Chris Wiley: For your retrospective All last year at the Guggenheim, you hung every work you’ve ever made from a massive armature in the middle of the rotunda. It was like a giant puppet show or an elaborate mobile—a work […]
Kathleen Buehler: How do your works relate to the world we’re living in or to the reality we perceive? Would you say that you depict a possible different world or a world we can dream about, or that you are showing […]
Julie Estève: Your works use leftovers, everyday items and sometimes even garbage. What direction do you push them in? Pascale Marthine Tayou: We are into incomprehension, so that’s where I push objects. Choosing an object allows me to give it […]
ANNUAL Magazine : “Aghet” means “catastrophe” in Armenian and it refers to the genocide of a million and a half Armenians within the Ottoman Empire organized by the nationalist Young Turk party (C.U.P) from 1915. At the occasion
ANNUAL Magazine : Your previous show at Sobering Gallery is entitled Screen Memories (March 12th – April 14th, 2015) as a reference to Sigmund Freud’s Psychopathology of Everyday Life. Do you consider the ambiguity
Paul Winstanley, who paints from photographs, uses a process of accumulation of images and then, removing some parts of it or drawing the eye of the spectator to a detail he highlights, he redesigns them entirely.
ANNUAL Magazine : Inspired by your imaginary travels, you create landscapes in which are superimposed plant and animal patterns, textures and techniques. Your technique explores the limits of the pictorial tradition