On the occasion of the vernissage of Time is Love.4, the e-magazine SpaceCoolHunting meets Kisito Assangni.
Kisito, first of all I would like to thank you for taking the time to
provide spacecoolhunting.it with this interview.
"Time is Love" is an annual event and it takes place in different
places in the world, why this artistic choose?
In the form of a roving project, the video works embody the nomadic existence, which may become viable as a model for artistic survival.
Paris, London, Berlin and now Bellinzona. What unite these four
places? are this a result of a deliberate choice, maybe the union of
well-defined geographical points? or it is an uncontrollable
randomness? this randomness affects the choice of works, and this
allows interactions? (do not deny that the latter seems the most
fascinating, for me)
Paris and London were a deliberate choice. Berlin was an invitation and Bellinzona a randomness. After all, these four cities seem to be the barometer for the global art market in Europe.
Unlike the other editions, "Time Is Love 4" will do a tour: USA,
Netherlands, UK and China, complemented by a program that includes
screening, lectures, talks and live events. This is a new planned
addition, or an artistic choice of the moment?
This is absolutely a new planned addition as the audiences could engage with video art by gaining greater understanding and enjoyment.
On the "Time is Love" web site, I found a specific invitation to
send you the material. what is the policy you used for choose the
artists. What is the standard for fourth edition?
The works are less than 5 minutes and the artists expressing themselves with universal dimension about their subjects are privileged. For this edition, i'm honoured to collaborate with emergent artists and established artists like Christy Gast, Alex Pearl, Philippe Van Wolputte, Martin Dege, Kai Lossgott...
The standard is always to present critical art that foments dissension in a way to make visible what the dominant consensus tends to obliterate.
The Video Art born like art in the art. Thanks to technology, today
she is spreading, and is consolidating her aesthetic quality, and ,
is reinforcing the themes proposed. If the first moment, the public
was curious, but detached, now it begins to stimulate its development.
Can you imagine the impact on the public with this fourth edition?
The video art as social visual structure has become more available to the audience, so there is no surprise. The new technologies associated with planetary globalization have interfered in the lives of all the peoples.
Speaking about your work, I would like to know which is its the
The artists are able to interpret the present, with a critical and
shiny look. Your works speak of post-globalization and
psychogeography. What do you think about this storic moment, and how
the men should addressed the future?
We really need love in this universe of extreme dehumanized dependence. Therefore art could be festive, funny and optimistic.
However, a man should address his future according to his own conception of life. " L'homme est le boulanger de sa vie " said Jacques Roumain.
In relation to your creations, I would like to talk to you, about
the intriguing feeling that exists between video-camera, captured or
created images, your aesthetic concept, editing and technological
With all the instruments that technology provides, i just want to be an analyst of its processes and exegete of ideological constructions. No script, no storyboard, the camera always remains static. My aim is to create a simple visual definition of the moment.
The technology does not just offer a recipe for illustrating an idea, but finds new ways of liberated artistic expression.
Good Luck for Time is Love 4