The Art of the Future page 1

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

E-E: Everything that is made by hand or will ever be made by hand, including all future movements in art, is actually just a matter of technique; a technique of expression, an artistic technique. Yet viewed from the perspective of the theory of ‘the art of the future’, the technique an artist uses to express something is not at all essential. What will come to be essential above all else is the inner state, the feeling – a feeling experienced by the artist that places him in a state of receptiveness – a feeling, moreover, that actually precedes the creative act. In other words, the inner feeling which helps one to create something within oneself is of primary importance, and pictures and other such things that emerge through it are only secondary.

H: They may be secondary, but it is the only way for people to …

E-E: … to perceive it …

H: … and to participate.

E-E: Yes, of course. But again, this is only of secondary importance.

H: That is to say, the crucial thing is one’s personal development, isn’t it? If an artist contented himself with having the feeling without trying to communicate it, would the meaning of the process remain the same?

E-E: Perhaps most people on this Earth are not yet able to shape within themselves the same states as the artist shapes within himself and then expresses through objects around him, such as paper, canvas or a building.

H: By saying ‘shape’, do you mean that you take particular steps to bring yourself into this state?

E-E: I have not yet researched this process. It is initiated without my awareness, but, at the same time, it is also true that I create it myself.

H: Do you know exactly how you do it?

E-E: Well, both of us have only been looking into this for the last six months. Basically, the scheme is clear, but it is too simple at present. It may become clearer in due time.

So far, there is only one thing I know for sure: to make a true work of art, so that the observer is able to see and understand it, the artist must first achieve a certain state called ‘the art of the future’, – this specific inner richness laden with desires; an inner desire characterised by… again I would say ‘riches’.

H: I guess you were born with this desire.

E-E: Well, I was. But it used to be vague and chaotic, because my attention was too distracted. The desire would overwhelm me and then suddenly vanish, and I did not understand what it was, nor how and why it happened. The meaning of all this became more or less clear to me once this model had been developed. Perhaps someone has already had similar thoughts, without vocalising them. Perhaps this vague sensation is intrinsic to everybody.

Anyway, everyone has always supposed that primacy of place should be taken by that which is produced (for the purpose of making the result intelligible). However, this is not primary. What happens within is primary. It is very important that this process occurs in a new way on each occasion. That is why new works of art are different from previous ones. It is therefore very strange that the majority of artists do not deviate from their chosen style. The reason may lie in the fact that, as a rule, artists strive to make their works clear or recognizable to the observer.

But this is not the purpose of art. It is predetermined from the very outset that any picture, drawing, or musical formation – everything that shall ever be made by human hands, whatever that may be – will be intelligible to other human beings.

H: Do you mean that, once completed, a work of art cannot remain unintelligible?

The Art of the Future, page 2 >>

Evgenij Kozlov about the Art of the Future