Kimiko Yoshida Linterview

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ARTIST PROFILE | KIMIKO YOSHIDA

KIMIKO YOSHIDA Interviewed by

JC Lloyd-Southwell d Anvers Original transcript in French Translated into English by JC Lloyd-Southwell d Anvers www.kimiko.fr

Jeff Koons and Henry Moore with their sculptures, Coco Chanel and her designs, Seishonagon and her writing, all unique and all just as iconic as the work of Japanese-born Paris-based artist Kimiko Yoshida, whom we engage today in conversation in an exclusive interview fo FAINT magazine.

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74 Painting (Do単a Isabel Cobos De Porcel by Goya) Self-portrait, 2010 Courtesy Paco Rabanne Archival Digital Print on canvas, anti-UV varnish, 142 X 142CM

ARTIST PROFILE | KIMIKO YOSHIDA

You started in Japan with the desire to express your voice and your art in various media in order to convey different messages. :KHUH GR ZH ÀQG \RX now at this point in time?

I certainly would never have discovered the value of baroque sensitivity if I had not come to live in (XURSH +RZ FDQ D -DSanese woman living in a - formal, reserved - Buddhist culture imagine this art of seduction, profusion and dizziness? The exaltation of whims and the exceptional, ornamental extravagance, theatrical

zle, confuse, disorient, destabilise ...? Especially since, in the brilliant meanings of the culture of the image promoted by a triumphant Catholicism, nothing seems more antithetical to the Shinto aesthetic of subtraction and silence, with the concise minimalism of Zen Buddhism,

and constant minimalism characterised by tense formalism. This formalism that Western fantasy spontaneously attributes WR -DSDQHVH FXOWXUH LV very real in all aspects of life.

But it is there, at the intersection of two cultures, that an aesthetic, a thought which analyses and brings minimalism and Baroque into a dialectical relationship, is invented: subtraction versus saturation, effacement versus profusion, soberness versus seduction - the immaterial plus the sensuality, the emptiness plus the LQHVVHQWLDO GHÀFLHQF\ plus sumptuousness. The almost-nothing plus - Kimiko Yoshida the dizziness, this is the abyss on which my work It is inevitable that your initial life experiences depends. In my work, to the point of young sumptuousness, osten- with the strict formalism this fragility that renders adulthood took place tatious eloquence, the of the Way of emptiness ÀJXUHV DV ZHDNHQHG DQG in Japan, what sort of shimmering and splen- and detachment. It is destroyed, this effaceimpact has this had dour of hyperbole, deco- clear that nothing in the ment which reveals the in your present life in rative overabundance, invention of Baroque ral- image to itself in its obFrance both as an indi- heroic emphasis, the OLHV WKH -DSDQHVH WDVWH scureness, lead to an art vidual, but most impor- voluptuousness of tur- for fragile beauty and of clarity, to a luminous tantly as an artist? moil, dispersal and dis- incompleteness, the H[SHULHQFH ZKHUH GHÀcontinuity - the baroque search for pure form and ciency is no longer depriOn the one hand, there imagination is literally subtraction, the ascetic YDWLRQ EXW DQ DIÀUPDWLRQ LV P\ -DSDQHVH FXOWXUH unimaginable for a Toky- will for self-denial and Deprivation, disappearwhich is based on mini- oite. How do you design effacement, the aptitude ance, effacement or abmalism and subtraction. and feel, when you are in for inner illumination and sence are not therefore a On the other, the profu- Tokyo, the monumental letting go. The appeal of weakness of the picture sion and seduction of outpouring, the illusions the baroque dizziness, or something missing in Baroque, which I discov- RI LQÀQLW\ WKH HOOLSVH DQG which surprises and se- the picture, but the afered in Italy. In between, instability, the frenzy, the duces, is no less active ÀUPDWLRQ RI WKH IRUHYHU there is a tension which oscillation, the fainting, in my art than the mini- uncompleted, and somethe emotion, the anxiety malist orientation of Zen times threatening, meanLV UHà HFWHG LQ P\ ZRUN which are likely to daz- DQG 6KLQWR D FRQÀGHQW ing of the image. In fact, I began my work as an artist in France. I H[LOHG P\VHOI , à HG -Dpan to escape an arranged marriage, the servitude of women, social discipline, the burden of submission to the group. I came to France to become an artist. First I did photography, video, then sculpture and painting. Today, I am also doing blown glass sculptures with master glassmakers in Murano.

