN THEATER AND THINGS LIKE THAT?
– NOW, PAINTING CAN BE UNDERSTOOD TO MEAN ALL SORTS OF THINGS – AN INSTITUTION, A MEDIUM, A SEMIOTIC SYSTEM, A CERTAIN PROCEDURE. WHAT’S MORE, PAINTING HAS BEEN ACCORDED A SPECIAL STATUS SINCE THE 18TH CENTURY, AND DESPITE THE MUCH-TALKED-ABOUT DISSOLUTION OF THE BOUNDARIES BETWEEN THE ARTS, IT HASN’T LOST THAT STATUS. HOW DOES YOUR PRACTICE POSITION ITSELF VIS_À-VIS THIS PRIVILEGED MEDIUM?
– NOW, WHAT IS THAT DESIRE ABOUT?
– NUTS!
– OBVIOUSLY, THEY WERE WRONG.
– OF COURSE SHE DID.
– OF COURSE, IT BECOMES REALLY LIBERATING TO EMBRACE THINGS THAT YOU DON’T LIKE.
– OF COURSE. WHAT I FIND SO INTERESTING ABOUT IT IS THAT THERE IS AN ASPECT OF USING ART AS A KIND OF THERAPY.
– OF COUSE WE CAN, YOU ARE ANA JOTTA.
– OF PURE EONOMIC REASONS?
– OF QUESTIONING?
– OF THESE ELEMENTS.
– OF WHAT VALUE IS ART?
– OF WHOM AND OF WHAT ARE WE CONTEMPORARIES?
– OH, BECAUSE IT INTERESTS ME, IT INTERESTS ME IN MYSELF. IT’S A HARD THING TO TALK ABOUT, AMONG PEOPLE, AND AMONG FRIENDS, AND I DON’Y EVEN KNOW YOU THAT WELL. SOMETIMES I’M JUST SO SURPRISED THAT I, THE PERSON WHO I AM, AND WHO I LIVE WITH EVERY DAY, IS THAT OTHER PERSON OUT IN THE WORLD.
– OH, THE ACTUAL PLACE?
– OH. THE POST CARDS YOU PICKED UP ON YOUR TRAVELS?
– OK, GRANTED. BUT IT EXPRESSES A CERTAIN WISH TO…
– OK. WHO’S YOUR FAVOURITE BOND GIRL?
– OKAY…
– ON AVERAGE, HOW LONG DOES IT TAKE YOU TO MAKE A PAINTING?
– ON THE PART OF THE VIEWER?
– ONCE REMOVED?
– ONCE STUPID, ALWAYS SYUPID?
– ONCE YOU GET THE PUNCH LINE OF A JOKE, YOU MIGHT BE SATISFIED ENOUGH NOT TO ACT. SO JOKES CAN BE JUST ABOUT VALIDATION.
– ONE AFTER ANOTHER, A FEW SILENT STEPS.
– ONE CAN DETECT THE FOOTPRINTS OF SCOTT WALKER?
– ONE LAST QUESTION. HOW MANY CHICKENS WOULD YOU HAVE TO HAVE IF YOU WANTED TO EAT TWO A WEEK AND ALSO HAVE EGGS?
– ONE OF ‘THEM’? WHO ARE ‘THEY’?
– ONE OF MY BIGGEST OBSTACLES IS MY IMPECCABLE TASTE.
– ONE OF THOSE PEOPLE WHO CAN’T TOLERATE HAPPINESS?
– ONE PLUS ONE MAKES THREE?
– OR ARE THEY DRIVEN BY CHANCE?
– OR BETROTHED TO…?
– OR IS IT A CONSTANT PROCESS OF UNLOCKING?
– OR SHOULD A COMPLETELY DIFFERENT TERM BE USED, IF YOU WANT TO LABEL IT?
– OR WOULD THERE BE NO SOUND AT ALL?
– ORANGES…
– OTHER ARTISTS?
– OTHER EXAMPLES?
– OUT OF CHOICE?
– OVERWHELMING?
– PART OF A LARGER WORK THAT YOU GAVE UP?
– PASTICHE?
– PEDRO NORA?
– PEOPLE ARE SCARED OF SAYING THEY BELIEVE IN SOMETHING.
– PEOPLE LAUGH WHEN YOU FALL ON YOUR ASS. WHAT’S HUMOR?
– PEOPLE LIKE ME?
– PEOPLE LIKE US?
– PEOPLE LIKE YOU?
– PEOPLE WHO AREN’T NECESSARILY ARTISTS?
– PERHAPS AN UNAPPRECIATED WAY TO WORK?
– PERHAPS AS A RESULT OF BEING WRAPED UP IN YOURSELF, THERE COMES A TIME WHEN YOU BECOME MORE OPEN TO THINGS.
– PERHAPS THERE IS A CONNECTION WITH THE IDEA OD SCALE THAT YOU MENTIONED?
– PERHAPS YOU’RE NOT THE BEST JUDGE OF YOUR OWN WORK.
– PERSONAL FREEDOM?
– PICTURES OF PROJECTS? THINGS FROM THE PAST?
– PIERRE LEGUILLON?
– PIERRE MOLINIER?
– PLEASE DO.
– POLAROID HAS STOPPED MAKING ITS INSTANT FILM; ANY REGRETS?
– P-ORRIDGE?
– POST BOXES?
– PRATICALLY, THERE WERE NO INSTITUTIONS.
– PRESUMABLY A MIGHTY SUBSTANTIAL PAYBACK, THOUGH…
– PRINCE?
– PROBABLY TOMORROW YOU’D GIVE A DIFFERENT ANSWER.
– PROTECT ME FROM WHAT I WANT?
– PUBLIC POOL.
– QUALITY OF LIFE?
– RAIMUNDAS MALASAUSKAS?
– RATHER THAN GROWING OUT OF THEIR REACTION; A REACTION TO THEIR REACTION?
– RAW POWER?
– READING BOOKS?
– REAL ANIMAL?
– REALLY, HOW DIFFERENT?
– REALLY?
– REALLY? DID YOU MAKE IT YOURSELF?
– REALLY? IN WHAT WAY?
– REALLY? STILL?
– REALLY? THAT’S NEWS.
– RECOGNITION.
– REENA SPAULINGS?
– RE-ENACTMENT CAN BE A WAY OF AVOIDING COMMITMENT. WE CAN EXPERIENCE A SIGNIFICANT HISTORICAL EVENT WITHOUT ACTUALLY HAVING TO DEAL WITH IT.
– REFRACTED EXPOSITION?
– REGRETS?
– REMEMBER THAT ONE?
– REPETITION?
– RICARDO: SILENCE.
– RIGHT.
– RIGHT. FOR ABOUT A YEAR, WASN’T IT?
– RIGHT. IT MAKES SENSE.
– RIGHT. YOU’RE REDEFINING THEM?
– ROLL THE DICE.
– ROMANCE MOVIES?
– RUTH RENDELL?
– SAUL STEINBERG?
– SCARY MONSTERS?
– SCARY.
– SCOTT WALKER?
– SCOUTING FOR GIRLS?
– SELF-PARODY?
– SENSUAL SPEECH?
– SERAFINA MADE ALL THIS?
– SERAFINA?
– SERIOUSLY. DON’T BE SO HARD ON YOURSELF.
– SEVERAL ALTERNATIVE SPACES EMERGED AROUND THE SAME TIME.
– SEVERAL OF YOUR WORKS INCLUDE WORDS, SENTENCES. WHAT ROLE DOES THE TEXT HAVE IN THE CONSTRUCTION OF A WORK?
– SEX?
– SHAKE HANDS FOREVER?
– SHALL WE TAKE ANYTHING TO DRINK?
– SHE DIDN’T HAVE A GOOD TIME.
– SHE DIDN’T LIKE IT.
– SHE DOESN’T SUSPECT ANYTHING?
– SHE HAD POWER.
– SHE TOLD ME THE SAME.
– SHE’S CRAZY. SAY IT.
– SHIFTED?
– SHOULD I REALLY DO IT?
– SHOULD THERE BE AN ENDING?
– SHOULD WE STOP NOW?
– SILENCE KEEPS THINGS “OPEN”.
– SILLY LOVE SONGS?
– SIMPLE AND ODD.
– SINCE THEN, YOU’VE FOUGHT TO CONTROL THAT INSTABILITY. BUT WAS THAT MANIC ENERGY PART OF THE CREATIVITY THAT MADE YOU A STAR?
– SINCE WE’RE ON THE TOPIC OF TITLES, I KEEP THINKING THAT A LOT OF YOUR TITLING IS DIRECTED TOWARD NAMING OR GIVING A KIND OF SUBJECTIVITY TO YOUR OBJECTS.
– SINCE WHEN?
– SINCE YOU’RE SO GOOD AT TITLES, WHAT COULD BE THE TITLE FOR THIS INTERVIEW?
– SIXTYSOMETHING WOMAN ON SCREAMINGLY GOOD FORM.
– SO ALMOST A PARODY?
– SO ARE THEY MASOCHISTS?
– SO ARE YOU GOING TO CALL HIM?
– SO CAN WE SAY, THAT ART CAUGHT UP WITH YOU?
– SO CAN YOU EXPLAIN?
– SO DID YOU EXAGGERATE THOSE FEATURES?
– SO DO YOU THINK SHE’S A SEXUAL ICON?
– SO DURATION IS A FUNCTION?
– SO EVERYTHING BECAME CORRUPTED?
– SO EVERYTHING CAN BE REOPENED, OR REACTIVATED.
– SO FAITHFUL PEOPLE, THE ONES WHO HAVE NEVER STRAYED, AREN’T SENTIMENTAL?
– SO FAR AWAY, YET SO CLOSE BY.
– SO HAVE YOU EVER REGRETTED TAKING THE JOB?
– SO HOW COME YOU HAD A DIFFERENT TAKE?
– SO HOW DO YOU ACTIVELY EXPLORE THIS QUESTION?
– SO HOW DO YOU VIEW LOO’S POSITION IN THIS CONFLICT BETWEEN PRE-MODERNIST AND MODERNIST IDEAS?
– SO HOW IMPORTANT IS A SENSE OF HUMOR TO THE WORK? BECAUSE A LOT OF THESE PICTURES SEEM VERY FUNNY TO ME.
– SO HOW MANY HOURS DO YOU SLEEP?
– SO HOW WOULD YOU DESCRIBE YOURSELF IN ONE WORD?
– SO IF ONE DAY SOMEONE ASKS YOU TO PRODUCE A WORK IN SOMEONE ELSE’S STYLE UNDER SOMEONE ELSE’S NAME, PROPERLY PAID, WOULD YOU?
– SO IF YOU ARE “IN DANGER” YOU LOOK IN THE “TRASH”?
– SO INTIMACY IS CRUCIAL TOO?
– SO IS FRICTION SOMETHING THAT THEN CREATES LONGEVITY?
– SO IS IT MORE TO PUT A WORLD INTO THE WORLD?
– SO IS THAT ABOUT SHARING OR IS IT ABOUT YOU?
– SO IT ALWAYS FADES AWAY AT A CERTAIN POINT?
– SO IT CAN REPRESENT EITHER THE SMALL POSSIBILITIES OR THE LARGER DETAIL?
– SO IT IS A COMPLEX DYNAMIC SYSTEM THAT GROWS?
– SO IT JUST HAPPENED?
– SO IT WAS A SCULPTURE…
– SO IT WAS A WAY OF DEFLECTING OBLIVION?
– SO IT WAS REALLY THE IDEAS RATHER THAN THE RITUALS OF ANY OF THESE THINGS?
– SO IT’S A BATTLE, BUT OF PROCESS: A “WIN-WIN” BATTLE?
– SO IT’S JUST A READING?
– SO IT’S LIKE ARCHAEOLOGY.
– SO IT’S MUCH MORE ABOUT THE QUESTION OF LIFE.
– SO IT’S NOT SYSTEMATIC.
– SO IT’S NOT THE RESEARCH THAT YOU DON’T FIND INTERESTING; IT’S WHEN RESEARCH IS A SUBSTITUTE FOR EVERYTHING ELSE. WHAT IS “EVERYTHING ELSE”?
– SO IT’S THE INTENT THAT’S DIFFERENT?
– SO LONG AS PORNOGRAPHY IS TREATED AS ONLY A SOCIAL AND PSYCHOLOGICAL PHENOMENON AND A LOCUS FOR MORAL CONCERN, HOW COULD SUCH AN ARGUMENT EVER BE MADE?
– SO MAKING IMAGES IS PARTLY ABOUT SOME KIND OF IMPOSSIBILITY?
– SO MUSIC, ALWAYS MUSIC…
– SO NOT JUST ARTISTS – EVERYBODY.
– SO PROFESSIONAL HATRED IT’S A MYTH?
– SO SLAPSTICK?
– SO TAKING THAT SEASON OUT WAS REALLY IMPORTANT FOR YOU? IT WAS SOMETHING YOU NEEDED TO DO?
– SO TELL ME EXACTLY WHAT YOU DO?
– SO THE ACADEMY WAS NOT FOR YOU?
– SO THE IDEA WAS REALLY, ONE COULD SAY, ABOUT FINDING OTHER CIRCUITS.
– SO THE ONLY DUTY WAS INTROSPECTIVE?
– SO THE REST OF US WERE JUST HIPPIES AND YOU WERE DRESSING WELL?
– SO THE SHOW WAS INCLUSIVE.
– SO THERE IS A BIT OF IMPROVISATION?
– SO THERE REALLY ISN’T A STRONG DESIRE TO CHANGE THE EXISTING LEVEL OF COMMUNICATION?
– SO THERE WAS A CRITIQUE OF THAT MIX.
– SO THERE’S A SICKNESS PARALLEL?
– SO THERE’S NO END, NO START, IT’S LIKE A RECURRING POSSIBILITY?
– SO THEY ARE EQUALLY IMPORTANT TO YOU FOR DIFFERENT REASONS?
– SO THEY WEREN’T TEACHING ANY OF THAT MATERIAL?
– SO THINKING ABOUT THE ROLE OF AN ARTIST, DO YOU SEE YOURSELF AS PART OF A TRADITION, OR DO YOU FEEL THAT YOUR ROLE AS AN ARTIST RELATES SOLELY TO THE AGE IN WHICH YOU LIVE AND WORK? HOW DOES ART HISTORY WEIGH ON YOU AS AN INDIVIDUAL PRACTICING AS AN ARTIST?
– SO THIS WAS REPRESENTATIVE OF THE FIRST MUSIC THAT YOU REALLY “FELT”?
– SO TODAY IS THE ARTIST THE MESSENGER?
– SO WAS IT PURE JEALOUSY?
– SO WE GO BACK TO SCHIZOPHRENIA.
– SO WHAT DO YOU READ?
– SO WHAT DO YOU SPECULATE WILL HAPPEN?
– SO WHAT DOES THIS MEAN FOR YOU, THIS PERIOD OF FOUR YEARS IN YOUR LIFE?
– SO WHAT HAPPENED WHEN NICOLAU CALLED?
– SO WHAT HAPPENS IF ONE’S PROFESSIONAL IDENTITY BECOMES UNCLEAR?
– SO WHAT IS A CULTURE TODAY?
– SO WHAT IS FOR YOU THE ROLE OF AN ARTIST? TO BE CRITICAL?
– SO WHAT IS THE DISTINCTION BETWEEN AUDIENCE AND PUBLIC?
– SO WHAT IS YOUR RELATIONSHIP WITH COPYRIGHT? DO YOU NOT BELIEVE IN COPYRIGHT?
– SO WHAT ROLE DOES CHANCE PLAY?
– SO WHAT SEEMS LIKE A HYPERTEXTUAL ELEMENT, A META-LEVEL OF REFERENCE, ACTUALLY COMES BACK TO THE LITERAL, IN THIS CASE THE INDICATION OF INTERFERENCE NOISE.
– SO WHAT WAS HE SEEING AT A DISTANCE?
– SO WHAT WAS SO CONTROVERSIAL TO ABOUT IT?
– SO WHAT WERE YOU MIMICKING?
– SO WHAT WOULD BE THAT STATE FOR YOU?
– SO WHAT’S MAKING YOU HAPPY NOW?
– SO WHAT’S THE NEXT STEP FOR ANA JOTTA?
– SO WHAT’S THE POINT HERE?
– SO WHAT’S YOUR MEMOIRS LIKE?
– SO WHEN DID YOU KNEW IT WAS VISUAL ART THAT YOU WANTED TO PURSUE?
– SO WHICH STAGE OF THE FORMULA OF DO IT (1. GET RICH._2. BECOME AN ARTIST._3 GET RICH.) ARE YOU AT NOW?
