PK 6 PACK PRESENTS:
NECKAR DOLL
P.K. Does art choose the artist or the artist choose the art?
N.D: I’d like to say both but I’m not really sure. I consume images as much as I produce images, so the line is kind of blurred for me. It’s not really a question of choice but influence. I'm influenced by the images that I consume and the things I make are influenced by those same images, it's like a snake who bites his tongue or Through the Looking-Glass maybe ?
P.K: Do you think commercial art has less merit artistically or is this an elitist opinion to have?
N.D: Art is art, I don’t think that a work has less merit artistically because it is called "commercial art". The commercial aspect of a work shouldn’t affect the appropriation of it. But maybe, it is important for commercial art to be careful of their quality. The quality of a work can sometimes be downgraded because of its commercial aspect, there’s many examples of artists who lost themselves in their work time because they were thinking more about selling a product rather than taking their time to produce a good piece of work.
But merit and quality are two separate things.
If by "commercial art" we are talking about "big, expensive institutional work", then it is not a problem to me, I do enjoy and hate non commercial art the same way.
P.K How would you differentiate between art as a pleasurable experience and art that antagonizes and leaves you uncomfortable?
N.D. Sometimes, you can come across projects that leaves you uncomfortable, but which can be enjoyable too. But on the other hand, a work whose goal is to be shocking, provocative, who wants to push back the comfort of the viewer is more likely to leave you uncomfortable. Graphic Images and violence is kind of the limit. I experienced Poison Soluble installation by Jean-Jacques Lebel, a labyrinth whose structure is made with large prints of the Abu Ghraib prison scandal. Even if the experience left me uncomfortable I liked it, not just because I'm attracted to graphic images but because those images carry a truth that sometimes is hard to look at, and it is not a pleasurable experience.
P.K Mainstream or underground? How does it make you feel when the underground becomes mainstream?
P.K. Do artists need to be separated from their work, does it confuse the reading of and the relationship with the artwork.
I don't think knowing the artist behind a work necessarily influences the reading of it. Some artists put so much into their work that at some point the work is about their own existence. Painting with History in a Room Filled with People with Funny Names 3 is a work where it is almost impossible to separate Korakrit Arunanondchai from all the ideas and perspectives he puts into his work, it is something I truly admire even I if don't know him personally but only through his work.
P.K What’s the most fucked up dream you’ve had?
I have two very fuckedup dreams that I think about all the time. The first one is a dream where I was kind of a detective who got to investigate on a case where the first rocket fully launched and controlled by a A.I exploded before reaching space and the last message the machine left before the
explosion was: I <3 U .
The second dream, I was in a pub with some friends having a good time and suddenly the son of Pol Pot entered. I thought of killing him but I thought about my parents that wouldn't have been proud. I think about this dream very oftenly wondering what I would do in real life in front of this kind of situation.
P.K. Does art choose the artist or the artist choose the art?
N.D: I’d like to say both but I’m not really sure. I consume images as much as I produce images, so the line is kind of blurred for me. It’s not really a question of choice but influence. I'm influenced by the images that I consume and the things I make are influenced by those same images, it's like a snake who bites his tongue or Through the Looking-Glass maybe ?
P.K: Do you think commercial art has less merit artistically or is this an elitist opinion to have?
N.D: Art is art, I don’t think that a work has less merit artistically because it is called "commercial art". The commercial aspect of a work shouldn’t affect the appropriation of it. But maybe, it is important for commercial art to be careful of their quality. The quality of a work can sometimes be downgraded because of its commercial aspect, there’s many examples of artists who lost themselves in their work time because they were thinking more about selling a product rather than taking their time to produce a good piece of work.
But merit and quality are two separate things.
If by "commercial art" we are talking about "big, expensive institutional work", then it is not a problem to me, I do enjoy and hate non commercial art the same way.
P.K How would you differentiate between art as a pleasurable experience and art that antagonizes and leaves you uncomfortable?
N.D. Sometimes, you can come across projects that leaves you uncomfortable, but which can be enjoyable too. But on the other hand, a work whose goal is to be shocking, provocative, who wants to push back the comfort of the viewer is more likely to leave you uncomfortable. Graphic Images and violence is kind of the limit. I experienced Poison Soluble installation by Jean-Jacques Lebel, a labyrinth whose structure is made with large prints of the Abu Ghraib prison scandal. Even if the experience left me uncomfortable I liked it, not just because I'm attracted to graphic images but because those images carry a truth that sometimes is hard to look at, and it is not a pleasurable experience.
P.K Mainstream or underground? How does it make you feel when the underground becomes mainstream?
P.K. Do artists need to be separated from their work, does it confuse the reading of and the relationship with the artwork.
I don't think knowing the artist behind a work necessarily influences the reading of it. Some artists put so much into their work that at some point the work is about their own existence. Painting with History in a Room Filled with People with Funny Names 3 is a work where it is almost impossible to separate Korakrit Arunanondchai from all the ideas and perspectives he puts into his work, it is something I truly admire even I if don't know him personally but only through his work.
P.K What’s the most fucked up dream you’ve had?
I have two very fuckedup dreams that I think about all the time. The first one is a dream where I was kind of a detective who got to investigate on a case where the first rocket fully launched and controlled by a A.I exploded before reaching space and the last message the machine left before the
explosion was: I <3 U .
The second dream, I was in a pub with some friends having a good time and suddenly the son of Pol Pot entered. I thought of killing him but I thought about my parents that wouldn't have been proud. I think about this dream very oftenly wondering what I would do in real life in front of this kind of situation.
