i noticed after doing this blog that your work is verry sexual

Posted by Tim lane on

Sunday, March 23, 2008 at
8:00 PM

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… hm, indeed, somehow, that is an important and very insightful comment, so let me post a few additional considerations on that: my work is always in a profound way related to my body or others, therefore very sensual. again, source for this approach comes basically from my guitar exercises. somehow, first you learn to play some sounds, subsequently a song, then to play without errors, then interpretation, then expression, and finally it is all about the relation between your instrument, your body, your movements, your breath - your mind … naturally calligraphy and especially Aikido go the same path. So far, so good. These may be the roots of my work, but the importance to express them reach another realm of consideration: I guess, one of the most serious problems of our society and educational system is a totally disturbed and perverted relation to the body, the senses, sensuality. Maybe that is - unfortunately - one of the most problematic heritages that western religion (better, the church) has to offer. In the arts, the senses are crucial for understanding, an indispensable instrument for creating meaning and self-consciousness. The next mighty enemy of sensuality in our society are - again unfortunately - the sciences. For sure, not to be misunderstood, for some things, a neutral point is useful, but that can’t be a reason to totally overlook and neglect the epistemological importance of the senses for non-propositional symbol-systems, will say, the arts. we need urgently a “sensual turn”, therefore, the “educational turn” … if you ment with “verry sexual”: sensual, related to the body, expressing the beauty of the movement of the body, praising the awe-ful force of watching a body move” - then I understand it as a great compliment for my work … mental hug. nicolas

Posted by nicolasrom on

Monday, March 24, 2008 at
12:29 PM

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oh, beside that seemingly a bit too serious answer: yes, for sure, some of my video-pieces are indeed “verry sexual” but, as you might guess, I am not at all interested in provocation or something like that … just in awe-ful beauty …

Posted by nicolasrom on

Monday, March 24, 2008 at
12:45 PM

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joli interview….
j’aime le travail de nicolas que j’ai decouvert grace a myspce….
merci

Posted by Vlo on

Monday, March 24, 2008 at
3:37 AM

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Perceiving everything more thru emotion than ration, I feel ur artworks!
They’re like breathing very conciously in and out or like seeing something common in a very precise way!

Did I find right words? Hope u understand!

All the best!!

Posted by June on

Monday, March 24, 2008 at
3:18 PM

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dear June, you did find the right words, you couldn’t have written a more beautiful comment, thank you so much. You know, for me the most awe-ful performance of human movement has been the Trisha Brown Performance “Floor of the Forest” at the “documenta 12″, where you participated as a dancer. I did not know you as i did watch the performance, afterwards found you by chance through searching via google for the song that was played at the performance - and, wonderful accident, it became obvious, you had been among the dancers that moved me so incredibly. The audience was watching breathless, it was an atmosphere, seldom to experience amongst so many people, normally running restless through such a big exhibition. That was, for me, a wonder, indeed. Without any exaggeration. This experience was from deepest importance and influence for me and my work. I bow before your art. Liebe Gedanken. From the hard. nicolas

trisha brown performance

Posted by nicolasrom on

Tuesday, March 25, 2008 at
4:56 PM

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Inspiration pur!!!!

Posted by Stechkin on

Tuesday, March 25, 2008 at
2:58 AM

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Wonderful Nicolas and Tim!

Posted by Hollis Brown Thornton on

Tuesday, March 25, 2008 at
12:18 PM

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brilliant work
can i say beautifully sensual?

Posted by Diya on

Saturday, March 29, 2008 at
12:08 AM

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interesting to observe this interview, thanks. one of my favs since hollis.

the goldberg variations are some of my favorite too. such dense variations and a break through in process of music making. sometimes i wish it was a touch slower, like a debussy.

Posted by Scott on

Saturday, March 29, 2008 at
1:05 AM

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Nicolas you Have been in my “friends” for a while now and I am so delighted to see you more in depth here. Great works!

Thank you Tim.

Posted by Beth Chapel on

Tuesday, April 01, 2008 at
2:46 PM

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entering the celeste-artprize exhibition in Berlin.
april 2008
walk

like the rhythm of the sounds quite a lot. and for sure, the strange situation. see more picures of the exhibition on my profile. (oh, found a little error in the interview: it is: Joseph Beuys …)

Posted by nicolasrom on

Saturday, April 12, 2008 at
10:39 PM

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First and foremost, thank you both Tim and Nicolas for such a wonderful dialogue - both of you two’s thoughts and ideas, spaces and pauses took me on my own reflective journey whilst reading them, bouncing between your two voices. Thank you.

What I find astounding is how instinctive the act of creation is for the artist, and how instinctive it is for the viewer/listener/doer to receive this art - Nicolas your work taps into this instinct so easily that we are engulfed within your’s and own own ideas, but your work also has a very focused and an intensely intentionality behind it, as if you are pointing us directly to a certain ‘raw spot’, heightening our own perceptions. In this sense your work is both polyphonic by blurring the boundaries between ‘creation’ and ‘reception’, but also and perhaps because of it, it also is very much a single melody to be repeated obsessively by ourselves. Perhaps this is because your work does focus on time, light, movement and most of all the body, we cannot help but respond through our sense of being, our own corporeal reactions.

For me, as a fellow lover of Bach, a lover of guitar, and a dancer - I relate to your work and ideas in a very physical manner - particularly the multiple simplicity of being in counter-point- such is my ‘instinct’. But now having read your interview, having your own specific connections and intricate web of conceptions woven before me, again, I am struck by the very uniqueness of your work. As in, whilst there might be billions of your Bach-lovers, guitarists, dancers and bodies out there, you make a moment of time, light, sound and movement your very own, whilst still reaching to the masses. Both egotistic and empathetic, personal and communal, natural staged, individual and universal - you rest between the lines.

Posted by Paine Pazu on

Monday, April 14, 2008 at
11:25 AM

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…
…

V
Entro por tus ojos
Sales por mi boca
Duermes en mi sangre

Despierto en tu frente

VI
Te hablaré un languaje de piedra
(Respondes con un monosílabo verde)
Te hablaré un languaje de nieve
(Respondes con un abanico de abejas)
Te hablaré un languaje de agua
(Respondes con un canoa de relámpagos)

Te hablaré un languaje de sangre
(Respondes con una torre de p..jaros)
————————————–
Octavio Paz.Duración
————————————–
dearest friend,beautiful soul.thank you.so much.with my deepest care.nicolas

Posted by nicolasrom on

Monday, April 14, 2008 at
1:26 PM

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death, detail + variation… these are the matters that Nicolas speaks to repeatedly in this interview + they are crucial concerns for him. i am deeply engaged by his interdisciplinary path that weaves together so many influences + reference points but which points the way towards a subtle negotiation of the fields of music + Conceptual Art. the presence + knowledge of ‘death’ may have invoked his recent commitment to visual arts + his interest in ‘detail’ may form a kind of net wherein his interwoven approaches are caught… still, i think/feel that his interest in ‘variation’ is a kind of signal or path out of both ‘death’ + ‘detail’.

Nicolas wrote that “…the inspiration was always more related to the approaches of these artists, less with trying to imitate or proceed their work.” + i am also very engaged by the approaches of artists in the making of their work + how these approaches become not only visible but available. .. i think of sum of the Conceptualists as having an Open Source attitude about their approaches + making work that not so much documented their process as opened it, made it available, repeatable… Nicolas, is it possibly the openness of Conceptual Art that interests you? literally

thnx “artist interviewing artist” this was great to read + looking fwd to more…

Posted by jonCates on

Monday, April 21, 2008 at
12:06 PM

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