– SO WHO ARE YOU TODAY?
– SO WHO WERE YOUR FRIENDS THEN, WHO WERE THE PEOPLE YOU WOULD HANG OUT WITH IN NEW YORK IN THE 1970S?
– SO WHY DO YOU CONTINUE TO MAKE PAINTINGS?
– SO WHY DO YOU KEEP RECORDING?
– SO YOU AND GAËTAN ARE TALKING AGAIN?
– SO YOU ARE SAYING THAT EVEN IF A PERSON IS WRITING IN A SECRET DIARY, THAT DIARY IS MEANT TO BE READ BY SOMEBODY.
– SO YOU BRING THIS NOTION OF CONTEXT BACK IN…
– SO YOU COULD NOT TOUCH IT?
– SO YOU CREATE CONFUSION SO AS NOT TO GET BORED?
– SO YOU DECIDED TO DO IT YOURSELF?
– SO YOU DO NOT APPROVE OF THIS?
– SO YOU DON’T CARE EITHER WAY?
– SO YOU GET LOST A LOT?
– SO YOU HAVE NO SENSE OF A HIERARCHY IN TERMS OF EXHIBITION SPACES AND OPPORTUNITIES?
– SO YOU LIKE GIRLS TO PUT UP A FIGHT?
– SO YOU THINK IT’S NOT EVEN POSSIBLE TO REVERSE OR RESIST THIS PROCESS?
– SO YOU WANTED TO SPEAK?
– SO YOU WERE ADAPTING… KIND OF LIKE A NOMAD ADAPTING TO THE LAND.
– SO YOU WERE NEVER PART OF AN ART GROUP?
– SO YOU WERE TOTALLY IMMERSED IN THAT WORLD AFTER A WHILE?
– SO YOU WON’T SELL THIS PAINTING?
– SO YOU’RE TALKING IN VERSE NOW?
– SO YOUR LINK TO THE OUTSIDE WORLD WAS THROUGH CINEMA?
– SO, A TURN INWARDS?
– SO, AS AN ARTIST, YOU HAVE AN ENVIABLE PROFESSION, RIGHT?
– SO, DID YOU THINK YOU WERE MAKING WORK?
– SO, IF IT’S NOT POSSIBLE TO CHANGE EVENTS, WHY NOT LEAVE SOCIETY?
– SO, IT CARRIED?
– SO, IT HAS NOTHING TO DO WITH BIOLOGY?
– SO, TELL ME ABOUT YOUR UNIVERSITARY STUDIES.
– SO, THE LANGUAGE IS MORE GENERAL. BUT WHAT ABOUT PARTICULAR IMAGES?
– SO, THERE WAS A KIND OF IDENTITY CRISIS?
– SO, VERY EARLY ON, PEOPLE RECOGNIZED YOUR ABILITY TO DRAW?
– SO, WHAT DO YOU LIKE TO DO IN YOUR SPARE TIME?
– SO, WHAT KIND OF STATE ARE YOU IN?
– SO, WHAT WAS ALL THE FUSS ABOUT?
– SO, WHAT’S THE BIGGEST THING YOU’VE LEARNED OVER THE PAST TEN YEARS?
– SO, YOU FIGHT BETWEEN EVANESCENCE AND PERMANENCE.
– SO, YOU WERE STILL PAINTING AT THIS TIME?
– SOME KIND OF COCAIN?
– SOME KIND OF ECSTASY?
– SOME KIND OF END TO THE PROCESS OF TRANSFORMATION?
– SOME MORE THAN OTHERS – PHYSICALLY, MENTALLY, EMOTIONALLY.
– SOME OF THE WORDS HINT AT REAL TURMOIL.
– SOME OF YOUR BETTER WORKS HAVE BEEN BASED ON MISTAKES?
– SOME OF YOUR PIECES TOOK A LONG TIME TO MAKE, I THINK?
– SOME PARTS OF YOUR ANSWERS ARE SPEEDING RIGHT PAST ME, SO LET ME REWIND – NOT TO ERASE BUT TO CLARIFY!
– SOME PEOPLE MIGHT DISAGREE WITH YOU.
– SOME PSYCHO-SEXUAL ELEMENTS ARE EVIDENT EVEN TODAY?
– SOME WEATHER!
– SOMETHING ABOUT MUTABILITY?
– SOMETIMES THE PORTRAIT MIGHT CONSIST OF SOMEBODY ELSE’S BODY WITH YOUR HEAD ON IT.
– SOMETIMES THEY COLLAPSE.
– SOMEWHERE INVISIBLE… RADIO IS SUCH STUFF AS DREAMS ARE MADE OF. OR MEMORY…
– SONIC YOUTH?
– SOON YOU STARTED TO COLLABORATE WITH THEATRE AND FILM DIRECTORS…
– SORRY, WHAT DO YOU MEAN?
– SOUNDS EASY.
– SOUNDS LIKE A MARGINAL SITUATION.
– SOUNDS PRETTY STRESSFUL.
– SOUNDS PRETTY SURREAL. WHAT FORM DOES IT TAKE THEN?
– SPACEROCK?
– SPEAK FOR YOURSELF!
– SPEAKING FOR THE SAKE OF SPEAKING IS THE FORMULA OF DELIVERANCE.
– SPEAKING OF BEING STUPID, DO YOU WATCH TELEVISION AT ALL?
– SPECIFICALLY WHAT MIGHT THAT MEAN?
– STATEMENT OF INTENT?
– STOOGES?
– SUCH AS?
– SURE, WE RIP STUFF OFF…
– SURE, YOU SCARE PEOPLE WITH THAT KIND OF TALK…
– SURE.
– TACTILITY.
– TALENT IS VERY DANGEROUS.
– TALK ABOUT THE INFINIT CONSEQUENCES OF A SMALL OBJECT!
– TALKING MORE ABOUT EXPERIENCE, WORKING WITH YOU IT’S EVIDENT YOU’RE VERY METICULOUS ABOUT THE SPACE AND THE WAY THE WORK IS ARRANGED. HOW DO YOU THINK ABOUT HOW THE WORKS ARE DISPLAYED AND HOW PEOPLE MIGHT CIRCULATE AND SPEND TIME WITH IT?
– TAPE RECORDER?
– TEACHING WAS NOT THOROUGHLY ACADEMIC?
– TELL ME A LITTLE ABOUT YOUR WORKING PRACTICE, YOUR DAY AND HOW YOU BRING LARGER EVENTS INTO THE WORK?
– TELL ME ABOUT YOUR FAMILY BACKGROUND.
– TELL ME ABOUT YOUR MOST MEMORABLE TRIPS.
– TELL ME ABOUT YOUR WORKS WITH SOUND.
– TELL ME HOW YOU DID IT.
– TELL ME HOW YOU STARTED, AND WHAT YOU STUDIED TO GET INTO THIS LINE OF WORK.
– TELL ME THE STORY OF YOUR NAME.
– TELL US A SECRET.
– TELL US ABOUT THIS EXPERIENCE.
– TELL US MORE ABOUT THESE.
– TELL US SOMETHING ABOUT THAT.
– TELL US SOMETHING YOU’VE NEVER TOLD AN INTERVIEWER BEFORE.
– TEMPTED?
– TESTING MATERIALS?
– THANK YOU VERY MUCH FOR YOUR ANSWERS!
– THANK YOU VERY MUCH FOR YOUR TIME.
– THAT ANTHOLOGY IS POSTERIOR TO THAT PERIOD?
– THAT CHARGED SPACE BETWEEN DEPICTED FIGURES IS ALSO A SUBJECT, MAYBE THE SAME SUBJECT?
– THAT COMES WITH AGE, DOESN’T IT?
– THAT DOES HAVE AN EFFECT ON YOUR LIFE?
– THAT HAD NO RESONANCE FOR YOUR LIFE?
– THAT IN A GOOG WAY, THAT IS, NOT JUST AS A RENEGING OF THEIR REACTION.
– THAT INCLUDES TAKING POSITIONS THAT YOU KNOW COULD BE SEEN AS REACTIONARY?
– THAT MEANS GIVING IT A FORM.
– THAT MEANS IF WE UNDERSTAND A NOVEL BY PROUST, IT´S ONLY BECAUSE WE UNDERSTAND BEING JEALOUS AND ALONE IN A ROOM WAITING FOR MOTHER AT NIGHT.
– THAT MEANS THERE’S TIME PASSING, EVEN IF IT’S JUST A MINUTE LATER.
– THAT MIGHT IN PART EXPLAIN WHY THERE’S SO MUCH ATTENTION PAID NOW TO YOUR WORK AMONG YOUNGER PEOPLE.
– THAT SOUNDS FATALISTIC.
– THAT SOUNDS LIKE A VERY RELAXED WAY OF DOING BUSINESS.
– THAT WAS 1963-64?
– THAT WAS A CRUCIAL MOMENT.
– THAT WAS BETWEEN ’72 AND ’74.
– THAT WAS IN THE FIFTIES?
– THAT WAS JUST BEFORE PUBLICATION?
– THAT WAS THE ONLY TIME YOU’VE WORKED WITH A SELF-PORTRAIT?
– THAT WOULD MAKE AN AMAZING EXHIBITION. WHAT ARE YOUR MOST MEMORABLE MOMENTS?
– THAT’S A BIG NUMBER.
– THAT’S A DIFFERENT KIND OF GAME, RIGHT?
– THAT’S A GOOD QUESTION.
– THAT’S A GREAT PHRASE.
– THAT’S A LATER PIECE, ISN’T IT?
– THAT’S A STRANGE POSITION TO FIND YOURSELF IN.
– THAT’S AN EXAMPLE.
– THAT’S EXCITING. WHEN?
– THAT’S FUNNY.
– THAT’S GREAT.
– THAT’S INSANE.
– THAT’S LIKE YOUR METAPHOR, YOU DON’T GET LOST.
– THAT’S NOT SO BAD.
– THAT’S PART OF YOUR EXOTICISM.
– THAT’S STARTING TO HAPPEN.
– THAT’S THE BACK-STORY PROBLEM IN ART MAKING TODAY – WHAT INFORMATION TO INCLUDE OR TO WITHHOLD, OR TO PUT IN A SEPARATE PLACE?
– THAT’S THE ETERNAL QUESTION, RIGHT?
– THAT’S THE THING ABOUT SUBJECT MATTER. HOW CAN YOU POSSIBLY BE SERIOUS ABOUT PAINTING A FLOWER?
– THAT’S VERY WELL PUT. IT’S TRUE FOR EVERYONE.
– THAT’S WHAT IT LOOKS LIKE.
– THAT’S WHAT SHE SAYS?
– THAT’S WHY I’M MAKING THIS INTERVIEW.
– THE APPROACH YOU ARE DESCRIBING IS LESS RATIONAL THAN ORGANIC; IT INVOLVES DIRECT CONTACT WITH THE MATERIALS AND REQUIRES A DEDICATED WORKSPACE: THE STUDIO.
– THE BRAZIL YEARS?
– THE CHARACTERS ON THE STORY CONTINUE TO INTRIGUE YOU?
– THE DANCE?
– THE DEAD END IS YET ANOTHER THING YOU’RE DEALING WITH, NO?
– THE DEALERS?
– THE DISPLACEMENT MAKES IT EXEMPLARY.
– THE END OF WHAT?
– THE ENGLISH WORD MONSTER CAN BE TRACED BACK TO VARIOUS ETYMOLOGICAL ROOTS. THE LATIN ‘MONSTRUOM’ MEANS ‘THAT WHICH TEACHES’, AND THERE IS ALSO ANOTHER CONNECTION TO ‘MONSTRARE’, TO SHOW. IN BIOLOGY, THE WORD MONSTER MAY BE USED TO DESCRIBE AN ORGANISM THAT IS GROSSLY ABNORMAL OR DEFORMED. SIMILARLY, WHEN USED IN OTHER CONTEXTS, WE FIND THAT ‘MONSTRUOUS’ ENTITIES ALSO TEND TO BE SOMEHOW ‘BEYOND THE NORM’ IN APPEARANCE OR BEHAVIOUR, CROSSING THE BOUNDARIES OF ACCEPTABILITY, MANIFESTING TRAITS ALIEN TO THE NATURAL ORDER OR OUTSIDE OF ‘NORMAL’ CONSENSUS REALITY. WE OFTEN FIND MONSTERS HAVING HYBRID FORM. WE MAY ALSO FIND THAT MYTHOLOGICAL MONSTERS EXIST BY VIRTUE OF SOME KIND OF TRANSFORMATION. IT THEN SEEMS LIKE YOUR SCULPTURES INDEED ARE REAL MONSTERS, AREN’T THEY?
– THE ENIGMA IS GUARDED INSIDE AN INFINITE PROCESS OF REVEALING/CONCEALMENT.
– THE EXHIBITIONIST?
– THE EXPRESSION EXISTS IN ENGLISH AS WELL.
– THE FEAR IS ENHANCED VISUALLY.
– THE FORMS IN BOTH PIECES ARE THE FORMAS THAT HAVE EMERGED PREVIOUSLY.
– THE FORMS OF YOURSELF.
– THE FUTURE IS…
– THE GREAT ETHNOLOGIST CLAUDE LÉVI-STRAUSS PROPOSED AN INTERESTING PAIR OF CONTRASTING CONCEPTUAL FIGURES: THE BRICOLEUR AND THE ENGINEER. WHICH DO YOU FEEL CLOSEST TO IN YOUR WORK METHOD?
– THE GREAT GATSBY?
– THE HETEROGENEOUS ASPECT OF YOUR WORKS, THE DIVERSITY OF THE MEDIA YOU USE, THE FACT THAT YOU WORK ALMOST AS A COLLECTOR WOULD, ALL OF THIS REMINDS ME OF A CURIOSITY CABINET.
– THE HISTORY OF ART MAY BE AN INSPRATION RESOURCE FOR AN ARTIST OF TODAY BUT ALSO AN INHIBITING BURDEN. WHAT IS YOUR ATTITUDE?
– THE HUMAN VOICE?
– THE IDEA OF APPROPRIATION IS ESSENTIALLY A COMMENT ON THE SOCIAL VALUE OF THE WORK. YOUR MODE OF WORKING IS ALSO DIFFERENT FROM A CITACIONAL PRACTICE: SO MANY ARTISTS TODAY EXPLOIT THE PRACTICE OF ARTISTIC CITACION, AND CAN’T LOOK AT A BURN-OUT CAR WITHOUT THINKING OF CHAMBERLAIN OR CESAR – WHICH IS IN THE END A PRETTY NARROW WAY OF LOOKING AT THE WORLD.
– THE IDIOT?
– THE IMAGE OF THE ARTIST HAS ALSO CHANGED. THE TRANSFORMATION CORRESPOND TO THE CHANGES IN ART PRODUCTION ITSELF. IS THE ARTIST AN AUTONOMOUS SUBJECT, A SERVICE PROVIDER, A REGULAR GUY, A GENIOUS, OR SOMEONE WHO PRODUCES MEANING?
– THE LIST IS TOO LONG.
– THE LOGIC OF THE STORY.
– THE MAIN FOCUS OF YOUR WORK, ACCORDING TO ME, IS THE RELATIONSHIP BETWEEN AN ENTITY AND ITS SURROUNDINGS. BUT YOU HAVE ALSO BEEN INFLUENCED BY HUMAN RELATIONSHIPS. CAN YOU EXPLAINE MORE ABOUT THIS ASPECT OF YOUR WORK?
– THE MAN IN THE HIGH CASTLE?
– THE MEN?
– THE MISTERY ENDURES…
– THE MODERN AUTHORS CAN BE RECOGNIZED BY THEIR EFFORT TO DISESTABLISH THEMSELVES, BY THEIR WILL NOT TO BE MORALLY USEFUL TO THE COMMUNITY…
– THE MONTEHERMOSO IN VITORIA ALSO ASKED YOU TO WORK ON A PROJECT, WHAT IS IT ABOUT?
– THE MOST EXOTIC DESTINATION?
– THE MOVEMENT TO DISESTABLISH THE “AUTHOR” HAS BEEN AT WORK FOR OVER A HUNDRED YEARS.
– THE NEUROTIC CHARACTER OF LANGUAGE.
– THE NEXT DAY?
– THE NOTION OF THE GAME IS INTERESTING.
– THE OBSERVER?
– THE ORTODOXY OF REFERENTIALITY – DO YOU SEE IT MORE WITH YOUNGER ARTISTS?
– THE OTHER, AS FOR RIMBAUD, IS ME?
– THE PAINFUL BREAK-UP…
– THE PERFECT PLACE FOR YOUR FIRST TÊTE-À-TÊTE DINNER?
– THE POWER TO SURPRISE?