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“The sole ‘raison d’être’ of art is to transform what only art can transformâ€?

You have often said that you see art as a shifting metamorphosis. Is this still a common theme in your body of work? And would this be one of the reasons why you continue to marvel your audiences by moving from portraiture to performance installations? What is called “self-portraitâ€? is essentially, for me, the space of transposition, of disappearance, of mutation. Fighting against the “state of thingsâ€?, going against “what isâ€?, that is really for me the very meaning of art. The sole ‘raison d’être’ of art is to transform what only art can transform. Would you consider incursion into other disciplines such as music as a natural progression of your work? Say, even, by way of collaboration with other artists? ,Q P\ Ă€OP There Where I Am Not, I asked a composer, Goran Vejdova, to create the music, in which he included bits

of songs I did a capella. I am happy to work with an artist or a creator, although opportunities are rare because of the fact that I, spontaneously and habitually, work alone without an assistant, without make-up, without stylist, without a lighting technician, etc.

prised, but I agreed to do it. On the other hand, I am surprised I haven’t received thus far any proposals from fashion designers. I have just completed a major series of self-portraits (entitled Paintings) based on Paco Rabanne’s Heritage, in which I set myself a rigorous conceptual protocol: Whilst remaining true no object is ever used in to your aesthetics, its function, all fashion your work appears accessories or dresses to have provided the are systematically dĂŠsource of inspiration tournĂŠs [diverted] (I know for numerous projects WKLV FRQFHSW LV GLIĂ€FXOW WR in fashion, theatre and translate) *See below music. From video clips by Madonna and This protocol of systemrecently Lady Gaga, to atic dĂŠtournement duthe work of big fash- plicates the unchanged ion houses such as conceptual protocol that I Dior, Viktor & Rolf and have been applying since countless others with 2001: still the same subcollections, runway ject (myself), the same shows and magazine setting, the same light, editorials, does all this which shows that the selffurther validate your portrait is not the subject. work? (For example, The idea is to show that let us compare 04 The the more it is the same Baroque Bride. Self- the more it changes, the portrait, 2001 with the more it is repeated the recent Judas video clip more it differs from itself. by Lady Gaga) In this very repetition, the Someone in the United portrait is losing its distincStates asked me to con- WLYH IXQFWLRQ WKH ´Ă€JXUHÂľ tribute to a book about effaces what it depicts, Lady Gaga ... I was sur- it dissolves its authority,

it tends to abstraction. It is in this abstraction that , Ă€QG WKH VXEWUDFWLRQ DQG the emptiness that are WKH FRUH RI -DSDQHVH minimalism. Here is the very saturation which is the true “self-portraitâ€?, that is to say the space for the transposition, the disappearance, the mutation. Fighting against the “state of thingsâ€?, going against “what isâ€?, that is probably for me - the meaning of art. Being where I don’t think I am, disappearing from where I think I am, that’s the important thing. LĂ OĂš Je Ne Suis Pas was one of your latest projects and also the title of your newly published book, which some say has proven to be a challenging read, yet your actual portraits require just a quick glance to see the expression of the most sublime beauty, before the viewer becomes soon entranced. Is there a dichotomy between the product and the message? Do you think that beauty is complex and thus feel a need to peel away its many lay-

