What I like most about your book is that it works just like GPS - you show what the options to achieve certain goal are, which in this case is creating art collection, without giving ready solutions or even suggestions. Instead readers receive a huge list of issues to consider before choosing the way.
That was a very conscious decision. I of course mentioned some artists and galleries, but I wanted the guide to be something that you can use how and where ever you want. You could be in a small town or massive metropolis and you would have the tools to discover art that you love in your own way, to make your collection exactly as you want it to be.
Roee Rosen talks with Kamila Wielebska about Surrealism and Justine Frank (1900-1943), a Belgian Jewish artist present in his oeuvre.
According to Professor Anne Kastorp of Brown College in East Orange, New Jersey, Frank is descendent of the mystic Jacob Frank who lived in 18th century and was a bizzare and controversial person. This is interesting for me because in my opinion Jacob Frank was a typical Roccoco personality. And I think about Roccoco as a kind of origin of Surrealism. So it's quite amazing because you are doing actually very similar thing, you found a Roccoco ancestor for a surrealist. What do you think about it?
What hurts me when I remember the last chapter of Malevich's life? What hurts me when I recapitulate the humiliations he experienced then, earlier, and after his death? It is the way historians and researchers have ignored the issue, passing it over in silence. I am 92 years old. I do not want to take with me to the other side an undecipherable mystery that was once shared with me in Leningrad by Anna Leporskaya, the artist's, her teacher's, confidant.
My memory serves me correctly. In 1935 I saw for the first time the Black Square, or rather its reproduction, in an issue of the now-defunct avant-garde periodical BLOK. I felt like confronting something infinitely attractive, though unfathomable.
From May 12th to May 14th 2008 Prof. Douglas Crimp stayed in Warsaw on the invitation of the Foksal Gallery Foundation. In the Avantgarde Institute he held seminars which concentrated on the questions of subjectivity, memory, history and the identity politics. The point of departure for these discussion, as well as for the public lecture "Action around the Edges", were fragments of his two recent books together with texts by Rosalyn Deutsche, Yvonne Rainer Andy Warhol's films.
Luiza Nader: Beginning our conversation, I would like to refer to your compelling seminars and lecture in the Avantgarde Institute in Warsaw in May 2008.