– THE RADIO PROGRAM?
– THE RAMONES?
– THE RELATIONSHIP BETWEEN OBJECTS AND CULTS IS INTERESTING TOO. LIKE THE CULT OF PERSONALITY WHICH OUR SOCIETY IS SO OBSESSED WITH, AND THE WAY IN WHICH OBJECTS THAT ARE RESIDUES OF A PARTICULAR PERSON’S LIFE BECOME INFUSED WITH MYSTERY, AURA, MAGIC, WHATEVER.
– THE RELATIONSHIP BETWEEN THE PERCEPTION OF TIME AND PHOTOGRAPHIC IMAGES HAS BEEN STUDIED BEFORE. FOR EXAMPLE, ROLAND BARTHES ANALYZED HOW PICTURES PLACE US IN FRONT OF WHAT EXISTED IN THE PAST. DO YOU THINK THAT IN SOUND RECORDINGS THE LINK BETWEEN THE PAST AND THE PRESENT IS THE SAME AS THAT IN PHOTOGRAPHS? DOES THE TEMPORAL DIMENSION OF A SPEECH – ITS DURATION, ITS LIVE ASPECTS – COMBINE WITH THE PRESENT IN A DIFFERENT WAY THAN IMAGES DO?
– THE SAME PROFUSION OF CHAMPAGNE…
– THE SERIES HAD A NAME?
– THE SETTING, THE COSTUMES, THE ACTORS?
– THE SPY WHO CAME IN FROM THE COLD?
– THE STOOGES?
– THE TERROR?
– THE TEXT REPRESENTS A PERSONAL AND EXPERIENTIAL DIMENSION.
– THE TITLE ITSELF BEGINS TO DISAPPEAR, LOST IN TRANSLATION – OR BECOMING MORE ABOUT THE ACT OF TRANSLATION THAN ABOUT ANY GIVEN WORD BY ITSELF.
– THE TORTOISE IS A SLOW ANIMAL!
– THE TRUTH ABOUT LOVE?
– THE TWENTIETH CENTURY IS THE CENTURY OF COLLAGE. THE TWENTY-FIRST?
– THE WAY TELEVISION ALSO OFTEN RELIES ON HETEROSEXUAL COUPLING FOR MUCH OF ITS NARRATIVE STRUCTURE…
– THE WORLD CAN GO FUCK ITSELF?
– THE WORLD IS A LONELY PLACE.
– THEN A PERSON WITH AMNESIA CANNOT ENJOY PROUST.
– THEN FOR YOU THE TWO ACTVITIES ARE QUITE SEPARATE?
– THEN WHAT IS THE VALUE OF THIS THING CALLED LITERATURE? WHY DO PEOPLE WRACK THEIR BRAINS TO WRITE AND NOT JUST PUT THINGS SIMPLY?
– THEN WHAT?
– THEN WHAT’S KEEPING YOU?
– THEN YOU WENT TO THE FINE ARTS SCHOOL…
– THERE ARE ARTISTS WHO FAVOUR FORMAL ASSOCIATIONS, WHO SEEK A SIGNATURE STYLE, A KIND OF HOMOGENEITY TO THEIR WORK SO THAT IT CAN BE MORE EASILY IDENTIFIABLE…
– THERE ARE NO AESTHETIC CRITERIA?
– THERE IS A CONSTANT SENSE OF PARADOX IN YOUR WORK.
– THERE IS NO END TO IT ANYWAY. IT DOESN’T LOOK LIKE IT.
– THERE IS NO MORE CONTROL.
– THERE IS THIS BRICOLAGE SIDE TO YOUR WORK…
– THERE ISN’T VERY MUCH ROMANCE?
– THERE SEEMS TO BE A CURIOUS KIND OF MACABRE OVERLAY ON SOME OF THESE THINGS?
– THERE SEEMS TO BE TWO POSSIBLE OUTCOMES OF HALLUCINATION: ECSTASY OR SUFFERING. IS THERE EVER A POLITICAL DIMENSION TO HALLUCINATION?
– THERE WAS ALSO JAPAN…
– THERE WAS NO ENCOURAGEMENT?
– THERE WAS ROOM FOR SEXUALITY AND ATTITUDE.
– THERE WERE NO “PROBLEMS”, WAS THAT IT?
– THERE YOU GO AGAIN, RUNNING YOURSELF DOWN.
– THERE’S AN ISSUE ABOUT BOUNDARIES.
– THERE’S NOTHING ELSE TO SAY?
– THERE’S THIS IDEA THAT SOME OF YOUR WORK IS FUNNY AND IT’S FUNNY. BUT IT’S QUITE HARD TO BE FUNNY WITH AN ART WORK. THERE’S WITTY ART AND IRONIC ART BUT TO ACTUALLY BE FUNNY IS SOMETHING ELSE ALTOGETHER.
– THESE ARE GREAT COLORISTS OF THE 20th CENTURY!
– THESE ARE SOME OF THE THINGS THAT COME UP IN YOUR WORK, WHICH IS WHY IT’S SO POWERFUL – THERE´S NOTHING LIKE REAL LIFE.
– THEY ARE ALREADY DIFFERENT.
– THEY ARE EXACTLY THE SAME PROPORTIONS?
– THEY ARE INDEED.
– THEY ARE NOT SYMBOLIC?
– THEY ARE SERIAL BUT THEY ARE NOT SERIAL?
– THEY ARE VERY BEAUTIFUL, BUT ALSO VERY NOISY AND DANGEROUS, RIGHT?
– THEY ARE VERY STAGEY, YES.
– THEY DIDN’T READ TO YOU A LOT WHEN YOU WERE A CHILD?
– THEY HAVE THE INTRINSIC VALUE OF HIS WORKS.
– THEY MADE A FILM TOO. DID YOU SEE IT?
– THEY SHOULD TRY.
– THEY TALK ABOUT UNCERTAINTY AND DOUBTS…
– THEY WEREN’T PAINTINGS.
– THEY’RE LIKE SMALL MODELS.
– THINGS ARE NOT ALWAYS WHAT THEY SEEM, ARE THEY?
– THINGS CANNOT BE HYPOTHETIC, OR CAN THEY?
– THINGS THAT ARE BEAUTIFUL ARE SEDUCTIVE, ARE THEY NOT?
– THINGS WENT FROM BAD TO WORSE.
– THINKING ABOUT IT RETROSPECTIVELY, HOW DO YOU FEEL ABOUT IT TODAY?
– THINKING BACK ON THAT TIME, HOW DO YOU ACCOUNT FOR SUCH RAPID DEVELOPMENTS?
– THIS AMOUNTS TO A REJECTION OF STYLE IN THE MODERNIST SENSE.
– THIS CONSCIOUSNESS… WHEN DID IT COME TO YOU?
– THIS COULDN’T BE ACHIEVED OVER EXTENDED PERIODS OF TIME?
– THIS FEELS LIKE A PROGRAM.
– THIS HAS BEEN AN INCREDIBLY EXCITING INTERVIEW. THERE ARE TWO OR THREE THINGS WE HAVEN’T YET COVERED. I WAS WONDERING ABOUT YOUR WHOLE RELATIONSHIP TO MUSEUMS AND TO WHAT EXTENT YOU SEE THE SITUATION OF MUSEUMS NOW AND WHAT YOUR FAVORITE MUSEUM IS.
– THIS IS A GOOD SERIES.
– THIS IS ALL RATHER UNSUBTLE, DON’T YOU THINK?
– THIS IS ALL WHILE YOU WERE IN SCHOOL?
– THIS IS ONLY IN THE LAST YEAR?
– THIS IS REVERENCE.
– THIS LACK OF METHOD PREVENTS BOREDOM BUT IT ALSO OBLIGES YOU TO STAY ALERT, I SUPPOSE?
– THIS SERIES HAD A NAME?
– THIS SOUNDS INTERESTING. COULD YOU ELABORATE?
– THIS SOUNDS LIKE AN AREA WHERE THE NEGATIVE AND THE POSITIVE ARE EQUALLY IMPORTANT.
– THIS WOULD BE THE PRIMARY FUNCTION OF A MUSEUM?
– THOSE CAN’T BE MUTUALLY EXCLUSIVE, CAN THEY?
– THREE WORDS YOU ASSOCIATE WITH TRAVEL?
– THROUGH THE INSTALLATION, THERE IS NO GIVEN PATH; EVERY VIEWER HAS TO FIND HER OR HIS OWN PATH AND DECIPHER AND ARTICULATE THE DIFFERENT PIECES OF INFORMATION DISPLAYED.
– THROUGH YOUR PARENTS?
– THROUGH YOUR WORK, THERE SEEMS TO BE A TENSION BETWEEN AN INTEREST IN THE SELF, AND THE DESINTEGRATION OF THE SELF-OBLIVION.
– TO ADD THEATRICAL EFFECT?
– TO ALL OF THEM?
– TO BE AN ANIMAL… BESTIAL AND UGLY HUMAN BEHAVIOUR… BRAWLS, DISGUSTING, EATING AND SEX SCENES.
– TO BE LOVED?
– TO BE OTHERS…
– TO BE SURE TO STILL KNOW THE CITY?
– TO BE YOU…
– TO ENVISION LIFE? DO YOU LIKE TO DEFINE WHAT ART MEANS TO YOU? AND HOW THIS DEFINITION CHANGE?
– TO GET DRUNK AND BE PROMISCUOUS?
– TO PARAPHRASE JIMY HENDRIX, YOU WERE EXPERIENCED.
– TO PULL THE PLUG…
– TO SPECIFIC PEOPLE?
– TO STAND OUTSIDE YOURSELF?
– TO STAY ABSENT.
– TO SUM UP: HOW DO YOU THINK TIME IN YOUR WORK?
– TO WHAT DEGREE DO YOU CONTROL WHAT YOU PUT INTO YOUR MONTAGES?
– TO WHAT EXTENT CAN AN ARTIST DICTATE HIS OR HER CONDITIONS IN A SITUATION THAT IS LARGELY DEFINED BY EXTERNAL FORCES?
– TO WHAT EXTENT DOES THIS BROAD KNOWLEDGE INFLUENCE THE CREATIVE PROCESS OF YOUR PIECES?
– TO YOU, WHAT IS ABSTRACTION?
– TOO CONCERNED WITH ART HISTORY?
– TOO CONCRETE, TOO LITERAL?
– TOUCHÉ.
– TRADITION IS A BACWARD-LOOKING CONSTRUCT, WORKED OUT ON THE BASIS OF THE PRESENT.
– TROPICAL HALLUCINATIONS?
– UNCOMMUNICABLE?
– UNDER WHAT CIRCUNSTANCES WOULD YOU LEAVE LISBON?
– UNFATHOMABLE.
– UNLESS YOU’RE INITIATED…
– UNMOORED FROM THE BODY, SPEECH DETERIORATES.
– UTOPIAN SPACES?
– VAMPIRIC WAY?
– VERY COMPLICATED? VERY TRADITIONAL?
– VERY TRUE.
– VICTORIA & ALBERT?
– VIOLENT AND INSANE?
– VISUAL ART’S NOT DIDACTIC.
– WANT SOMETHING TO DRINK?
– WARHOL’S WORK ALSO REVEALED A SENSE OF HUMOUR. HE HAD A CONFLATED VIEW OF THE NOTION OF HIGH AND LOW CULTURE, SUCH AS YOU DEVELOPED IN YOUR OWN WORK LATER ON.
– WAS ANYONE IN THE FAMILY AN ARTIST?
– WAS DIRECTLY ADDRESSING THE VIEWER IMPORTANT FOR YOU – ‘HEY YOU! WE’RE ASKING YOU A QUESTION!’?
– WAS HE A SPIRITUAL PERSON?
– WAS HE INTERESTED IN JOSEF ALBERS?
– WAS HE SURPRISED?
– WAS IT A BIT LIKE SOME KANDINSKY?
– WAS IT A LIE?
– WAS IT A MEETING PLACE?
– WAS IT A SUBJECT YOU WERE EXPLORING IN YOUR EARLIEST WORKS?
– WAS IT CAREER MOTIVATED?
– WAS IT CONCEIVED FOR VIGO?
– WAS IT DUCHAMP AND THE READYMADE WHO DID AWAY WITH ALL THAT?
– WAS IT EXCITING?
– WAS IT HARD FOR YOU, TOO?
– WAS IT THE SAME WAY FOR YOU? I THINK IT CHANGED QUITE A BIT BY THE TIME YOU WERE THERE.
– WAS IT YOUR FIRST VISIT TO BERLIN?
– WAS LIFE INSTANTLY INSANE?
– WAS SHE SEING A DOCTOR?
– WAS THAT FRUSTRATING? WAS IT CONNECTED TO YOUR SEX? HOW AND WHY DID THINGS CHANGE?
– WAS THAT HARD?
– WAS THAT SOMETHING THAT WAS COMFORTABLE OR UNCOMFORTABLE FOR YOU?
– WAS THAT THE BEGINNING?
– WAS THAT THE SHIFT?
– WAS THAT UPHEAVAL DIFFICULT?
– WAS THAT YOUR FIRST TIME AWAY FROM HOME?
– WAS THE DECISION TO GO TO ART SCHOOL A NATURAL ONE, OR MORE COMPLICATED?
– WAS THE OBJECTIVE OF THE INTERVIEW THE FORM IN AND OF ITSELF, OR ITS CONTENT?
– WAS THERE A REACTION FROM THE PROFESSORS?
– WAS THERE A WORK FOR YOU THAT SEEMED TO UNLOCK YOUR UNDERSTANDING OF ART? OR IS IT A CONSTANT PROCESS OF UNLOCKING?
– WAS THERE AN OFFER YOU COULDN’T REFUSE?
– WAS THERE ANY ASPECT OF THE PROCESS THAT WAS PARTICULARLY CONTENTIOUS FOR YOU?
– WAS THERE ANY PERIOD IN YOUR LIFE WHEN YOU WERE SERIOUSLY SEDUCED BY COMMUNISM?
– WAS THERE ANY POEM IN PARTICULAR?
– WAS THERE ANYTHING THAT WAS EASY?
– WAS THIS A GOOD SITUATION FOR YOU?
– WAS THIS A KIND OF TONGUE-IN-CHEEK GESTURE?
– WAS THIS A PHOTOGRAPHIC PIECE?
– WAS THIS BASED ON CONSCIOUS CONSIDERATION?
– WAS THIS FEEDBACK VERY IMPORTANT?
– WAS THIS IN TEENAGE YEARS, OR EARLY TWENTIES?
– WAS THIS LINK WITH WARHOL OBVIOUS FOR YOU?
– WAS THIS YOUR FIRST SELF-PORTRAIT?
– WATER AND WINE?
– WE COULD CALL IT A CUMULATIVE PROCESS?
– WE HAVE BECOME TWO STRANGERS…
– WE LACK WORDS, AND WE HAVE TOO MANY OF THEM.
– WE NAME THOSE PEOPLE “PEOPLE OUTSIDE” BUT THEY’RE ALSO SOMETHING ABOUT US.
– WE WILL DESTROY EACH OTHER.
– WE WILL HAVE TO GO FOR A WALK!
– WE’RE TALKING ABOUT THE GENERAL CRISIS OF CONCENTRATION.
– WE’VE TALKED ABOUT A WHOLE SLEW OF ISSUES, IS THERE ANOTHER ASPECT YOU’D LIKE TO ADDRESS?
– WELL IT’S SUCH A CHANGE!
– WELL THE SUN SELLS MORE COPIES THAN THE GUARDIAN.
– WELL THEN, WHAT ABOUT SHOPPING AND FLATNESS?
– WELL, AND WHAT’S YOUR ANSWER?
– WELL, DID YOU LEAVE?
– WELL, DO YOU THINK IT’S SO MUCH THE SYSTEM THAT’S THE VALUABLE ASPECT, OR THE UTILIZATION OF IT?
– WELL, I DO. DON’T YOU?
– WELL, I’M NOT CLEAR ON HOW TO START THIS INTERVIEW BECAUSE I’M NOT CLEAR ON WHAT YOU’VE BEEN DOING.
– WELL, I’VE HAD A VERY BAD TIME, ANA, AND I’M PRETTY CYNICAL ABOUT EVERYTHING.
– WELL, IS THAT YOU IN THAT PICTURE?
– WELL, LET’S THINK ABOUT WHY.
– WELL, PAIN IS NOT ALWAYS VISIBLE.
– WELL, PART OF THE HUMOUR, I THINK, IS THE UNEXPECTEDNESS OF IT. BECAUSE YOU DON’T KNOW WHAT THEY ARE AT FIRST.
