The Art of the Future page 4


A conversation between (E-E) Evgenij Kozlov and Hannelore Fobo, 1991

Искусство будущего стр. 1 стр. 2 стр. 3 стр. 4
Die Kunst der Zukunft Seite 1 Seite 2 Seite 3 Seite 4 Kommentar (deutsch)
The Art of the Future page 1 page 2 page 3 Page 4

H: Can we say that a ‘good’ artist is one whose talent touches people to a greater extent?

E-E: Good artists are those individuals who are able to reveal their vast inner world the most fully, who are able to invest their work of art with this inner world to a full extent, and who are able to shape their art of the future to the greatest possible degree.

H: That is to say, an artist who is able –

E-E: ‘Being able’ or ‘not being able’ is also of secondary importance. If an artist possesses this inner world, if it exists there within the artist as a force, as it were, then the artist simply won’t be able to create something bad out of it. It comes to an artist as naturally as breathing the air. Likewise, internal development is something that a person pursues naturally in the course of their looking and listening, and so forth, or in the course of their spending time with someone, or spending time with that person’s works of art.

H: Let’s take the old masters, Leonardo da Vinci, for example. Did he already experience ‘the art of the future’ within himself? Or does this art exist only today?

E-E: I am sure this world existed within him, too.

H: So, the only difference is that now these thoughts have reached a level of awareness, and have become more apparent, and clearer?

E-E: Yes, that may be the case.

H: So, does every artist create from this state?

E-E: Yes, every artist has created from this state, but I am not sure whether every artist has been aware of it, aware of this specific energy at the level at which it shall be occurring from this point on.

H. What do you mean by ‘it’? What kind of ‘energy’?

E-E: Well, that same inner world we are discussing. This energy has been around from time immemorial, and has continued on up until our day, and it will continue to exist Forever. In the visual form, art expresses itself as a work of art, as something classical. That is why in the visual form, in painting, for example, the classical was, the classical is and the classical will be.

H: That which is classical is not art, but a work of art.

E-E: Yes.

H: So art is not visible; art is energy.

E-E: Yes, inner energy. This is the true difference between the classical and ‘the art of the future’.

H: When you painted the ‘New Classicals’ cycle, >> why did you name it that way? Had you already been thinking about these things?

E-E: Yes, as a matter of fact, I had. I had just not reached this definition.

H: Actually, all your works …

E-E: Actually, all my works …

H: … represent a ‘new classical’ approach.

E-E: Yes, so there’s arguably no particular need to call this cycle ‘New Classicals’. On the other hand, why not? Let the name remain. Though, I repeat, all art made by hand is by nature classical.

H: It's just that this was the first occasion when you employed this phrase.

Yes – though the idea was actually there prior to that.

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Evgenij Kozlov about the Art of the Future