Thomas Hirschhorn’s and Milan Knížák’s exclusivity
„In other words, the “non-exclusive public” is the opposite of a pre-determined, selected, and initiated public. As an artist, it is essential for me to work for a non-exclusive public.”
„I’ve discovered a huge paradox here. Certainly, all of you know how the entry of simple things into art, the rapprochement of art and reality, that modest and noble celebration of the simplest acts, has become glorified and exaggerated. Now it’s reached the point where many artists who sweep the stairs claim that they are doing their piece… Any kind of activity whatever, even the most insignificant, is almost instantaneously shaped with the hallmark of art.”
Psychogeography - my personal motivation
The study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.
Groupe de Recherche d’art Visuel
„Through provocation, through the modification of the conditions of environment, by visual aggression, by a direct appeal to active participation, by playing a game, or by creating an unexpected situation, to exert a direct influence on the public’s behavior and to replace the work of art or the theatrical performance with a situation in evolution inviting the spectator’s participation.”
„If the best of our abilities we want to free the viewer from his apathetic dependence that makes him passively accept, not only what one imposes on him as art, but a whole system of life…
We want to interest the viewer, to reduce his inhibitions, to relax him.
We want to make him participate.
We want to place him in a situation that he triggers and transforms.
We want him to be conscious of his participation.
We want him to aim toward an interaction with other viewers.
We want to develop in the viewer a strength of perception and action.
A viewer conscious of his power of action, and tired of so many abuses and mystifications, will be able to make his own “revolution in art”.
Un arte social
To break the narrow scope of the institutionalized art market by invalidating the traditional exhibition space, to use a clear, effective artistic language to obtain the audience’s involvement, to install the real piece of work in daily reality and to incite a questioning of ideas and attitudes that are accepted without objections out of the mere fact that they resort to authority.