– WELL, PERHAPS. BUT THEN IF IT ISN’T, THEN I’D LIKE TO ESTABLISH HOW IT ISN’T OR HOW ONE DOESN’T. . .
– WELL, PICABIA SAID THAT THE HEAD IS ROUND SO THAT IT CAN CHANGE DIRECTIONS.
– WELL, THEN, YOU ARE TAKING NO CREDIT FOR IT?
– WELL, WE’VE COVERED MOST OF THE QUESTIONS I SPECIFICALLY WANTED TO. THE OTHER QUESTIONS ARE MORE GENERAL.
– WELL, WHAT DO YOU MEAN? THEY CONVEY IT – THEY CONVEY A SLICE OF IT, BUT NOT THE TOTALITY?
– WELL, WHAT HAPPENED?
– WELL, WILL YOU ANSWER THE QUESTION?
– WELL, YOU MEAN THE RITUAL AND THE IDEAS AND ALL THOSE THINGS?
– WELL, YOU MIGHT…
– WELL, YOU SEE HOW SMALL THE WORLD IS.
– WELL, YOU’RE MORE PERVERSE THAN I AM!
– WERE MOST OF YOUR STARS OUT?
– WERE THERE ANY PRESSURES?
– WERE THERE ANY SIDE EFFECTS?
– WERE THERE DIFFERENT MODELS?
– WERE THERE EXHIBITIONS THAT YOU WERE INTERESTED IN THE ‘90S?
– WERE THERE OTHER MAIN INFLUENCES?
– WERE THERE OTHERS THAT YOU COULD RELATE TO?
– WERE THERE POSITIVE EXPERIENCES, TOO?
– WERE THEY HARD TO DO?
– WERE THEY LARGE?
– WERE THEY TRYING TO DEBUNK YOU?
– WERE YOU A GOOD GIRL OR A BAD GIRL?
– WERE YOU A MARXIST? DID YOU BELONG TO THE COMMUNIST PARTY?
– WERE YOU A TIGH FAMILY, WERE YOU REALLY CLOSE?
– WERE YOU A WRITER AS WELL AS A READER?
– WERE YOU ALWAYS SO BRUTAL?
– WERE YOU AWARE OF THE CURRENT TRENDS AT THE TIME?
– WERE YOU CAUGHT UP IN AN AWARENESS OF THE REVOLUTIONARY POTENTIAL THAT WAS GOING ON DURING THE 1960S?
– WERE YOU EVER EXCLUDED FOR HAVING A STRANGE NAME?
– WERE YOU INFLUENCED BY YOUR LISBON PEERS AT THAT TIME?
– WERE YOU INSPIRED BY THEM?
– WERE YOU INTERESTED IN OTHER CLASSES IN SCHOOL?
– WERE YOU INTO MUSIC ALSO AT THAT TIME?
– WERE YOU INVOLVED IN ART-MAKING ALL THAT TIME?
– WERE YOU LIVING IN VENICE AT THIS POINT?
– WERE YOU PAINTING FULL-TIME BY THEN?
– WERE YOU PREVENTED FROM LEAVING?
– WERE YOU SHOCKED TO SEE YOURSELF IN THE MIRROR LOOKING LIKE THAT?
– WERE YOU SHY?
– WERE YOU SLOW IN TERMS OF READING AND THAT KIND OF THING?
– WERE YOU STILL IN SCHOOL?
– WERE YOU SURPRISED TO WIN?
– WERE YOUR PARENTS CULTURALLY INCLINED?
– WEREN’T THEY A BIT NAÏVE IN A WAY?
– WHAT “EROTIC” OR “PORNOGRAPHIC” WRITERS SEEM IMPORTANT TO YOU?
– WHAT A MESS WE MADE…
– WHAT A NICE ENDING!
– WHAT ABOUT A PHOTOGRAPH?
– WHAT ABOUT ANTONIN ARTAUD?
– WHAT ABOUT ART CRITICISM?
– WHAT ABOUT CHILDREN?
– WHAT ABOUT FROM A NARRATIVE POINT OF VIEW?
– WHAT ABOUT LISTS? WHEN DID YOU START DOING THEM, AND WHY?
– WHAT ABOUT MEN?
– WHAT ABOUT MIKE KELLEY?
– WHAT ABOUT MINIMAL ART, SO CALLED?
– WHAT ABOUT NEW YORK?
– WHAT ABOUT PRECEDENTS IN THE 20TH CENTURY SCULPTURE?
– WHAT ABOUT PSYCHOLOGICAL PROCESSES?
– WHAT ABOUT REPETITION AS A SCTRUTURAL DEVICE?
– WHAT ABOUT RICHARD PRINCE?
– WHAT ABOUT SMITHSON AND GORDON MATTA-CLARK?
– WHAT ABOUT THE ‘80S?
– WHAT ABOUT THE ARCHIVE?
– WHAT ABOUT THE ART WORLD?
– WHAT ABOUT THE AUTOBIOGRAPHICAL CONTENT?
– WHAT ABOUT THE CACTUS?
– WHAT ABOUT THE COLOURS YOU CHOSE FOR THE FRAMES?
– WHAT ABOUT THE DISPLAY OF YOUR OWN WORK?
– WHAT ABOUT THE INTERNET?
– WHAT ABOUT THE LAST TWO YEARS?
– WHAT ABOUT THE NEEDS?
– WHAT ABOUT THE RELATIONSHIP BETWEEN JEAULOUSY AND FEAR?
– WHAT ABOUT THE SENSE OF TOUCH?
– WHAT ABOUT THE STAFF?
– WHAT ABOUT THE TECHNIQUE?
– WHAT ABOUT THE TITLES YOU GIVE YOUR WORK? HOW IMPORTANT ARE THOSE?
– WHAT ABOUT THE WORK I DID?
– WHAT ABOUT THE WRITING? WHEN DID THAT START?
– WHAT ABOUT THOSE WHO DON’T DRINK? DOESN’T THAT EFFECTIVELY EXCLUDE THEM?
– WHAT ABOUT VACATIONS?
– WHAT ABOUT YOU?
– WHAT ABOUT YOU? ARE YOU HOT OR COLD?
– WHAT ABOUT YOUR EXPERIENCE IN NEW YORK?
– WHAT ABOUT YOUR MOTHER?
– WHAT ADVICE SHOULD YOU HAVE TOKEN, BUT DID NOT?
– WHAT AGES ARE WE SPEAKING ABOUT?
– WHAT AM I LOOKING AT?
– WHAT AMERICAN ARTISTS DO YOU ADMIRE?
– WHAT ARE MISTAKES?
– WHAT ARE SOME OF THE DIFFERENT WAYS YOU USE TEXT AND LETTERS?
– WHAT ARE SOME OF THE OTHER THINGS THAT YOU ARE DOING?
– WHAT ARE SOME PROJECTS THAT YOU ARE CURRENTLY INVOLVED IN OR CONTEMPLATING?
– WHAT ARE THE ABSOLUTE STANDARDS THEN?
– WHAT ARE THE BOUNDARIES? ON THE OTHER HAND, YOU DO LEAVE SOME BREATHING ROOM WHITHIN THAT QUESTIONABLE SYMBIOSIS BETWEEN THING AND PERSON OR BETWEEN ART AND SO-CALLED LIFE?
– WHAT ARE THE FIRST QUESTIONS YOU ASK OTHERS?
– WHAT ARE THE KEYS TO YOUR ELEGANCE?
– WHAT ARE THE MECHANICS OF HALLUCINATION?
– WHAT ARE THE MOST CHALLENGING PARTS OF THE ARCHIVE?
– WHAT ARE THE MOST DISTINCTIVE MEMORIES OF BRAZIL?
– WHAT ARE THE OTHER WRITERS THAT INTEREST YOU?
– WHAT ARE THE SPECIAL THINGS YOU ARE GOING TO REMEMBER FROM THIS LAST TEN YEARS OF WORK?
– WHAT ARE THE STORIES BEHIND YOUR PAINTINGS?
– WHAT ARE THESE ELEMENTS?
– WHAT ARE THOSE OBSESSIONS, THEN?
– WHAT ARE WE?
– WHAT ARE YOU DOING THERE?
– WHAT ARE YOU DOING?
– WHAT ARE YOU DOING?
– WHAT ARE YOU GOING TO DO WITH IT?
– WHAT ARE YOU LISTENING TO?
– WHAT ARE YOU PLANNING TO DO TODAY?
– WHAT ARE YOU PROTECTING? SHE’S CRAZY. SAY IT.
– WHAT ARE YOU READING?
– WHAT ARE YOU RUNNING AWAY FROM?
– WHAT ARE YOU SCARED OF?
– WHAT ARE YOU THINKING?
– WHAT ARE YOU WEARING RIGHT NOW?
– WHAT ARE YOU WORKING ON AT THE MOMENT?
– WHAT ARE YOU WORKING ON NOW, ANA?
– WHAT ARE YOU WORKING ON NOW?
– WHAT ARE YOU WORKING ON THESE SAYS?
– WHAT ARE YOUR CURRENT COLLABORATIONS?
– WHAT ARE YOUR DEEPEST REGRETS?
– WHAT ARE YOUR FAVOURITE FOODS?
– WHAT ARE YOUR FAVOURITE MEMORIES OF CHILDHOOD?
– WHAT ARE YOUR FAVOURITE MOVIES?
– WHAT ARE YOUR FAVOURITE WEBSITES?
– WHAT ARE YOUR FEELINGS ABOUT YOUR CAREER SUCCESS?
– WHAT ARE YOUR FILM INFLUENCES?
– WHAT ARE YOUR FIRST MUSICAL MEMORIES?
– WHAT ARE YOUR FIVE FAVOURITE DESTINATIONS IN PORTUGAL?
– WHAT ARE YOUR GUILTY PLEASURES?
– WHAT ARE YOUR MUSICAL INFLUENCES?
– WHAT ARE YOUR PLANS FOR NEW WORK?
– WHAT ARE YOUR PLANS FOR THE FUTURE?
– WHAT ARE YOUR PRIMARY CONCERNS?
– WHAT ARE YOUR REACTIONS WHEN YOU FEEL IMPOTENT?
– WHAT ARE YOUR REFLECTIONS ON THAT TIME? DO YOU SEE ANY SIMILAR TENDENCIES IN TODAY’S YOUNG PEOPLE?
– WHAT ARE YOUR THOUGHTS ON DIGITAL PHOTOGRAPHY?
– WHAT ARE YOUR VITAL INGREDIENTS FOR A GOOD NIGHT OUT?
– WHAT ARE YOUR WEAKNESSES?
– WHAT ARE YOUR WORST MEMORIES OF CHILDHOOD?
– WHAT ART WERE YOU LOOKING AT DURING THIS PERIOD?
– WHAT ARTISTS OF YOUR GENERATION ARE YOU CONNECTED TO?
– WHAT ASPECTS OF DUCHAMP HAVE BEEN KEY FOR YOU?
– WHAT ASPECTS OF YOUR YOUTH IMPACTED UPON YOUR SUBSEQUENT DEVELOPMENT AS AN ARTIST? WERE YOU A VORACIOUS READER?
– WHAT ASPIRATIONS IN LIFE AND YOUR CAREER DO YOU STILL WANT TO FULFIL?
– WHAT ATTRACTED YOU TO THE IDEA?
– WHAT BRAND?...
– WHAT CAME AFTER THAT?
– WHAT CAN BE EXPECTED?
– WHAT CAN I DO ABOUT IT?
– WHAT CAN WE LEARN FROM THE MUSEUM?
– WHAT CAN YOU DO? YOU CAN CONTINUE, THAT IS ALL YOU CAN DO, I GUESS.
– WHAT CAN YOU SAY ABOUT THE ARTISTIC POSSIBILITIES OF THE CONSTRUCTION ANS SETTING UP OF AN EXHIBITION?
– WHAT CAR DO YOU DRIVE?
– WHAT CAR OR CARS DO YOU OWN?
– WHAT COMES NEXT?
– WHAT CONNECTION IS THERE BETWEEN DRUGS AND HOMOSEXUALITY?
– WHAT CONNECTIONS DO YOU SEE BETWEEN PUNK AND DADA?
– WHAT CONNECTS YOUR VARIOUS PROJECTS?
– WHAT COULD YOU IMAGINE DOING IF YOU DIDN’T DO WHAT YOU DO?
– WHAT CRITERIA DID YOU USE FOR THIS CATEGORISATION?
– WHAT DATE WAS THAT?
– WHAT DETERMINED YOUR CHOICE OF SUBJECTS?
– WHAT DETERMINES YOUR RHYTHMS?
– WHAT DID ART MEAN TO YOU DURING THE DIFFERENT PHASES OF YOUR LIFE?
– WHAT DID HE SAY ABOUT IT?
– WHAT DID IT MEAN?
– WHAT DID YOU DO THERE?
– WHAT DID YOU DO TO GET THE PRESSURE OFF YOU?
– WHAT DID YOU DRAW?
– WHAT DID YOU FIND OUT?
– WHAT DID YOU GET FROM ROUSSEAU?
– WHAT DID YOU INTEND TO STUDY IN COLLEGE?
– WHAT DID YOU LEARN ABOUT YOURSELF FROM WORKING ON THE RETROSPECTIVE?
– WHAT DID YOU LEARN FROM THESE PEOPLE?
– WHAT DID YOU LEARN?
– WHAT DID YOU MEAN? IS THE IDEA OF HOME ONE THAT INTERESTS YOU?
– WHAT DID YOU TALK ABOUT MOSTLY?
– WHAT DID YOU TALK ABOUT MOSTLY?
– WHAT DID YOU THINK OF IT?
– WHAT DID YOU WANT WITH PHOTOGRAPHY? WHAT WERE YOU LOOKING FOR?
– WHAT DID YOU WEAR?
– WHAT DID YOU WRITE?
– WHAT DID YOUR FAMILY DO? WERE THEY INTERESTED IN ART?
– WHAT DID YOUR FRIENDS SAY?
– WHAT DID YOUR PARENTS THINK?
– WHAT DO HIGH HEELS ADD TO WOMEN’S SHOES?
– WHAT DO PEOPLE PLAN?
– WHAT DO THE ANIMALS THAT APPEAR SO OFTEN IN YOUR WORK REPRESENT?
– WHAT DO WE NEED TO SEE?
– WHAT DO YOU APPROPRIATE IN THESE WORKS? IS IT ALL JUST REMIXING?
– WHAT DO YOU BELIEVE IN, THEN?
– WHAT DO YOU BELIEVE IN?
– WHAT DO YOU CONSIDER A PERFECT DAY OF RECREATION IN THE CITY?
– WHAT DO YOU CONSIDER RADICAL RIGHT NOW?
– WHAT DO YOU CONSIDER TO BE YOUR “BIBLE”?
– WHAT DO YOU DAYDREAM ABOUT?
– WHAT DO YOU DISLIKE ABOUT YOUR WORK?
– WHAT DO YOU DO AFTERWORDS WITH THE OBJECTS YOU COPY?
– WHAT DO YOU DO?
– WHAT DO YOU FEAR ABOUT YOUR BODY?
– WHAT DO YOU FEAR ABOUT YOUR MIND?
– WHAT DO YOU FEAR MOST?
– WHAT DO YOU FEEL IS URGENT OR EVEN POSSIBLE TO MAKE VISIBLE?
– WHAT DO YOU FIND OF SPECIFIC INTEREST IN WORKS MADE BY YOUNG ARTISTS TODAY? AND WHAT IS YOUR OPINION ON CONTEMPORARY LITERATURE?
– WHAT DO YOU FIND SEXY?
– WHAT DO YOU HAVE TO SAY ABOUT THAT?
– WHAT DO YOU HOPE TO ACHIEVE BY BRINGING THE WORK HERE?
– WHAT DO YOU KNOW NOW THAT YOU WISH YOU’D KNOW THEN?
– WHAT DO YOU LIKE ABOUT YOUR BODY?
– WHAT DO YOU LIKE ABOUT YOUR MIND?
– WHAT DO YOU LIKE BEST ABOUT TOKYO?
– WHAT DO YOU LIKE BEST ABOUT YOUR WORK?
– WHAT DO YOU LIKE THE LOOK OF?
– WHAT DO YOU LIKE TO DO AFTER DARK?
– WHAT DO YOU LIKE TO DO TO RELAX?
– WHAT DO YOU MEAN “FREE”?
– WHAT DO YOU MEAN BY ‘SUBURBAN’?
– WHAT DO YOU MEAN BY “ACCIDENTS”?
– WHAT DO YOU MEAN BY “GET ANY FURTHER”?
– WHAT DO YOU MEAN BY ANALOGY?
– WHAT DO YOU MEAN BY HIERARCHY?
