Editor’s Note, This interview was conducted over the period of months. Federico and I would ping pong ideas back and forth. Being a busy artist, Clavarino had already moved into several different territories from my principal point of trying to tackle Hereafter, his great opus about power, family, archive and how history is activated […]
“In very broad terms, it seems that the work made in the West during the 20th century portrays a prolonged event – a disaster, you could say – that unfolded as modernity overtook the landscape and ideologies were instilled in American culture”.
“I was raised alongside the internet, so there was never an othering effect from the introduction to newer technologies, especially the internet.”
“The subversive gesture to record and document, even if in cinematic discourse, the political and social status that a police officer represents in post-911 New York cannot be taken for granted”. Christopher Anderson’s work in essential terms is cinematic and tightly compressed. His images, when collated in book form become a mellifluous assortment […]
“My initial desire to make this work was my connection and fascination with the language. A language that has existed in my family for hundreds of years but that I do not speak”.
“…What is also interesting is that the book allows us to comprehend the ideological point of view of its author, something that is not detectable in the image itself”.
“…the decision to juxtapose the old with the new relates directly to the aporetic nature of the location. Much of what I was feeling about the development of the surrounding urban environment was a sense of dislocation and confusion.”
“Reading through them, I realised that the best ones seemed to create a kind of mental-image in my mind’s eye – which due to the tone of the text often took the form of a very deadpan, monotone, and even monochrome photograph of a little scene in small-town America; I was imagining a very straightforward picture made by Walker Evans or Lee Friedlander or Diane Arbus or others, of four dogs sitting on top of a car, or a guy standing next to a tree in the middle of the afternoon with bloody knuckles…”
“A friend familiar with what I do suggested I have a look at Bachelor & Spinsters Balls – rural gatherings originally designed to overcome distance and loneliness in the bush.”
“In comparison to film, where a whole instrumentation is at ones disposal to gain and keep a viewer’s attention and involve him or her into an emotional state and consequently within the story, photography and how it is exhibited formed a pretty stark contrast”. -IS
“What is held onto through a photograph, is no longer the disappearing object itself but something that appears or becomes visible in the moment of its vanishing: as it were, the last glance that it casts at us, or the last glimpse of it that we can catch.”
“At some point during that time I was painting inside an abandoned factory and I came across the body of a guy who hung himself. I remember my teacher in painting saying that I should have made a painting of the dude hanging. This teacher later suicided as well. I had several friends kill themselves during that period, maybe a Belgian thing?”