DĂŠtournement: SURFHVV RI GHĂ HFWLRQ RU GLYHUVLRQ 7KH )UHQFK ZRUG GpWRXUQHPHQW PHDQV GHĂ HFWLRQ GLYHUsion, rerouting, distortion, corruption, misuse, misappropriation, hijacking, or otherwise turning something DVLGH IURP LWV QRUPDO FRXUVH RU SXUSRVH 7KLV WHUP ZDV UHGHĂ€QHG E\ *X\ '(%25' 7KH 6LWXDWLRQLVW ,QWHUQDWLRQDO ² LQ WKH VHQVH RI ´GLYHUVLRQ RI SUHH[LVWLQJ DHVWKHWLF HOHPHQWVÂľ ´'pWRXUQHPHQW LV WKXV Ă€UVW of all negation of the value of the previous organization of expression [‌], the search for a broader construction, at a superior level of reference, as a new monetary unity of creation.â€?

01 Painting (Goddess of War Athena by Klimt) Self-Portrait, 2010 Courtesy Paco Rabanne Archival Digital Print on canvas, Anti-UV varnish, 142 X 142CM

ers? (02 The Bride with the Mask of Herself. Self Portrait, 2002). Dichotomy, schize, division, fading, faint are at the heart of my art. Look at my self-portraits entitled MariĂŠes [Brides]: these Brides are single. It is an oxymoron, an “antiphrasisâ€?. What the word describes and what it means are two separate, contradictory registers. Similarly, what the image shows is cleaved from what it means. Therefore, there is no “brideâ€? or “singleâ€? or “self-portraitâ€?: the VDPH Ă€JXUH LV UHSHDWHG but not identical to itself, a face shows itself while masking itself, a portrait declares itself but differs from itself. Similarly, entitling a picture Painting also contradicts the word and the thing, contradicting what is being said and what is shown, bringing two opposites together. It’s a way of bringing altĂŠritĂŠ [otherness], dissimilarity into my own Paintings. This function of otherness, of difference, is that by which the uniqueness of a work of DUW LV GHĂ€QHG ZKHQ DOO LV said and done. Your art is considered compellingly beautiful because, amongst many subject-matters, it portrays beauty in different forms, and since you are both the art and the artist, do references to your own

physical attributes empower or disturb you? The image, which is itself nothing but the appearance of what has disappeared, performs a destructive action just like death, which replaces a living creature by a corpse which looks like it - that’s the main point. My art has always been tied to disappearance; I have always wanted to disappear into my images, into monochromaticity, which is a desire for abstraction. My Self-portraits are images of disappearance LQ ZKLFK WKH ÀJXUH JLYHV the work its meaning by disappearing. When the image aims to capture the meaning of the unrepresentable, the work is realised only when it belongs to what is missing. It is characteristic of scarcity to be always masked by what is missing, which constantly leads the work to face what must be called something impossible to represent. With your work having been exhibited at numerous important institutions including the Venice Biennale and more closely to your Australian followers, the Queensland Center for Photography, are there any signs of a major exhibition in Australia in the nearfuture? The only Australian gal-

ARTIST PROFILE | KIMIKO YOSHIDA

04 The Baroque Bride Self-portrait, 2001 C-print mounted on aluminium and acryl 120 X 120CM

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lery owner I have met is Gary Langsford, whom I met at the Venice Biennale. He came to the studio in Paris, but it came to nothing. Find me a good museum in Australia and I will visit you!

Il est inĂŠvitable que vos expĂŠriences de vie initiale jusqu’au dĂŠbut de l’âge adulte aient eu lieu au Japon, quel impact cela a-t-il eu sur votre vie actuelle en France Ă la fois en tant qu’individu, mais surtout en tant qu’artiste?