– WHAT DO YOU MEAN BY THAT?
– WHAT DO YOU MEAN BY THAT?
– WHAT DO YOU MEAN, FRINGES?
– WHAT DO YOU MEAN?
– WHAT DO YOU MOST FEAR?
– WHAT DO YOU REMEMBER FROM YOUR PARENTS?
– WHAT DO YOU SEE AS THE PLACE OF PAINTING IN ART TODAY, ESPECIALLY IN PORTUGAL?
– WHAT DO YOU SEE IS THE FUNCTION OF YOUR WORK?
– WHAT DO YOU SING IN THE SHOWER?
– WHAT DO YOU THINK ABOUT LOVE?
– WHAT DO YOU THINK AN ARTIST IS?
– WHAT DO YOU THINK HAPPENED BETWEEN KOONS AND ART TODAY? DID POP LOSE ITS AMBIGUITY AND THEREFORE THE INTEREST OF YOUNGER ARTISTS?
– WHAT DO YOU THINK IS IMPORTANT ABOUT HER PAINTING NOW, AND IN WHAT CONTEXT DO YOU SEE IT?
– WHAT DO YOU THINK OF MAILER? BELLOW? CAPOTE?
– WHAT DO YOU THINK OF THAT?
– WHAT DO YOU THINK OF THE POPE’S RESIGNATION?
– WHAT DO YOU THINK OF WORKING TOGETHER WITH SOMEONE ELSE?
– WHAT DO YOU THINK WAS THE CAUSE?
– WHAT DO YOU THINK YOUR INFLUENCES ARE?
– WHAT DO YOU THINK YOUR INFLUENCES ARE?
– WHAT DO YOU THINK, ANA, THAT MADE YOU WANT TO BE AN ARTIST?
– WHAT DO YOU WANT MONEY FOR?
– WHAT DO YOU WANT THE AUDIENCE TO EXPERIENCE?
– WHAT DO YOU WANT THEM TO KNOW?
– WHAT DO YOU WANT TO VISUALIZE (OR MAKE VISIBLE) WITH YOUR WORK?
– WHAT DO YOU WISH YOU KNEW?
– WHAT DO YOUR FRIENDS THINK OF YOUR JOB?
– WHAT DOES “APPROPRIATION” MEAN FOR YOU NOW?
– WHAT DOES “EXECUTION” MEAN TO YOU? AND WHAT FOLLOWS AFTER?
– WHAT DOES A TYPICAL WORKING DAY OF YOURS LOOK LIKE?
– WHAT DOES HE KNOW ABOUT IT?
– WHAT DOES IT MEAN TO BE CONTEMPORARY?
– WHAT DOES IT MEAN TO YOU?
– WHAT DOES IT MEAN?
– WHAT DOES LISBON SOUND LIKE?
– WHAT DOES ONE MEAN BY’GET AWAY WITH IT?
– WHAT DOES STYLE MEAN TO YOU?
– WHAT DOES THAT HAVE TO DO WITH YOU?
– WHAT DOES THAT MEAN?
– WHAT DOES THE INVITATION TO MOUNT A MID-CAREER SURVEY MEAN FOR AN ARTIST?
– WHAT DOES THE POTENCY DEPEND ON?
– WHAT DOES THE SUBLIME MEAN TO YOU?
– WHAT DOES THIS MEAN TO YOU?
– WHAT DOES THIS MEAN?
– WHAT DOES THIS REFER TO?
– WHAT DON’T YOU LIKE ABOUT YOUR OWN WORK?
– WHAT DRAWS YOU TO THESE KINDS OF OBJECTS?
– WHAT ELSE DID SHE SAY?
– WHAT ELSE DO YOU DO WITH YOUR TIME?
– WHAT ELSE DO YOU ENJOY?
– WHAT ELSE HAVE YOU BEEN WORKING ON?
– WHAT ELSE IS IN THE WORKS?
– WHAT ELSE?
– WHAT EMBARRASSMENT?
– WHAT EXACTLY DID YOU MEAN BY THAT?
– WHAT EXACTLY DO YOU MEAN BY THAT?
– WHAT EXACTLY HAS CHANGED?
– WHAT EXACTLY IS CONSCIOUSNESS?
– WHAT EXACTLY IS IT THAT INTERESTS YOU IN THIS COMBINATION?
– WHAT EXPECTATIONS AND BELIEVES DO WE HAVE ABOUT THE COLLECTIVE TODAY?
– WHAT FASCINATES YOU ABOUT DRAWING?
– WHAT FASCINATES YOU ABOUT WORKING AS AN ARTIST? IS IT JUST A WAY TO EARN A LIVING, OR IS IT A CALLING?
– WHAT FILMS ARE YOU THINKING OF?
– WHAT FIVE THINGS COULDN’T YOU LIVE WITHOUT?
– WHAT FIVE WORDS BEST DESCRIBE YOU?
– WHAT FOLLOWED?
– WHAT FORM DO YOU THINK IS APPROPRIATE TO GRAPPLE WITH THESE IDEAS?
– WHAT FORM DOES IT TAKE THEN?
– WHAT FRIGHTENS YOU?
– WHAT GENRE DO YOU PREFER?
– WHAT HAPPENED AFTER THAT?
– WHAT HAPPENED IN THAT PERIODE OF TIME?
– WHAT HAPPENED ONCE THE SHOW WAS OVER?
– WHAT HAPPENED THEN?
– WHAT HAPPENED WHEN YOU HAD THE OPERATION?
– WHAT HAPPENED?
– WHAT HAS A WOMAN DONE FOR YOU THAT MOST MOVED YOU?
– WHAT HAS P-ORRIDGE MUSIC MEANT TO YOU, AND DID YOU EVER MEET HER?
– WHAT HAS SUPPLANTED THAT?
– WHAT HAVE BEEN THE MAIN CULTURAL CHANGES?
– WHAT HAVE YOU BEEN TAKING?
– WHAT HAVE YOU BEEN WORKING ON SINCE THE NABINHO’S EXHIBITION?
– WHAT HOTEL?
– WHAT IDEA?
– WHAT IF SHE COMES BACK?
– WHAT IF SOMEONE WANTS TO LEAVE, HAS TO LEAVE?
– WHAT IF YOUR HOUSE WAS ON FIRE?
– WHAT IMAGES KEEP YOU COMPANY IN THE SPACE WHERE YOU WORK?
– WHAT IN THE 21ST CENTURY MOST INFORMS YOUR WORK? WHAT IS IT THAT YOU SEE, HEAR, READ, TASTE, SMELL OR FEEL THAT HAS IN ANY WAY BEEN MANIFEST IN THE WORK YOU HAVE PRODUCED?
– WHAT INSPIRES YOU?
– WHAT INTERESTED YOU ABOUT THE EXHIBITION? WHAT MOVED YOU TO REFERENCE THESE WORKS IN YOUR ART?
– WHAT INTERESTS YOU RIGHT NOW?
– WHAT IS A PAINTING’S RELATIONSHIP TO TIME?
– WHAT IS A VALUE?
– WHAT IS ABOUT HUMOUR OR LAUGHTER THAT YOU FIND IMPORTANT FOR AN ARTWORK TO CONTAIN?
– WHAT IS ABOUT THIS FORMATION THAT ATTRACTS YOU?
– WHAT IS AN IMPORTANT QUESTION?
– WHAT IS ART FOR?
– WHAT IS ART?
– WHAT IS BULLSHIT?
– WHAT IS FASHION FOR ANA JOTTA?
– WHAT IS GOING TO LAST? WHAT IS REALLY IMPORTANT?
– WHAT IS IT ABOUT HIM THAT YOU FOUND MOST REMARKABLE?
– WHAT IS IT ABOUT?
– WHAT IS IT THAT FASCINATES YOU? THERE’S A KEY IN THERE FOR WHAT YOUR WORK IS ABOUT. WHAT YOUR LIFE IS ABOUT.
– WHAT IS IT THAT FECUNDATES YOUR WORK?
– WHAT IS IT, IF NOT CYNICAL?
– WHAT IS MOOD THEN?
– WHAT IS POETRY?
– WHAT IS POP, AND HOW IS IT DIFFERENT TODAY?
– WHAT IS POP’S LEGACY?
– WHAT IS REAL AND WHAT IS ALLUSION?
– WHAT IS REAL?
– WHAT IS REALLY IMPORTANT?
– WHAT IS SO COMPLICATED ABOUT OBEYING THE LAW?
– WHAT IS SO SPECIAL ABOUT THIS MODEL?
– WHAT IS THE ACCIDENT YOU WILL NEVER FORGET?
– WHAT IS THE AIM OF YOUR PAINTINGS?
– WHAT IS THE CENTRE OF THE WORK?
– WHAT IS THE CRAZIEST PROJECT YOU DIDN’T COMPLETE?
– WHAT IS THE DIFFERENCE BETWEEN A PAINTING AND AN IMAGE OF A PAINTING?
– WHAT IS THE DURATION OF THIS PERIOD?
– WHAT IS THE EXHIBITION’S TITLE?
– WHAT IS THE FIRST THING THAT COMES TO MIND WHEN THINKING ABOUT THE FUTURE?
– WHAT IS THE GOOD OF SUCH A REALIZATION?
– WHAT IS THE IMPORTANCE OF INDEPENDENCE? IS INDEPENDENCE A KIND OF POWER?
– WHAT IS THE IMPORTANCE OF SADISM IN YOUR WORK?
– WHAT IS THE KEY THING THAT YOU HAVE LEARNT OVER THIS TIME?
– WHAT IS THE MEANING OF “STAGING” TO YOU, ESPECIALLY IN RELATION TO DIRECTNESS AND THEREFORE “TRUTH”?
– WHAT IS THE MESSAGE FOR THE VIEWER?
– WHAT IS THE MOST ESSENTIAL ART WORD?
– WHAT IS THE NEXT STAGE?
– WHAT IS THE ORIGIN OF YOUR NEW PIECE?
– WHAT IS THE PRACTICAL EFFECT OF THIS AXIS?
– WHAT IS THE PROJECT’S RELATIONSHIP WITH MUSIC?
– WHAT IS THE QUESTION?
– WHAT IS THE ROLE OF VIOLENCE AND WHAT MEANING DOES IT HAVE IN YOUR APPROACH?
– WHAT IS THE SIGNIFICANCE OF DUCHAMP OR OF SURREALISM FOR YOUR WORK?
– WHAT IS THE SOURCE OF CREATIVITY?
– WHAT IS THE STATUS OF IMPROVISATION AND DIRECTION OR CHOREOGRAPHY IN YOUR PERFORMANCE WORKS?
– WHAT IS THE STATUS OF OBJECTS?
– WHAT IS THE WORST JOB YOU HAVE DONE?
– WHAT IS THE WORST THING ANYONE HAS SAID ABOUT YOU?
– WHAT IS THERE TO DO IN THE FACE OF THAT?
– WHAT IS THERE TO LEARN PRIMARILY FROM OUR CONVERSATIONS?
– WHAT IS THIS ELEMENT OF SHAME? IN WHAT SENSE IS YOUR WORK DEALING WITH SHAME?
– WHAT IS THIS ORDER?
– WHAT IS TO BE GAINED BY SUCH BEHAVIOR AND HOW CAN WE DISCERN FACT FROM FICTION?
– WHAT IS VISION FOR YOU?
– WHAT IS YOUR BACKGROUND? DO YOU COME FROM AN ARTISTIC OR INTELLECTUAL FAMILY?
– WHAT IS YOUR CREATIVE PROCESS LIKE? IS THERE A CERTAIN INSPIRATION?
– WHAT IS YOUR DEFINITION OF BEAUTY?
– WHAT IS YOUR FAVORITE ACTOR?
– WHAT IS YOUR FAVORITE ACTRESS?
– WHAT IS YOUR FAVORITE BOOK?
– WHAT IS YOUR FAVORITE CITY?
– WHAT IS YOUR FAVORITE COLOR AND WHY?
– WHAT IS YOUR FAVORITE DRAWING MATERIAL? ANY SPECIFIC BRAND?
– WHAT IS YOUR FAVORITE PLANET?
– WHAT IS YOUR FAVORITE SPORT?
– WHAT IS YOUR FAVORITE TITLE OF AN ART WORK?
– WHAT IS YOUR FAVORITE TITLE OF AN EXHIBITION?
– WHAT IS YOUR FAVOURITE OUTFIT TO WEAR DURING THE NIGHT?
– WHAT IS YOUR FAVOURITE OUTFIT?
– WHAT IS YOUR FAVOURITE SATURDAY NIGHT RECORD?
– WHAT IS YOUR FAVOURITE SERIAL KILLER?
– WHAT IS YOUR FEELING ABOUT LANGUAGE?
– WHAT IS YOUR GUILTIEST PLEASURE?
– WHAT IS YOUR IDEAL LANDSCAPE?
– WHAT IS YOUR LISBON TOP 5 PEOPLE, PLACES AND THINGS?
– WHAT IS YOUR MOST PRIZED POSSESSION?
– WHAT IS YOUR MOST RECENT EXTRAVAGANCE?
– WHAT IS YOUR MOST TREASURED POSSESSION?
– WHAT IS YOUR NEWEST WORK?
– WHAT IS YOUR OPINION OF ME?
– WHAT IS YOUR PERSPECTIVE ON THE FUTURE OF THE BOOK?
– WHAT IS YOUR RELATIONSHIP TO ACCUMULATING, ARCHIVING AND DISPLAYING THINGS IN YOUR OWN SPACE?
– WHAT IS YOUR RELATIONSHIP TO TEXT? DO YOU WRITE?
– WHAT IS YOUR WORKING PROCESS?
– WHAT IS YOUR WORST ADDICTION?
– WHAT ISN’T?
– WHAT ISSUES WERE PEOPLE TRYING TO INTEGRATE?
– WHAT KEY ISSUES DO YOU MAKE THE SUBJECT IN YOUR ARTISTIC WORK?
– WHAT KIND DID YOU GET?
– WHAT KIND OF “IMMEDIATE DANGERS” ARE YOU TALKING ABOUT?
– WHAT KIND OF AUDIENCE WOULD YOU LIKE TO REACH?
– WHAT KIND OF CHOICES ARE YOU MAKING IN YOUR WORK?
– WHAT KIND OF FUTURE DEVELOPMENT DO YOU SEE? WHAT ARTISTIC APPROACHES DO YOU FIND INTERESTING IN THIS CONTEXT?
– WHAT KIND OF GAMES ARE WE TALKING ABOUT?
– WHAT KIND OF GIRL ARE YOU?
– WHAT KIND OF GOSSIP?
– WHAT KIND OF INFLUENCE HAVE MONDRIAN AND OTHER FORMAL PURIST PAINTERS HAD ON YOUR WORK?
– WHAT KIND OF LOGISTICAL ISSUES DOES THIS PROJECT INVOLVE?
– WHAT KIND OF MATERIALS AND OBJECTS HAS THE ARTIST USED?
– WHAT KIND OF MOVIES DO YOU LIKE BEST? DO YOU LIKE ROMANCE MOVIES? HORROR MOVIES? YOU DON’T HAVE A BEST?
– WHAT KIND OF PAINTINGS DID YOU MAKE AT THAT TIME?
– WHAT KIND OF PHOTOGRAPHS DID YOU MAKE?
– WHAT KIND OF PICTURE?
– WHAT KIND OF PROPOSALS?
– WHAT KIND OF RELATIONSHIP IS THERE BETWEEN MAKE-BELIEVE AND REALITY IN YOUR WORK?
– WHAT KIND OF STUFF?
– WHAT KIND OF STUPID THING CAN PLACE SOCIETY IN DANGER?
– WHAT KIND OF THINGS DO YOU FORGET?
– WHAT KIND OF THINGS WERE YOU MAKING?
– WHAT KIND OF THINGS?
– WHAT KIND OF THINGS?
– WHAT KIND OF WORK DO YOU MAKE?
– WHAT LED YOU TO THAT?
– WHAT LEGENDS ARE BEHIND THIS IMAGE? ARE YOU TELLING A PARTICULAR STORY HERE?
– WHAT LESSONS DOES THAT DANGER TEACH?
– WHAT MADE YOU BECOME AN ARTIST?
– WHAT MADE YOU CHANGE YOUR MIND?
– WHAT MADE YOU MAKE THE DECISION THAT YOU WEREN’T GOING TO MAKE ANY OF THE DECISIONS?
– WHAT MAKES A COUPLE LAST?
– WHAT MAKES A GREAT EXHIBITION?
– WHAT MAKES A GREAT GIG?
– WHAT MAKES A REAL PLANT NEXT TO A PLASTIC PLANT?
