(…) Yilmaz Dziewior
And how would you describe the relation of the objects – for example the Box Radio – to the drawings, you exhibited in “Amateur”?
These objects were my first reflections about the relationship that a three-dimensional object has with a drawing or better to say with the drawings I was doing while I was in Cuba. I used to believe while putting these objects together that the production time we use to make an artwork defines a very important quality of it; which is immediateness. Most of my drawings were carried out in a very short time; they concentrate inside an urgency, a desperate desire for expression. The sculptures like the Box Radio, Umbrella and the others shown in “Amateur” were titled in the first place “Drawings”. An object can be a drawing if is incomplete, if its precarious process will inspire the viewer to “finish” it once he is in front of it. In this way most of my drawings were commentaries that became all together a sort of plan. That’s why I think the whole body of the “Amateur” drawings together with the objects form a very special kind of Utopia. Of course a drawing can be an object and vice versa but that was clear for me, what wasn’t clear was if this thought would move my ideas and my work forward. At that time (when “Amateur” was being installed at Galerie Frehrking Wiesehöfer) I needed to start opening myself up to my new reality otherwise if not, I could have become stuck between my past and my island. I didn’t want to stay in that place and I knew this body of works would enlighten me up to a certain point but not forever. (…) Read More
e-mail correspondence between diango hernández and yilmaz dziewior (published in diango hernández. living rooms, a survey. mart, Rovereto, Italy)