To quote Shakespeare: ‘Parting is such sweet VRUURZŇ‹ ZKDW ZRXOG .LPLNR <RVKLGDŇ‹V Ă€QDO TXRWH D’un cĂ´tĂŠ, il y a ma culture japonaise, qui repose sur be for this issue of FAINT Magazine? le minimalisme et la soustraction. De l’autre, la profusion et la sĂŠduction baroque, que je dĂŠcouvre en , WKLQN RI WKLV OLQH IURP -RKQ /HQQRQ LQ WKH RSHQLQJ Italie. Entre les deux, il y a une tension que l’on retof I Am the Walrus): I am he as you are he as you rouve dans mon travail. are me‌ -H QŇ‹DXUDLV FHUWDLQHPHQW MDPDLV SX GpFRXYULU OD YDleur de la sensibilitĂŠ baroque si je n’Êtais pas venue YLYUH HQ (XURSH &RPPHQW XQH -DSRQDLVH YLYDQW dans une culture bouddhiste - formaliste, rĂŠservĂŠe SHXW HOOH VH Ă€JXUHU FHW DUW GH OD VpGXFWLRQ GH OD profusion et du vertige ? L’exaltation du caprice et de l’exception, la prodigalitĂŠ ornementale, la somptuositĂŠ thÊâtrale, l’Êloquence ostentatoire, les chatoiements et les fastes de l’hyperbole, la surabondance dĂŠcorative, l’emphase hĂŠroĂŻque, la voluptĂŠ du tumulte, l’Êparpillement et la discontinuitĂŠ - cet imaginaire baroque est littĂŠralement inimaginable pour une TokyoĂŻte. Comment concevoir et ressentir, quand on est Original Transcript in French Ă Tokyo, le jaillissement monumental, les illusions de OŇ‹LQĂ€QL OŇ‹HOOLSVH HW OŇ‹LQVWDELOLWp OD IUpQpVLH OŇ‹RVFLOODWLRQ Jeff Koons et Henry Moore et leurs sculptures, l’Êvanouissement, l’Êmotion, l’inquiĂŠtude propres Ă Coco Chanel et ses crĂŠations, Seishonagon et ĂŠblouir, dĂŠconcerter, dĂŠsorienter, dĂŠstabiliser‌ ? ses ĂŠcrits, tous uniques et tous aussi emblĂŠmatiques que l’œuvre de Kimiko Yoshida, artiste nĂŠe au Japon, basĂŠe Ă Paris l’artiste, qui nous a accordĂŠ cet entretien.

Vous avez dÊbutÊ au Japon, avec le dÊsir d’exprimer votre voix et votre art dans divers mÊdias pour transmettre des messages diffÊrents. OÚ en êtes-vous à prÊsent? (Q IDLW MҋDL GpEXWp PRQ WUDYDLO GҋDUWLVWH HQ )UDQFH -H PH VXLV H[LOpH MH PH VXLV HQIXLH GX -DSRQ SRXU IXLU le mariage arrangÊ, la servitude des femmes, la discipline sociale, le poids de la soumission au groupe. -H VXLV YHQXH HQ )UDQFH SRXU GHYHQLU DUWLVWH -ҋDL d’abord fait de la photographie, de la vidÊo, puis de la sculpture et de la peinture. Aujourd’hui, je fais ausVL GHV VFXOSWXUHV GH YHUUH VRXIà p DYHF GH PDvWUHV verriers à Murano.

'Ň‹DXWDQW TXH GDQV FHV VLJQLĂ€FDWLRQV EULOODQWHV GH la culture de l’image promue par le catholicisme WULRPSKDQW ULHQ QH SDUDvW SOXV DQWLQRPLTXH DYHF l’esthĂŠtique shinto de la soustraction et du silence, avec le minimalisme concis du bouddhisme zen, avec le formalisme strict de la Voie du vide et du dĂŠtachement. On voit bien que rien dans l’invention du baroque ne rallie ce goĂťt japonais pour la beautĂŠ fragile et pour l’incomplĂŠtude, cette recherche de la forme ĂŠpurĂŠe et de la soustraction, cette volontĂŠ ascĂŠtique de renoncement Ă soi et d’effacement, cette aptitude Ă l’illumination intĂŠrieure et au lâcher-prise. Cet appel du vertige baroque, qui surprend et sĂŠduit, n’est pas moins agissant dans mon art que l’orientation minimaliste du zen et du shinto, un minimalisme assurĂŠ, constant, au formalisme tendu. Ce formalisme que le fantasme occidental attribue spontanĂŠment Ă la culture japonaise est tout Ă fait rĂŠel et dans tous les aspects de la vie.

