26
MJW PAPER
Interview By Nina Moog
2
JASMINE MATZAKOW During my conversation with Jasmin Matzakow, I was shown a photograph of the sculptor Brancusi in his studio. In the black and white portrait, the sculptor sits with his hands folded and legs crossed in an image of calm repose. Sitting on a large piece of white stone, he is framed by tall sculptures visible in the background as he gazes out of the image. The photograph feels composed and intimate, rendering the workspace of one of the founding figures of modern sculpture a place of ascetic meditation. Jasmin pointed out that this portrayal of an artist in his studio feigns reality. In his case, Brancusi had staff at his disposal, and likely the space was chaotic. Studio visits can romanticise or even fetishise the artist and their space, and Jasmin was drawing attention to the assumptions inherent within the format I was asking her to participate in. It’s unusual that the subject throws the entire studio visit format into question, but I could relate. Is it the studio visit really the best format with which to highlight an artist; what does their space truly reveal? Jasmin does not release photos of unfinished works for example, and mostly rejects the Brancusi-esque formate. From our conversation, it was clear that Jasmin is someone actively engaged with the potential debates surrounding her work, and the field at large.. The format of her questions often involved an interrogation of the premises buried within a given practice. She told me that debates interrogating structural biases and identity politics are often not conducted in the field of Contemporary Jewellery: it’s time they take up more real estate. This interview was conducted over tea and two pieces of cake generously provided by Jasmin; yogurt mandarin and a Frankfurter Kranz. It was conducted in German and has been reduced from its original form.
6
