Aleksandra Mir Quotes
I think the wildest wildlife you can find these days is in Chernobyl, where wolves are running around breeding quite well in the nuclear disaster zones.
The moment right now, it's a tragically regressive time we live in, you know. We just grounded the Concorde. Where's the future? We've lost the future.
I'm neither shy nor impressed by media and press. It's just another industry to me. My response to the criticism was, "I work with a steel factory. Why can't I work with the media?"
I try to make that tension almost stupidly overt in my projects, almost ridiculously so. I keep coming back to the same obvious points again and again.
Really the moment I decided I wanted to do art seriously, I left art school. I wanted to be with people who were interested in the same things I was: popular culture.
People get upset when Baghdad, the "Cradle of Civilization" is burning, or when the Buddhas in Afghanistan are falling. These are real concerns.
National parks, zoos, protected areas, polluted seas - using the whole world as a readymade, I thought about it as a stage set. To activate a stage set you need a drama, an actor to offset it.
I wanted to contribute to the landscape tradition in art. By now I guess we are comfortable with the thought that man has been everywhere or affected everything in nature.
In 1989 I came to New York to go to the School of Visual Arts. Then, after two years, I switched over to the New School for Social Research and did cultural anthropology in the graduate school there.
I'm depending on other people to take the work and run. And if they run in so many directions, they sort of cancel each other out. So the meaning is always open.
You pick people, and they pick you sometimes. It's especially great to connect with people you think you have nothing in common with.
There are ends, occasionally, with projects. That happens. But they are natural dead ends. It's usually the outside situation that demands an ending. I never really settle for one.
In a way I am saying the nation-state doesn't exist, borders don't exist, you can try going anywhere. It is a kind of pre-Internet consensus I always had in me.
I follow these intimate connections of strangers and, surprise!, end up finding even myself in the work at some point.
"Hello" is pseudoscience. The only smart way to read it is not to believe in it, not to trust it, or to put yourself in it and imagine what's out there that you haven't been told or seen.
My purpose isn't to be confrontational. My purpose is to find out about the world and play myself against it to the extent that it is even conceivable.
Seeing your work go into storage in an art museum is obviously a tragedy of any cultural product - which doesn't mean I am anti-institutional.