ARTIST PROFILE | KIMIKO YOSHIDA

07 Painting (Marchesa Balbi by Van Dyck) Self Portrait, 2007-2009

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Or, c’est bien lĂ , au croisement de deux cultures, que s’invente une esthĂŠtique, dans une pensĂŠe qui analyse et fait entrer dans un rapport dialectique minimalisme et baroquisme : soustraction contre saturation, effacement contre profusion, dĂŠpouillement contre sĂŠduction - l’immatĂŠriel plus la sensualitĂŠ, le vide plus l’inessentiel, le manque plus la somptuositĂŠ. Le presque-rien plus le YHUWLJH FŇ‹HVW Oj OŇ‹DEvPH GRQW PRQ ÂąXYUH GpSHQG 'DQV PRQ ÂąXYUH FHWWH IUDJLOLWp TXL UHQG OD Ă€JXUH DIIDLEOLH HW comme anĂŠantie, cet effacement qui rĂŠvèle l’image Ă elle-mĂŞme dans son obscuritĂŠ, conduisent Ă un art de clartĂŠ, Ă une expĂŠrience lumineuse oĂš l’absence n’est SOXV SULYDWLRQ PDLV DIĂ€UPDWLRQ /D SULYDWLRQ OD GLVSDULtion, l’effacement ou l’absence ne sont plus dès lors une dĂŠfaillance de l’image ou un manque dans l’image, mais OŇ‹DIĂ€UPDWLRQ GH OD VLJQLĂ€FDWLRQ j MDPDLV GpFRPSOpWpH HW menaçante parfois, de l’image.

7RXW HQ UHVWDQW Ă€GqOH j YRWUH HVWKpWLTXH YRWUH ÂąXvres semblent avoir ĂŠtĂŠ la source d’inspiration de nombreux projets de mode, de thÊâtre et de musique. Des clips vidĂŠo de Madonna et, rĂŠcemment, de Lady Gaga aux crĂŠations de grandes maisons de couture comme Dior, Viktor & Rolf et de nombreuses DXWUHV TXL RQW SUpVHQWp GHV FROOHFWLRQV GHV GpĂ€OpV de mode et des ĂŠditoriaux de magazine, est-ce que tout cela a ĂŠtĂŠ une validation supplĂŠmentaire de votre Ĺ“uvres? (Comparons, par exemple, 04 La Jeune MariĂŠe Baroque. Autoportrait, 2001 avec Judas, le rĂŠcent clip vidĂŠo de Lady Gaga)