– WHAT MAKES SENSE?
– WHAT MAKES SUCH GESTURES SEEM PERTINENT NOW?
– WHAT MAKES THE SHITTY ONES BETTER?
– WHAT MAKES YOU FALL IN LOVE?
– WHAT MAKES YOU LOVE A WOMAN?
– WHAT MATERIALS DO YOU USE?
– WHAT MATERIALS DO YOU USE?
– WHAT MIGHT BE RADICAL IN THE FUTURE?
– WHAT MIGHT BE THE POSITIVE SIDE OF ALL THIS?
– WHAT MOMENTS DO YOU THINK AS SIGNIFICANT FOR YOUR AESTHETIC EDUCATION?
– WHAT MUSIC ARE YOU CURRENTLY GROOVING TO?
– WHAT MUSIC ARE YOU LISTENING TO?
– WHAT MUSIC DO YOU LIKE TO LISTEN TO IN THE STUDIO?
– WHAT MUSIC DO YOU LISTEN TO?
– WHAT NEXT TO ANA JOTTA?
– WHAT ON EARTH WAS HE THINKING?
– WHAT ONE HEARS IS USUALLY THE OPPOSITE.
– WHAT OPPORTUNITIES DOES EACH MEDIUM OFFER YOU?
– WHAT OR WHO HELPED YOU GET THROUGH THIS PERIOD?
– WHAT OTHER ART WERE YOU CONNECTING WITH AT THIS POINT?
– WHAT OTHER ARTISTS DO YOU FEEL CLOSE TO?
– WHAT OTHER EXHIBITIONS DO YOU REMEMBER MOST FONDLY?
– WHAT OTHER PLANS DO YOU HAVE FOR THE FUTURE?
– WHAT OTHER PROJECTS ARE YOU INVOLVED WITH NOW – I KNOW THERE’S A COLLABORATIVE BOOK WITH NICOLAU…
– WHAT OUGHT TO CHANGE?
– WHAT PART OF A WOMAN’S WARDROBE SEDUCES YOU?
– WHAT PARTICULARLY INTERESTED YOU THERE?
– WHAT PERCENTAGE DO YOU DESTROY?
– WHAT PERSONAL REASONS?
– WHAT PHOTOGRAPHS OF YOURSELF DO YOU LIKE MOST?
– WHAT PLACE DO YOU FIND INSPIRING?
– WHAT PLACE IS THAT?
– WHAT PLACES IN MADRID DO YOU LIKE BEST?
– WHAT PORTUGUESE ARTISTS DO YOU ADMIRE?
– WHAT POWER DO YOU ATTRIBUTE TO HUMOR?
– WHAT PRECIPITATED THAT TRANSITION, DO YOU THINK?
– WHAT PRECISELY DOES THE ALCHEMY CONSIST OF?
– WHAT PRODUCES CONSENT? WHY DO WE SAY YES TO THE LAW?
– WHAT PROJECTS ARE YOU PLANNING FOR THE IMMEDIATE FUTURE?
– WHAT PROJECTS ARE YOU UNDERTAKING IN THE NEAR FUTURE? ARE YOU GOING TO PLACE EVEN MORE EMPHASIS ON PERFORMANCE AND THEATRE?
– WHAT PROJECTS DO YOU HAVE DURING 2011?
– WHAT PROJECTS DO YOU HAVE NOW IN THE SHORT TERM?
– WHAT REALITY?
– WHAT REALLY WENT ON THERE?
– WHAT ROLE DOES AMBIGUITY PLAY IN THESE WORKS?
– WHAT ROLE DOES SINCERITY PLAY FOR YOU?
– WHAT ROLE DOES TRANSLATION PLAY?
– WHAT RUMOURS HAVE BEEN SPREAD ABOUT YOU?
– WHAT SEEMS OVER CODED? AND IN WHAT SITUATION?
– WHAT SHOULD WE CALL IT?
– WHAT SHOULD WE DO WHEN WE SEE IMAGES LIKE THIS?
– WHAT SIGNIFICANCE DOES BEAUTY HAVE TO YOU? ALSO A SOURCE OF ENERGY?
– WHAT SORT OF CONSIDERATIONS?
– WHAT SORT OF GAME?
– WHAT SORT OF PERCENTAGE?
– WHAT SORT OF THINGS ARE YOU READING?
– WHAT STAR SIGN ARE YOU?
– WHAT STOPS US?
– WHAT SURPRISED YOU MOST ABOUT THIS COLLABORATIVE PROCESS – PLEASANTLY OR OTHERWISE?
– WHAT TALENT WOULD YOU LIKE TO HAVE HAD?
– WHAT TASKS DO YOU WANT TO ADDRESS YOURSELF IN THE NEAR FUTURE?
– WHAT TECHNOLOGICAL DEVICES ARE USED TO MAKE YOUR WORK?
– WHAT TURNED THINGS AROUND?
– WHAT TURNS YOU ON?
– WHAT TYPE OF CHOICES DO YOU THINK YOU’RE MAKING? I GUESS IT’S NOT. . . PEOPLE HAVE DEALT. . .
– WHAT TYPE OF LANDSCAPE DO YOU FEEL THE CLOSEST AFFINITY WITH?
– WHAT TYPE OF PERSON DO YOU USUALLY DISLIKE?
– WHAT WAS A TYPICAL DAY AT BRUXELS LIKE?
– WHAT WAS HIS NAME?
– WHAT WAS IT EXACTLY?
– WHAT WAS IT LIKE BEING A STUDENT IN BRUSSELS AT THAT TIME?
– WHAT WAS IT LIKE WHEN YOU WERE YOUNGER?
– WHAT WAS MOST CONTENTIOUS FOR YOU AS AN INDIVIDUAL WITHIN THIS GROUP?
– WHAT WAS SHE INVOLVED IN WHILE YOU WERE GROWING UP?
– WHAT WAS SHE LIKE?
– WHAT WAS THAT EXPERIENCE LIKE?
– WHAT WAS THAT LIKE FOR THE TWO OF YOU?
– WHAT WAS THAT WORD YOU USED TO LOVE?
– WHAT WAS THE BIGGEST CHALLENGE?
– WHAT WAS THE BIGGEST SURPRISE ABOUT THE PROCESS?
– WHAT WAS THE BIGGEST THRILL OF YOUR LIFE?
– WHAT WAS THE COMPROMISE?
– WHAT WAS THE CONCEPT BEHIND THE DECISION?
– WHAT WAS THE CONTEXT OF THE INVITATION TO EXHIBIT IN VITORIA, SPAIN?
– WHAT WAS THE FIRST FASHION SHOW YOU EVER WENT TO?
– WHAT WAS THE FIRST PIECE OF ART THAT REALLY MATTERED TO YOU?
– WHAT WAS THE FIRST PIECE THAT YOU DID?
– WHAT WAS THE FIRST RECORD YOU EVER BOUGHT? AND WHERE DID YOU BY IT?
– WHAT WAS THE FIRST WORK OF ART YOU EVER SAW?
– WHAT WAS THE GENESIS OF THE PROJECT?
– WHAT WAS THE IDEA BEHIND THIS LIST?
– WHAT WAS THE KIND OF ATMOSPHERE PREVALENT AT THE TIME?
– WHAT WAS THE LAST BOOK YOU READ?
– WHAT WAS THE LAST PLACE YOU WENT OUT FOR DINNER?
– WHAT WAS THE METHOD?
– WHAT WAS THE POINT OF CONTACT?
– WHAT WAS THE REASON FOR THIS TYPE OF REJECTION OF CLOSURE?
– WHAT WAS THE SITUATION LIKE BEFORE?
– WHAT WAS THE TITLE OF THE EXHIBITION?
– WHAT WAS THE TOUGHEST PART OF THE ROLE?
– WHAT WAS THE WAY SHE TOLD IT?
– WHAT WAS THEIR REACTION?
– WHAT WAS THERE ABOUT IT THAT SEDUCED YOU?
– WHAT WAS THERE BEFORE?
– WHAT WAS YOUR BACKGROUND?
– WHAT WAS YOUR DAD’S NAME?
– WHAT WAS YOUR ENTRY INTO THE ART WORLD?
– WHAT WAS YOUR IMPRESSION OF THE GASTRONOMIC OFFERS?
– WHAT WAS YOUR IMPRESSION OF THE SERVICE?
– WHAT WAS YOUR INSPIRATION?
– WHAT WAS YOUR LAST LIE?
– WHAT WAS YOUR MAIN REASON FOR TAKING PART IN IT?
– WHAT WAS YOUR RELATIONSHIP WITH THE MAKING OF THESE WORKS?
– WHAT WAS YOUR WORK LIKE AT THAT TIME?
– WHAT WAS YOUR WORK LIKE AT THIS POINT?
– WHAT WENT WRONG THERE?
– WHAT WERE DIFFICULTIES OR IRRITATIONS ABOUT YOUR PARENTS?
– WHAT WERE THE ANSWERS LIKE?
– WHAT WERE THE BIGGEST DIFFICULTIES YOU FACED?
– WHAT WERE THE BOOKS AND THINGS YOU LIKED MOST, THE THINGS THAT YOU LIKED TO DO MOST WHEN YOU WERE A CHILD? WERE YOU OUTDOORSY OR. . .
– WHAT WERE THE REASONS?
– WHAT WERE THEY LIKE?
– WHAT WERE THEY LOOKING AT?
– WHAT WERE THEY TO YOU?
– WHAT WERE YOU AIMING AT WHEN YOU ENTERED THE VISUAL ART CONTEXT?
– WHAT WERE YOU BEING TOLD?
– WHAT WERE YOU LIKE AT SCHOOL?
– WHAT WERE YOU LIKE, ANA?
– WHAT WERE YOU READING AT THAT TIME?
– WHAT WERE YOU UP TO?
– WHAT WERE YOUR BIGGEST LOSSES IN LIFE?
– WHAT WERE YOUR FAVORITE BOOKS?
– WHAT WERE YOUR FIRST IMPRESSIONS OF HER?
– WHAT WERE YOUR FIRST IMPRESSIONS OF HIM?
– WHAT WERE YOUR FIRST JOINT PROJECTS?
– WHAT WERE YOUR REFERENCES WHEN YOU STARTED TO DO THIS KIND OF WORK?
– WHAT WILL BE THE FUTURE?
– WHAT WILL HAPPEN ONCE YOU RUN OUT OF SPACE?
– WHAT WORK DID YOU DO WHEN YOU WERE THERE?
– WHAT WOULD BE THE DIFFERENCE FOR YOU?
– WHAT WOULD BE THE GOOD OF THAT?
– WHAT WOULD HAPPEN THEN?
– WHAT WOULD HAPPEN?
– WHAT WOULD HE SPEND IT ON?
– WHAT WOULD IT BE LIKE, LIVING IN SLOW MOTION?
– WHAT WOULD IT LEAD US TO?
– WHAT WOULD IT USUALLY BE USED FOR?
– WHAT WOULD THAT LOOK LIKE?
– WHAT WOULD VOLTAIRE THINK OF MODERN LISBON?
– WHAT WOULD YOU CITE AS HAVING INFLUENCED YOU? WHAT HAS MADE A MARK ON YOU?
– WHAT WOULD YOU DO IF SOMEONE GAVE YOU A MILLION DOLLARS?
– WHAT WOULD YOU LIKE PEOPLE TO SAY ABOUT YOUR TENURE HERE?
– WHAT WOULD YOU SAY?
– WHAT WOULD YOUR DREAM PIECE BE?
– WHAT YEAR WAS THAT?
– WHAT YEAR WAS THIS?
– WHAT YOU’RE DESCRIBING SOUNDS LIKE A KIND OF SCHIZOPHRENIA.
– WHAT, BEINGG CRAZY?
– WHAT’S HOT?
– WHAT’S IN YOUR SCULPTURES?
– WHAT’S IT LIKE?
– WHAT’S IT MADE OF?
– WHAT’S LEFT OF THIS EXHIBITION?
– WHAT’S LISBON GOOD FOR DOING?
– WHAT’S ONE THING OR EVENT YOU WOULD LIKE TO FORGET?
– WHAT’S OUR DRUG SITUATION?
– WHAT’S THAT SUPPOSED TO MEAN?
– WHAT’S THAT?
– WHAT’S THE APPEAL?
– WHAT’S THE BEST THING ABOUT IT?
– WHAT’S THE CRAZIEST THING YOU’VE DONE FOR LOVE?
– WHAT’S THE DIFFERENCE?
– WHAT’S THE HARDEST THING FOR YOU?
– WHAT’S THE IMPORTANCE OF VIRTUOSITY IN YOUR WORK?
– WHAT’S THE MESSAGE?
– WHAT’S THE POINT OTHERWISE?
– WHAT’S THE RELATIONSHIP BETWEEN HUMOR AND HORROR TO YOU?
– WHAT’S THE ROLE OF YOUR LIBRARY IN THE WORKING PROCESS?
– WHAT’S THE USE?
– WHAT’S THIS?
– WHAT’S WRONG WITH GENEROSITY?
– WHAT’S WRONG WITH IT?
– WHAT’S WRONG WITH THAT?
– WHAT’S YOUR EARLIEST MEMORY?
– WHAT’S YOUR FAVOURITE FOOD?
– WHAT’S YOUR FAVOURITE SMELL?
– WHAT’S YOUR PERSPECTIVE ON THE STATUS OF PAINTING? IN THE ART WORLD TODAY, IT IS TAKEN SERIOUSLY, AND CONSUMED VIGOROUSLY, IN A WAY THAT IT HADN’T BEEN FOR SOME TIME, THE “TRIUMPH OF PAINTING”, THE RE-EMERGENCE OF PAINTING. WAS THERE A TIME WHEN YOU FELT DEFENSIVE, IN TERMS OF BEING A PAINTER? IS IT EASIER FOR YOU, DOING THE “UNFASHIONABLE” THING, PAINTING, OR IS IT EASIER TO WORK IN A CLIMATE WHERE PAINTING IS ACCEPTED? OR DOES IT EVEN MATTER?
– WHAT’S YOUR TYPE OF WOMAN?
– WHEN A MAD PERSON WRITES AND THAT WRITING IS READ, IT BECOMES LITERATURE. WHAT ARE WE GOING TO DO WITH THIS GENRE OF LITERATURE? WHY SHOULD WE READ IT… WHY SHOULD WE NOT READ IT? WHAT IS THIS IF NOT CULTURE?
– WHEN DID THINGS CHANGE?
– WHEN DID THIS START?
– WHEN DID YOU DECIDE TO BE AN ARTIST?
– WHEN DID YOU FIRST GO TO NEW YORK?
– WHEN DID YOU FIRST SEE JOHNY GUITAR?
– WHEN DID YOU FIRST USE MIRRORS?
– WHEN DID YOU FIRST WORK TOGETHER?
– WHEN DID YOU GET INTERESTED IN HIM?
– WHEN DID YOU MEET HIM?
– WHEN DID YOU OBSERVE THIS?
– WHEN DID YOU SHIFT ROLES, AND BEGIN TO FEEL COMFORTABLE WITH THE NOTION OF BEING AN ARTIST?
– WHEN DID YOU START MAKING PAINTINGS?
– WHEN DID YOU START TO SEE REAL ART?
– WHEN DID YOU START WORKING IN SOFT MATERIALS?
– WHEN DID YOU WORK IN THE FILM INDUSTRY?
– WHEN DO YOU DECIDE THAT THE WORK IS NO GOOD? IS IT IMMEDIATELY AFTER YOU’VE FINISHED IT, OR SOME TIME LATER?
– WHEN DO YOU DECIDE TO PAINT?
– WHEN DO YOU FEEL THAT, WHEN IS IT CLEAR THAT IT´S TIME TO CHANGE?
– WHEN DO YOU KNOW THAT YOU ARE GOING TO USE A CERTAIN MATERIAL?
– WHEN DO YOU SAY TO YOURSELF THAT A PIECE WORKS?
– WHEN IS A PAINTING FINISHED?
– WHEN IS A WORK FINISHED FOR YOU? WHEN DO YOU DECIDE THAT’S IT?
– WHEN IS THE NEXT LIVE PERFORMANCE?
– WHEN ONE YEAR CORRESPONDS TO FIFTY?
– WHEN PEOPLE CALL A WORK PORNOGRAPHIC, WHAT DO YOU THINK THEY MEAN?
– WHEN WAS IT?
– WHEN WAS THAT?
– WHEN WAS THE BOOK PUBLISHED?
– WHEN WAS THIS?
– WHEN WAS YOUR FIRST VISIT TO TOKYO?
– WHEN WERE YOU HAPPY?