Quelqu’un aux USA m’a demandĂŠ de participer Ă un livre VXU /DG\ *DJDÂŤ -Ň‹HQ DL pWp VXUSULVH PDLV MŇ‹DL DFFHSWp de le faire. En revanche, je suis ĂŠtonnĂŠe de n’avoir pas reçu jusqu’à aujourdhui de propositions de la part des FUpDWHXUV GH PRGH -H YLHQV GH UHDOLVHU XQH LPSRUWDQWH Vous avez souvent dit que vous voyiez l’art comme sĂŠrie d’autoportraits (intitulĂŠs Peintures) Ă partir du Paco une mĂŠtamorphose mouvante. Est-ce toujours un Rabanne’s Heritage R MH PH VXLV Ă€[pH XQ SURWRFROH thème courant dans l’ensemble de votre Ĺ“uvres? conceptuel rigoureux: aucun objet n’est jamais utilisĂŠ Est-il possible que ce soit l’une des raisons pour dans sa fonction, tous les accessoires de mode ou les lesquelles vous continuez Ă ĂŠmerveiller votre pub- robes coutures sont systĂŠmatiquement dĂŠtournĂŠs. lic en passant des portraits aux installations de performance? Ce protocole de dĂŠtournement systĂŠmatique vient redoubler le protocole conceptuel inchangĂŠ que j’applique Ce que l’on appelle ÂŤautoportraitÂť est d’abord, pour moi, depuis 2001: toujours le meme sujet (moi-mĂŞme), le l’espace de la transposition, de la disparition, de la muta- meme setting, la mĂŞme lumière - ce qui montre que tion. Lutter contre l’Êtat des chosesÂť, aller contre ÂŤce l’autoportrait n’est pas le sujet. Il s’agit de montrer comqui estÂť, c’est vĂŠritablement lĂ pour moi le sens mĂŞme ment plus c’est la meme chose plus cela change, plus ça de l’art. La seule raison d’être de l’art est de transformer se rĂŠpète plus cela diffère de soi. ce que seul l’art peut transformer. Dans cette rĂŠpĂŠtition mĂŞme, le portrait se vide de sa ConsidĂŠreriez-vous une incursion dans d’autres dis- IRQFWLRQ GLVWLQFWLYH OD ŠĂ€JXUHÂŞ HIIDFH FH TXŇ‹HOOH Ă€JXUH ciplines, telle que la musique, comme une progres- elle dissout son autoritĂŠ, elle tend Ă l’abstraction. Et c’est sion naturelle de votre Ĺ“uvre? Voire mĂŞme, en col- dans cette abstraction que je retrouve la soustraction et laborant avec d’autres artistes? OH YLGH TXL VRQW OH FÂąXU GX PLQLPDOLVPH MDSRQDLV ,FL c’est la saturation mĂŞme qui est le vĂŠritable ÂŤ autoportrait 'DQV PRQ Ă€OP LĂ OĂš Je Ne Suis Pas, j’ai demandĂŠ Ă un Âť, c’est-Ă -dire l’espace de la transposition, de la disparicompositeur; Goran Vejdova, de crĂŠer la musique, oĂš il a tion, de la mutation. Lutter contre l’Êtat des choses Âť, inclus des morceaux de chansons que j’ai faites a capel- aller contre ÂŤce qui estÂť, c’est sans doute lĂ pour moi le OD -H VXLV KHXUHXVH GH FROODERUHU DYHF XQ DUWLVWH RX XQ VHQV GH OŇ‹DUW ĂˆWUH Oj R MH QH SHQVH SDV rWUH GLVSDUDvWUH crĂŠateur, mĂŞme si les occasions sont rares du fait que, lĂ oĂš je pense ĂŞtre, voilĂ l’important. spontanĂŠment et habituellement, je travaille seule, sans assistant, sans maquilleur, sans styliste, sans ĂŠclaira- LĂ OĂš Je Ne Suis Pas a ĂŠtĂŠ l’un de vos projets les giste, etc. plus rĂŠcents et c’est aussi le titre de votre livre, qui a ĂŠtĂŠ publiĂŠ rĂŠcemment et dont certains disent qu’il

ARTIST PROFILE | KIMIKO YOSHIDA

HVW GҋXQH OHFWXUH GLIÀFLOH SDU FRQWUH SRXU YRV SRUWUDLWV LO VXIÀW GҋXQ UDSLGH FRXS Gҋ¹LO SRXU YRLU l’expression de la plus sublime beautÊ, et tout de suite le spectateur s’extasie. Y a-t-il une dichotomie entre le produit et le message? Pensez-vous que la beautÊ est complexe et ressentez-vous le besoin d’en enlever, une à une, ses nombreuses couches? (La MariÊe au Masque de Soi. Autoportrait, 2002).

ce qui a disparu, accomplit un acte destructif en tout semblable à la mort, qui substitue à l’être vivant un cadavre qui lui ressemble - tel est le point central. Mon art s’est toujours attachÊ à la disparition, j’ai WRXMRXUV YRXOX GLVSDUDvWUH GDQV PHV LPDJHV GDQV OD monochromie, qui est une aspiration à l’abstraction. Mes Autoportraits sont des images de la disparition R OD ÀJXUH HQ GLVSDUDLVVDQW GRQQH j Oҋ¹XYUH VD VLJQLÀFDWLRQ