– WHEN YOU ARE USING THE MATERIALS, FREELY…
– WHEN YOU DESCRIBE THIS PROCEDURE IT SOUNDS VERY SYSTEMATIC. BUT I CAN IMAGINE THAT IT BEGINS WITH, SAY, A PREFERENCE FOR A CERTAIN SHAPE?
– WHEN YOU SAW EACH OTHER AGAIN, WHAT WERE YOU DOING AT THE TIME?
– WHEN YOU SPOKE ABOUT ART, WHICH SPECIAL SUBJECTS OR VIEWPOINTS DO YOU REMEMBER DISCUSSING?
– WHEN YOU WERE A CHILD, WHAT WAS LISBON LIKE?
– WHEN YOU WORK WITH OTHER ARTISTS, DO YOU ESTABLISH SUCH WORK RELATIONS BECAUSE OF COMPLICITY OR COINCIDENCE?
– WHEN, HOW AND WHY DID YOU FEEL OR DEFINE YOURSELF AS AN ARTIST FOR THE FIRST TIME?
– WHEN, WHAT POINT DO YOU CONSIDER THE BEGINNING OF YOUR CAREER AS AN ARTIST?
– WHERE AND HOW DID YOU MEET?
– WHERE ARE YOU AT THE MOMENT IN TERMS OF YOUR INTERESTS AND PURSUITS?
– WHERE ARE YOU FROM?
– WHERE ARE YOU LIVING NOW?
– WHERE CAN WE FIND YOU ON A TYPICAL SATURDAY NIGHT?
– WHERE CAN YOU BE FOUND AT THE MIDNIGHT HOUR?
– WHERE DID IT COME FROM?
– WHERE DID YOU BUY YOUR CLOTHES FROM?
– WHERE DID YOU FIND A PLACE TO BLOW GLASS AND MELT METALS?
– WHERE DID YOU GET IT?
– WHERE DID YOU GET YOUR NAME, JOTTA?
– WHERE DID YOU GET YOUR SENSE OF STYLE?
– WHERE DID YOU GO TO SCHOOL?
– WHERE DID YOU GO?
– WHERE DID YOU GROW UP, AND HOW DID YOU GET INTO ART?
– WHERE DID YOU GROW UP?
– WHERE DID YOU LEARN SO MUCH ABOUT THEATRE?
– WHERE DID YOU SEE IT?
– WHERE DID YOU STUDY ART?
– WHERE DID YOU STUDY?
– WHERE DO YOU FILE YOUR STUFF, IS IT SYSTEMATIC, IS IT CHAOTIC, OR IS IT ORDERLY?
– WHERE DO YOU GO FROM HERE? WHICH ROAD DO YOU WANT TO TAKE?
– WHERE DO YOU GO MOST OFTEN AND WHY?
– WHERE DO YOU HEAD FOR A GREAT NIGHT OUT?
– WHERE DO YOU LIKE TO STAY ON HOLIDAY?
– WHERE DO YOU LIVE AND WHY?
– WHERE DO YOU SEE THIS GOING?
– WHERE DO YOU SEE YOUR PLACE IN THE SYSTEM?
– WHERE DO YOU SEE YOURSELF FITTING IN?
– WHERE DO YOU SEE YOURSELF IN 5 YEARS TIME?
– WHERE DO YOU THINK YOUR RESUMÉ STARTS?
– WHERE DOES THIS IDEA COME FROM?
– WHERE DOES THIS RESISTANCE TOWARDS YOUR WORK COME FROM?
– WHERE DOES YOUR DESIRE TO ACT COME FROM?
– WHERE DOES YOUR RELATIONSHIP WITH WORDS COME FROM?
– WHERE HAVE YOU BEEN?
– WHERE IMAGE AND PAINT ARE INSEPARABLE?
– WHERE IN YOUR OPINION DOES THE SEED OF YOUR CREATIVITY LIE?
– WHERE IS HOME FOR YOU?
– WHERE IS SHE?
– WHERE IS THAT?
– WHERE IS THE HUMOUR NOIR IN YOUR WORK?
– WHERE IS THE SECRET?
– WHERE IS THE WIND WHEN IT DOESN’T BLOW?
– WHERE SHOULD WE GO?
– WHERE THE DEVIL DID THIS COME FROM?
– WHERE THE WORK GETS DONE?
– WHERE TO BEGIN?
– WHERE TO GO?
– WHERE WAS THAT GALLERY?
– WHERE WILL THE MONEY COME FROM?
– WHERE WOULD YOU POSITION YOURSELF IN RELATION TO THIS?
– WHERE YOU EVER BULLIED AT SCHOOL FOR THOSE ASPIRATIONS?
– WHERE YOU EVER ENCOURAGED BY OTHERS TO TAKE EACH OTHER ON, OR ARE YOU BOTH JUST NATURALLY COMBATIVE?
– WHERE YOU IN COMPLETE AGREEMENT OVER IT?
– WHERE? WHO SAID THAT?
– WHERE’D YOU HEAR THAT?
– WHERE’S YOUR FAVOURITE PLACE TO HANG OUT AND WHY?
– WHICH ACTRESSES DID YOU ADMIRE WHEN YOU WERE GROWING UP?
– WHICH ARE THE OTHER ARTISTS WITH WHOM YOU FEEL CLOSE?
– WHICH ARTIST DO YOU MOST ADMIRE?
– WHICH ARTIST, OTHER THAN YOURSELF, HAVE YOU EVER WANTED TO BE?
– WHICH ARTISTS ARE THEY?
– WHICH ARTISTS DO YOU FEEL MORE CONNECTED TO, PAST OR PRESENT?
– WHICH BLOGS DO YOU REGULARLY FOLLOW?
– WHICH BOX WAS THAT?
– WHICH CINEMA HEROINE SEDUCES YOU?
– WHICH COLLEAGUES DO YOU VALUE MOST HIGHLY?
– WHICH COUNTRIES TOP YOUR LIST FOR TRAVELS IN THE FUTURE?
– WHICH DE-PARALYSED YOU?
– WHICH GALLERIES?
– WHICH GALLERY?
– WHICH IS A LITTLE LIKE A CHILDREN’S BOOK…
– WHICH IS FAIR ENOUGH, DON’T YOU THINK?
– WHICH IS UNUSUAL NOW, AT LEAST IN FILMS MADE WITHIN AN ART CONTEXT.
– WHICH IS YOUR FAVOURITE BOND FILM?
– WHICH IS?
– WHICH MUSICIAN HAVE YOU EVER WANTED TO BE?
– WHICH NEWSPAPERS DO YOU READ?
– WHICH ONE DID YOU SEE?
– WHICH ONE?
– WHICH ONES?
– WHICH STILL HAVE MODELING. YOU CAN’T AVOID THOSE SPATIAL READINGS.
– WHICH WAS YOUR PERSONAL HIGHLIGHT AND WHY?
– WHICH YOU DON’T DO ANYMORE?
– WHICH?
– WHO ARE ‘THEY’?
– WHO ARE THE ARTISTS AND THINKERS WHO HAVE PARTICULARLY INFLUENCED YOU?
– WHO ARE THE BARBARIANS OF TODAY?
– WHO ARE YOU?
– WHO ARE YOUR OTHER CINEMATIC HEROES? FILMS YOU SAW OVER AND OVER AGAIN?
– WHO ARE YOUR REFERENCES AMONG OTHER ARTISTS?
– WHO CARES?
– WHO COULD I ASK?
– WHO CREATED THAT NOTION?
– WHO DO YOU HATE?
– WHO DO YOU LOVE?
– WHO DO YOU PICTURE IN YOUR MIND AS YOUR VIEWER? WHAT DO YOU WANT THEM TO KNOW?
– WHO DO YOU TALK TO?
– WHO DO YOU THINK YOU ARE?
– WHO DOES THE FIGHTING?
– WHO ELSE BENEFITS BY THE CONTINUED CIRCULATION AND EXPLOITATION OF THESE MYTHS?
– WHO ELSE DID YOU MEET?
– WHO ELSE INTERESTED YOU?
– WHO ELSE IS IN YOUR CATALOGUE OF HEROES?
– WHO HAS HELPED YOU THE MOST WITH YOUR CAREER?
– WHO IS SHE, ANYHOW, AN ACTRESS?
– WHO IS THAT SOMEONE?
– WHO IS THE COOLEST PERSON YOU KNOW?
– WHO IS THE GENERATION BEFORE YOURS?
– WHO IS YOUR ART FOR?
– WHO IS YOUR FAVOURITE BOND GIRL?
– WHO MAKES WAR?
– WHO SAID THAT?
– WHO STOOD UP FOR YOUR WORK?
– WHO WANTS TO TRAVEL SO FAST?
– WHO WAS HE?
– WHO WAS IT?
– WHO WAS SHE?
– WHO WAS THAT MORE RADICAL GROUP?
– WHO WAS THE ART DIRECTOR?
– WHO WAS THE DIRECTOR?
– WHO WAS THE LAST PERSON YOU SAW PLAYING LIVE?
– WHO WAS THERE?
– WHO WAS YOUR WORST BULLY AT SCHOOL?
– WHO WERE THE ARTISTS THAT YOU WERE LOOKING AT EARLY ON?
– WHO WERE THE ARTISTS YOU WERE FRIENDS WITH?
– WHO WERE THESE PEOPLE?
– WHO WERE YOUR FELLOW STUDENTS?
– WHO WERE YOUR INFLUENCES THEN?
– WHO WERE YOUR TEACHERS THERE?
– WHO WILL LEAVE A TRACE?
– WHO WOULD YOU HAVE AT YOUR IDEAL DINNER PARTY?
– WHO WOULD YOU INVITE FOR A SPECIAL DINNER AND WHAT WOULD YOU SERVE?
– WHO, IF ANYONE, COMMISSIONED THE WORK, AND HOW DID THE CONTEXT IT WAS TO BE EXHIBITED IN INFLUENCE ITS CREATION?
– WHO?
– WHO’S GOT TIME FOR THAT?!
– WHO’S THE BEST?
– WHOLE THING TURNS INTO A CARTOON?
– WHOSE CLASSES DID YOU TAKE, AND WHAT KIND OF CLASSES?
– WHOSE FUNERAL?
– WHOSE WORK DID YOU REALLY LIKE?
– WHY “ANA MARIA”?
– WHY AM I INTERVIEWING YOU?
– WHY ARE PALM TREES A SYMBOL OF DESIRE?
– WHY ARE WE FRIENDS?
– WHY ARE YOU INTERESTED IN ANIMALS?
– WHY ARE YOU INTERESTED IN THIS SINISTER ASPECT?
– WHY ARE YOU MAKING ART?
– WHY ARE YOU SHOUTING?
– WHY DID THAT HAPPEN?
– WHY DID THAT HAPPEN? BECAUSE OF POP MUSIC?
– WHY DID THEY LAUGH?
– WHY DID THIS HAPPEN?
– WHY DID YOU CHANGE?
– WHY DID YOU CHOOSE THEM AS FORMS OF EXPRESSION?
– WHY DID YOU CHOOSE THIS DIVISION?
– WHY DID YOU DECIDE TO BECOME VISIBLE AT SOME POINT?
– WHY DID YOU DECIDE TO USE IT THAT WAY?
– WHY DID YOU DECIDE YOU WANTED TO INSERT YOURSELF INTO THE ART WORLD?
– WHY DID YOU FEEL THAT WAY?
– WHY DID YOU FIND THAT DESIRABLE?
– WHY DID YOU GO TO SCHOOL THERE?
– WHY DID YOU KEEP THESE LETTERS, INSTEAD OF DESTRYING THEM?
– WHY DID YOU MOVE TO BRUSSELS?
– WHY DID YOU PICK THOSE TWO PARTICULAR CONFIGURATIONS TO ENLARGE?
– WHY DID YOU SAY YES?
– WHY DID YOU SELECT THIS PARTICULAR WORK?
– WHY DID YOU SET IT UP?
– WHY DID YOU STOP?
– WHY DID YOU THINK IT WAS STILL RELEVANT?
– WHY DID YOU THINK YOU WERE A NERD?
– WHY DID YOU WANT TO COME BACK TO THIS WAY?
– WHY DO WE HAVE TO COMMUNICATE WITH EACH OTHER?
– WHY DO WE SAY YES TO THE LAW?
– WHY DO YOU FEEL MORE ABLE TO DO THAT NOW THAN MAYBE TEN YEARS AGO?
– WHY DO YOU FIND THAT NECESSARY?
– WHY DO YOU HAVE SUCH A STRONG INCLINATION FOR OLDER MATERIAL? BECAUSE IT PROVIDES AN ALTERNATIVE AESTHETIC TO THE CURRENT ONE?
– WHY DO YOU HESITATE?
– WHY DO YOU THINK THAT HAPPENED?
– WHY DO YOU THINK THAT IS?
– WHY DO YOU THINK THAT IS?
– WHY DO YOU THINK THERE IS SUCH A BIG INTEREST IN YOU?
– WHY DO YOU THINK THIS IS GOING ON NOW?
– WHY DO YOU THINK WE REMEMBER THE SINGLE PHOTOGRAPHY BETTER?
– WHY DO YOU THINK YOU REJECTED THOSE THINGS?
– WHY DOES IT ALL HAVE TO BE SO AMBIGUIOUS?
– WHY DOES MELANCHOLY SOUND SO GOOD?
– WHY DOES THAT INTEREST YOU?
– WHY DOES THE PROBLEM PERSIST THEN?
– WHY DOES YOUR NAME FIGURE IN YOUR WORK?
– WHY DON’T YOU LIKE THE IDEA OF PROJECTS?
– WHY DON’T YOU LIVE WITH OTHERS ON A DAILY BASIS?
– WHY HAS HE COME BACK?
– WHY HAS IT BEEN ACCEPTED FOR SO LONG?
– WHY HAVE YOU DECIDED TO DO THAT?
– WHY IS ART A PROFESSION?
– WHY IS DANGER ATTRACTIVE?
– WHY IS IT NECESSARY TO JUDGE PEOPLE?
– WHY IS THAT NECESSARY?
– WHY IS YOUR WORK SLIGHTLY STAGEY? WOULD YOU EVER DESCRIBE IT THAT WAY YOURSELF?
– WHY ISN’T SHE IN JAIL?
– WHY KEEPING THE NAME?
– WHY MEDIEVAL?
– WHY NOT DO SOMETHING ELSE?
– WHY NOT REVEAL IT?
– WHY NOT?
– WHY NOW?
– WHY SMART PEOPLE DO DUMB THINGS?
– WHY STEAL THEM?
– WHY TANGIER?
– WHY THAT SONG?
– WHY THE HIGH HEELS? WHAT DO HIGH HEELS ADD TO WOMEN’S SHOES?
– WHY THE TITLE?
– WHY THEN DO YOU CHOOSE TO TELL CERTAIN STORIES RATHER THAN OTHERS?
– WHY THIS DISAPPEARANCE?
– WHY WAS EVERYBODY SO INTERESTED?
– WHY WAS IT ALMOST REPUGNANT? THIS IS A VERY STRONG EXPRESSION.
– WHY WAS IT SO WONDERFUL?
– WHY WAS IT SUCH AN ATTRACTION?
– WHY WAS THIS HISTORICAL CURIOSITY GIVEN SUCH A PROMINENT PLACE IN THIS CONTEXT?
– WHY WORK ACROSS MULTIPLE FORMATS?
– WHY WORRY ABOUT THAT? I CAN’T SEE YOU RUNNING OUT OF PASSIONS AND PREJUDICES ANYTIME SOON…
– WHY WOULDN’T IT HAVE BEEN SAFE?
– WHY YOU?
– WHY, DO YOU THINK, OTHER PEOPLE DON’T PAINT PAINTINGS LIKE YOURS?
– WHY, I WONDER, HAVE SO MANY CLEVER PEOPLE FOUND THIS QUESTION SO EXTRAORDINIRALY INTERESTING?
– WHY?
– WHY? I BET IT’S NOT A QUESTION OF QUALITY! IS IT?
– WHY? THAT’S WHAT I WANT TO KNOW?
– WILD NOTHING?
– WILL ANY OF THAT INFORMATION BE PROVIDED IN THE EXHIBITION?
– WILL IT EVER HAPPEN?
– WILL YOU GIVE HIM?
– WILL YOU GO BACK NEXT YEAR?
– WILL YOU READ IT TO ME AGAIN?
– WILL YOU STOP INTERRUPTING ME?
– WILL YOUR ART BE RELEVANT?
– WILLIAM GADDIS?
– WISHFUL THINKING?
– WITH ALL THE DYNAMISM THAT ART HAS DEVELOPED, THE CONSTANT TRANSGRESSION OF BORDERS – WHAT IS ART?
– WITH BRAÇO DE FERRO?
– WITH CHARLOTTE MOTH?
– WITH EMOTION AND ROMANCE
– WITH GAËTAN?
– WITH ISABEL CARLOS?
– WITH ISABEL CARVALHO?
– WITH JOÃO FERNANDES?
– WITH LAURA CASTRO CALDAS?
– WITH ME?
– WITH PEDRO BARATEIRO?
– WITH PEDRO NORA?
– WITH PIERRE LEGUILLON?
– WITH RICARDO VALENTIM?
– WITH SERAFINA?
– WITH WHOM?
– WITH YOUR CULTURAL BAGGAGE ALONGSIDE?
– WOULD IT BE LOUD OR QUIET?
– WOULD PORTUGAL BE SO ACCOMODATING TO A SIMILAR CLAIM?
– WOULD THAT BE AN IMPROVEMENT?
– WOULD THAT BE BAD?
– WOULD THAT HAVE BEEN DENIED YOU?
– WOULD THIS ISOLATION CONVERT THE RE-LOCATION OF THE INSTALLATION INTO A NEW ARTWORK, OR, ON THE CONTRARY, DOES IT INSTEAD GENERATE A NEW DOCUMENT OF THE ORIGINAL WORK?
– WOULD YOU BE TOTALLY AGAINST REDOING IT NOW?
– WOULD YOU DEFINE YOURSELF AS A MORAL PERSON?
– WOULD YOU EVER CONSIDER MAKING A PORTRAIT OF ONE OF YOUR ANIMALS?
– WOULD YOU EVER MOVE?
– WOULD YOU EXPLAIN HOW YOU WORKED UP TO THIS INITIATIVE?
– WOULD YOU LIKE TO HEAR?
– WOULD YOU MIND EXPANDING A LITTLE BIT?
– WOULD YOU NOT SAY THAT YOU AGREE, ANA?
– WOULD YOU POSE FOR VOGUE?
– WOULD YOU PREFER TO TALK ABOUT IT RATHER THAN WRITE IT?
– WOULD YOU SAY IT’S A PROJECT YOU’VE THOUGHT ABOUT FOR MANY YEARS – A PROJECT THAT WAS NEVER CREATED AND FOUND ITS ORIGINS IN THE PAST?
– WOULD YOU SAY THAT HUMOUR, HOWEVER DERISORY, ALWAYS SHOWS SOME KINDNESS TOWARDS THOSE IT MOCKS?
– WOULD YOU SAY THAT THERE IS HUMOUR IN YOUR WORK?
– WOULD YOU SAY THAT THIS AMOROUS EQUATION IS NATURAL, UNOFFICIAL OR CONTRADICTORY?
– WOULD YOU SAY THAT WAS YOUR ORIGINAL CONTEXT?
– WOULD YOU SAY THERE IS A FEMININE GEOMETRY?
– WOULD YOU SAY THERE’S A COMIC STREAK TO YOUR WORK?
– WOULD YOU SAY THEY’RE PARTICIPATORY EXHIBITIONS?
– WOULD YOU SAY YOU ARE CONTENT?
– WOULD YOU USE THE METAPHOR OF A RECEPTACLE?
– WOW. SO COOL.
– YEAH, THE TIMING COULDN’T HAVE BEEN BETTER.
– YEAH. I FEEL... DO YOU WANT TO GO ON MORE, OR DO YOU FEEL OKAY ABOUT IT?
– YEARNING FOR WHAT?
– YES WHAT?
– YES, AND YOU SAY IT WITH ADMIRATION AND RESPECT.
– YES, BUT IN THE SENSE OF FORMS AND COLORS AND IMAGES RATHER THAN THE IDEAS THAT THEY REPRESENTED?
– YES, BUT THEY HAVE A FANTASTIC PRESENCE.
– YES, I’VE SEEN IT. BUT I DIDN’T KNOW THAT IT WAS YOU WHO DID IT.
– YES, MANY TIMES, WHY?
– YES, OF COURSE. WHAT SHALL WE DO?
– YES, THEY ARE ALL DIFFERENT.
– YES, WHAT ARE YOUR GREATEST ACHIEVEMENTS OVER THIS TIME?
– YES, WHAT REMAINS FROM THE GROUP SHOW?
– YES, WHY DID YOU ASK HER THAT?
– YES, YOU ALSO COMBINE THE MACABRE WITH THE HUMOROUS…
– YES, YOU BET!
– YES? IS THAT WHAT HAPPENED?
– YET I DO BELIEVE THAT IRONY PLAYS A VERY IMPORTANT PART IN YOUR WORK, AT LEAST AS A STRATEGY TO RELAX THINGS, BRING DOWN EXPECTATIONS AND PUT PEOPLE IN THE RIGHT FRAME OF MIND FOR BUILDING AN EXPERIENCE WITHOUT TOO MANY PREJUDICES.
– YET WHAT’S THE USE OF COMPLAINING?
– YOU ALSO DO A LOT OF READY MADE. SOMETIMES YOUR INTERVENTION SEEMS TO BE MINIMAL, YET IT CHANGES THE ORIGINAL OBJECT ALTOGETHER. HOW DID YOU BECOME INTERESTED IN OBJECTS THAT WEREN’T YOURS? HOW DID YOU RECOGNISE THOSE WERE DESIRABLE OBJECTS? HOW DO YOU TRANSFORM THEM?
– YOU ALSO HAVE VERY DEDICATED FOLLOWERS AND A GOOD CUSTOMER BASE WHO SUPPORT YOU.
– YOU ARE A HIGHLY MULTIFACETED ARTIST. YOU ARE A PAINTER, BUT SCULPTURES, INSTALATIONS, MUSIC AND PERFORMANCE ALSO PLAY A SIGNIFICANT ROLE IN YOUR WORK.
- YOU ARE A MYSTERY TO ME.
– YOU ARE AN UNTIRING COLLECTOR. YOUR APARTMENT IS OVERFLOWING WITH FOUND OBJECTS… WHAT DRIVES YOU? COLLECTING MANIA? A CRAVING FOR IMAGES?
– YOU ARE AT THE TOP OF YOUR GAME AREN’T YOU?
– YOU ARE EXPRESSING HERE SOME VERY BIZARRE THINGS.
– YOU ARE ONE OF THE RARE ARTISTS IN PORTUGAL WHO TRIES TO KILL THE IDEA OF STYLE.
– YOU ARE SAYING, ALONG WITH CONFUCIUS: “I HAVE ADDED NOTHING”.
– YOU AREN’T AN ANGRY ARTIST, ARE YOU?
– YOU BECAME DISINTERESTED IN MAKING PERFECT FACSIMILES OF EXISTING OBJECTS?
– YOU BELIEVE THERE IS A THINKING AUDIENCE OUT THERE?
– YOU CAN’T LIVE WITHOUT CONTRADICTIONS.
– YOU CAN’T REPEAT THE PAST.
– YOU CARRY IT TO THE OTHER SIDE OF THE MIRROR.
– YOU CHANGED THE RULES.
– YOU COLLECT AND ARCHIVE. WHY?
– YOU COULD NOT DO ANYTHING ABOUT THAT?
– YOU DEAL WITH IT THE SAME WAY THEN?
– YOU DID SOME FILMS AND VIDEOS BUT THAT WAS MUCH LATER.
– YOU DISLIKE PEOPLE?
– YOU DO SEEM TO DRIVE PEOPLE A LITTLE BIT CRAZY.
– YOU DON’T CONTROL IT.
– YOU DON’T HAVE A BEST?
– YOU DON’T HAVE TO.
– YOU DON’T KNOW WHAT THEY ARE?
– YOU DON’T SEEM TO BE AFRAID OF DIVERSITY…
– YOU FINALLY DID.
– YOU GET INTO ANOTHER PERSONALITY?
– YOU GOT MARRIED EARLY THEN.
– YOU GOT REALLY GOOD TASTE.
– YOU GOT REALLY NICE CLOTHES.
– YOU HAD FUN ON SET, THEN?
– YOU HAVE A CERTAIN FORMAL WAY OF MOVING PAINT AROUND, YET THE RANGE OF THE IDEAS YOU’RE ASCRIBING AND THINKING ABOUT IS MUCH GREATER. HOW COMPLICATED DOES THAT LANGUAGE BECOME? HOW ARE THINGS REPRESENTED, SPECIFICALLY?
– YOU HAVE A MISTRUST OF CONCEPTUAL ART, HOWEVER.
– YOU HAVE ALREADY GONE TO THE OTHER WORLD?
– YOU HAVE ALSO WORKED QUITE A LOT IN A COLLABORATIVE MODE.
– YOU HAVE ALWAYS THE FEELING HE’S MAKING A PORTRAIT OF HIMSELF?
– YOU HAVE SOME RATHER FAR-REACHING CHANGES IN MIND?
– YOU HAVE THE SAME OPINION OF DESIGN?
– YOU HAVE TO LISTEN AS WELL AS SEE…
– YOU HAVEN’T HAD TO RENOUNCE ANYTHING?
– YOU INVITED HER!?
– YOU JUST SORT OF LET THE ENERGIES POOL?
– YOU KNOW HOW TO CUT AND PASTE.
– YOU KNOW HOW TO GET WHAT YOU WANT DON’T YOU?
– YOU KNOW ME WELL.
– YOU LIKE THE VAUDEVILLIAN?!
– YOU MADE THEM BEFORE OR AFTER THAT?
– YOU MAKE ME FEEL UNCIVILIZED, ANA.
– YOU MAKE THE STILL LIFE COME ALIVE.
– YOU MEAN AMERICAN MODERNISM, THE PURSUIT OF PAINTING’S ESSENCE?
– YOU MEAN DINNER AND THEN DRUGS?
– YOU MEAN FOR MASTURBATION?
– YOU MEAN LIKE TODAY?
– YOU MEAN TO SAY YOU DON’T NOW?
– YOU MEAN WHY THEY WERE BUILT AND WHAT THE PURPOSES WERE?
– YOU MEAN YOU HAVEN’T PLANNED IT?
– YOU MEAN, THEIR WORK IS NOW AUTOMATICALLY UNDERSTANDABLE AS ART?
– YOU MENTIONED YOUR INTUITIVE WORKING PROCESSES. DO YOUR IDEAS COME FROM THE MATERIALS OR ARE THE MATERIALS SUBORDINATED TO IDEAS?
– YOU MUST, SOMETIMES.
– YOU NEVER GET TO A POINT WHEN THINGS ARE SO UNTIDY THAT YOU NEED TO STOP?
– YOU NEVER READ IT?
– YOU OFTEN TALK ABOUT ABSENT THINGS.
– YOU PREFERRED IT AS A STAGE RATHER THAN A LANDSCAPE?
– YOU PRESERVE ALL OF IT?
– YOU READ THEIR WRITINGS AND THINGS?
– YOU REMEMBER WHAT YOU WANT TO REMEMBER.
– YOU SAW ART WORLD THINGS IN THE 1960-70S?
– YOU SAW IT PART OF A MUCH LONGER CONTINUITY?
– YOU SAY THAT YOUR SOURCES AND REFERENCES OFTEN HAVE NOTHING TO DO WITH ART. WHAT GOES INTO YOUR WORK THEN?
– YOU SEE ANECDOTES IN THE WORLD. WHAT YOU’RE LOOKING AT IN THE WORLD IS MORE THE LITTLE ANECDOTES AND DETAILS, IS THAT TRUE?
– YOU SEE YOURSELF AS AN OUTSIDER?
– YOU SEEM TO WORK IN ALL MEDIA WITH A SIMILAR CONFIDENCE.
– YOU SOUND LIKE A VERY NEGATIVE PERSON… A FAIR ASSESSMENT?
– YOU STARTED AS AN ACTRESS?
– YOU STARTED TO HANG OUT THERE?
– YOU STAYED AWHILE?
– YOU SUGGEST THAT THEY’RE JUST PLAYING, BUT DO YOU ALSO SEE THAT THEY’RE SOMEHOW A BIT SHOCKING? THEY LOOK A LITTLE DEAD.
– YOU THINK DEAD, ALREADY?
– YOU TOLD THAT YOU’VE NEVER SOUGHT OUT UTOPIAN DIMENSIONS. […]
– YOU USED YOUR OWN VOICE AS THE PRINCIPLE AND ONLY SOUND SOURCE: WHAT IS THIS “VOICE”?
– YOU WANTED TO KEEP A SERIES OF OPTIONS OPEN?
– YOU WENT TO ESBAL?
– YOU WERE A DISSIDENT.
– YOU WERE A REAL FAN?
– YOU WERE AFRAID?
– YOU WERE ALONE FOR ALL THAT TIME.
– YOU WERE ALONE IN PUTTING YOUR FINGER ON THE SEXUAL MALAISE OF TODAY. DID YOU FEEL YOU WERE HITTING WHERE IT HURT?
– YOU WERE AMONG THE FIRST TO TRY TO BRIDGE THE GAP BETWEEN HIGH AND LOW CULTURES…
– YOU WERE BORN IN 1946, OLD ENOUGH TO REMEMBER THE BEATLES – THE FIRST ART ROCK BAND. DID THEY LEAVE AN IMPRESSION?
– YOU WERE LIVING NEAR SINTRA. A HAPPY TIME?
– YOU WERE TAKING AN ANTIDEPRESSANT? WHEN?
– YOU WEREN’T JOKING?
– YOU YOURSELF FREQUENTLY QUOTE HIM.
– YOU?
– YOU’LL HAVE TO SHOW ME THIS!
– YOU’RE A SMART WOMEN – WHAT WERE THE OTHER LIFE OPTIONS OPEN TO YOU?
– YOU’RE ASKING YOURSELF THIS?
– YOU’RE FROM LISBON?
– YOU’RE NOT TIRED?
– YOU’RE OFF THE DRUGS NOW. ARE YOU DOING OK?
– YOU’RE SURE THIS ISN’T A COMEDY?
– YOU’VE ALWAYS RESISTED TALKING ABOUT DRUGS IN INTERVIEWS. WHY?
– YOU’VE BEEN SOBER FOR QUITE A LONG TIME.
– YOU’VE GOT A GREAT SENSE OF HUMOUR. WHAT MAKES YOU LAUGH?
– YOU’VE LOST WEIGHT.
– YOU’VE SAID SOMEWHERE, I THINK, THAT YOU DON’T WANT TO BE SEEN AS A PRODUCER. HOW DO YOU RECONCILE THIS WITH THE IMPRESSION THAT YOUR WORK INVOLVES “CONTINUOUS PRODUCTION” AND THAT THERE IS A REGULAR OUTPUT?
– YOU’VE USED THIS TECHNIQUE YOURSELF, HAVEN’T YOU?
– YOUNGER ARTISTS.
– YOUR DISPLAYS CAN CONTAIN ALL SORTS OF THINGS, FROM MEDICINE BALLS TO CEREAL BOXES, BUT THEY ARE ALMOST ALWAYS MASS PRODUCED ITEMS. COULD YOU EXPAND ON YOUR ATTACHMENT TO NON-ORIGINALS, AND YOUR INTEREST IN AVOIDING “UNIQUE” OBJECTS?
– YOUR DREAM DESTINATION?
– YOUR EXHIBITIONS OPERATE LIKE WORKS IN THEMSELVES, RATHER THAN AS COLLECTIONS OF PAINTINGS OR OBJECTS. I’D LIKE TO BEGIN BY ASKING YOU ABOUT YOUR PROCESS OF MAKING A SHOW – WHERE DO YOU START?
– YOUR FAVOURITE RESTAURANT AND WHY?
– YOUR IDEA WAS THAT THERE WAS NOTHING REALLY SPECIAL ABOUT ART?
– YOUR OWN WORK SEEMS ALWAYS TO MAINTAIN THIS STRONG SENSE OF MISTERY, HOWEVER IMMEDIATE THE IMAGE OR CHOICE OF MEDIA.
– YOUR PERSONAL BIOGRAPHY IS ALSO A STORY OF PERSONAL MIGRATION.
– YOUR SILENCE IS A WEAPON.
– YOUR VOICE?
– YOUR WORK EXCEEDS THE ART CONTEXT.
– YOUR WORK HAS ALWAYS DRAWN ON VERY ORDINARY SUBJECTS. WHY IS THIS?
– YOUR WORK IS HIGHLY APPRECIATED AND ADMIRED AMONG ARTISTS…
– YOUR WORK JUMPS AMONG PAINTING, INSTALLATION, OBJECTS. HOW DO YOU RELATE ALL THESE THINGS TOGETHER?
– YOUR WORKS OFFER A GREAT VARIETY OF APPROACHES…
– YOUR WORST EVER DATE?