La dichotomie, la schize, la division, le fading, le faint VRQW DX FÂąXU GH PRQ DUW 5HJDUGH] PHV DXWRSRUWUDLWV intitulĂŠs MariĂŠes: ces MariĂŠes sont cĂŠlibataires. C’est lĂ un oxymore, une ÂŤ antiphrase Âť. Ce que dĂŠsigne le PRW HW FH TXŇ‹LO VLJQLĂ€H VRQW LFL GHX[ UHJLVWUHV VpSDUpV contradictoires. De mĂŞme, ce que montre l’image est FOLYp GH FH TXŇ‹HOOH VLJQLĂ€H 3DU FRQVpTXHQW QL ŠPDUiĂŠeÂť, ni ÂŤcĂŠlibataireÂť, ni ÂŤautoportraitÂť : une mĂŞme Ă€JXUH VH UpSqWH PDLV HOOH QŇ‹HVW SDV LGHQWLTXH j HOOH mĂŞme, un visage se donne Ă voir mais en se masquant, un portrait se dĂŠclare mais diffère de soi. De la mĂŞme façon, donner Ă une photo le titre de Peinture est encore contredire le mot et la chose, contrarier ce qui est dit et ce qui est montrĂŠ, rĂŠunir deux opposĂŠs. C’est une façon d’introduire dans mes propres Peintures de l’altĂŠritĂŠ, de la dissemblance. Cette fonction d’altĂŠritĂŠ, de dissemblance est ce par quoi l’unicitĂŠ GH OŇ‹ÂąXYUH GŇ‹DUW VRPPH WRXWH VH GpĂ€QLW

Quand l’image se donne pour tâche de saisir la sigQLĂ€FDWLRQ GH OŇ‹LUUHSUpVHQWDEOH OŇ‹ÂąXYUH QH VH UpDOLVH alors que dans cette appartenance Ă ce qui manque. C’est le propre du manque d’être toujours voilĂŠ par ce dont il est le manque, ce qui conduit sans cesse OŇ‹ÂąXYUH j DIIURQWHU FH TXŇ‹LO IDXW ELHQ DSSHOHU XQ LPpossible Ă reprĂŠsenter.

Votre art est considÊrÊ comme irrÊsistiblement beau, car, entre autres sujets, il dÊpeint la beautÊ sous des formes diffÊrentes, et comme vous êtes à la fois l’art et l’artiste, les rÊfÊrences à vos propres attributs physiques vous affranchissentelles ou vous perturbent-elles ? L’image, qui n’est elle-même que l’apparence de

Votre Ĺ“uvres ont ĂŠtĂŠ exposĂŠes dans de nombreuses institutions importantes, notamment la Biennale de Venise, et plus proche de vos fans australiens, le Queensland Centre for Photography – y a-t-il une grande exposition en Australie en perspective? Le seul galeriste australien que j’ai rencontrĂŠ est Garry Langsford, que j’ai rencontrĂŠ Ă la Biennale de Venise. Il est venu Ă l’atelier Ă Paris, mais il n’y a pas eu de suite. Trouvez-moi le bon musĂŠe en Australie et je vous rendrai visite ! Pour citer Shakespeare : ÂŤ La sĂŠparation est un VL GRX[ FKDJULQ ÂŞ ² TXHOOH VHUDLW OD FLWDWLRQ Ă€QDOH de Kimiko Yoshida pour ce numĂŠro de FAINT Magazine? -H SHQVH j FH YHUV GH -RKQ /HQQRQ HQ RXYHUWXUH GH I Am the Walrus) : I am he as you are he as you are me‌

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02 The Bride with the Mask of Herself Self Portrait, 2002 C-print mounted on aluminium and acryl, 120 X 120CM

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