WEBVTT 00:00:01.814 --> 00:00:06.112 PRISKA PASQUER: Yes, we are currently in my gallery, Galerie Priska Pasquer in Cologne. 00:00:06.112 --> 00:00:11.709 We are showing a Rudolf Bonvie exhibition that is opening today. 00:00:11.801 --> 00:00:14.698 The exhibition is called “Dialog”. 00:00:15.020 --> 00:00:23.652 My gallery specialises in 20th century and contemporary art 00:00:23.652 --> 00:00:32.107 and always in a form that involves upheaval, i.e. 1920s and 1930s, 1970s, 00:00:32.107 --> 00:00:35.070 and now works created after 2000. 00:00:35.070 --> 00:00:41.295 And we are now exhibiting works by Rudolf Bonvie, one of the first ever media artists who, 00:00:41.295 --> 00:00:45.889 back in the 1970s, explored the phenomenon of “pictures”, 00:00:45.889 --> 00:00:50.065 how pictures affect us and how our perception changes, 00:00:50.065 --> 00:00:53.949 how paparazzi use pictures, the power that pictures have 00:00:53.949 --> 00:00:56.020 and that is the theme of this exhibition. 00:00:56.081 --> 00:01:03.922 FERDINAND BRUEGGEMANN: Of course, anyone who works using media these days can no longer concentrate solely on the printed form. 00:01:03.922 --> 00:01:06.135 The internet is the key medium that takes centre stage. 00:01:06.135 --> 00:01:15.116 RUDOLF BONVIE: The most important thing, of course, is to find a kind of interaction between me and my followers. 00:01:15.116 --> 00:01:21.958 This means that I am channelling the creativity of my followers into my work to a certain extent. 00:01:21.958 --> 00:01:27.314 Ultimately, it all comes down to Joseph Beuys’ long-established idea that we are all artists in a way 00:01:27.314 --> 00:01:31.738 and that is what we dreamed of in the 1970s and 1980s. 00:01:31.875 --> 00:01:38.146 It is always a mixture between my works and the selected works of my followers. 00:01:38.669 --> 00:01:45.216 This creates, again and again, new contexts between the individual works 00:01:45.571 --> 00:01:48.631 and that is what I find so exciting. 00:01:48.631 --> 00:01:54.526 That the work does not stem from me alone, but also from others, including younger people, 00:01:54.526 --> 00:01:56.705 who naturally have another view of the world. 00:01:56.843 --> 00:02:09.178 And here, I quote Nietzsche on death. These are all quotes from Zarathustra that I have integrated in this work. 00:02:11.024 --> 00:02:17.533 There are many blogs on tumblr kept by depressives and potential suicides and these are following me now. 00:02:17.916 --> 00:02:21.996 PRISKA PASQUER Does that work? How will people continue to relate to art? 00:02:21.996 --> 00:02:26.276 Do they have to be able to touch it or is it enough to view it on the internet? 00:02:26.276 --> 00:02:29.212 RUDOLF BONVIE: Young people today have another consciousness … 00:02:29.212 --> 00:02:36.000 Something seems to have changed in their brains. They don’t get as tired so quickly … 00:02:36.000 --> 00:02:42.199 And 30 years ago, the likes of us would not have been able to cope with such a flood of images. 00:02:42.952 --> 00:02:45.257 FERDINAND BRÜGGEMANN: What exactly is the experiment now? 00:02:45.563 --> 00:02:48.348 RUDOLF BONVIE: The experiment is simply this question: 00:02:48.348 --> 00:02:59.837 Do my followers in Argentina or Brazil want to have the picture on their walls or is it enough to have it on their laptops? That is the question. 00:03:00.298 --> 00:03:05.665 FERDINAND BRÜGGEMANN: Yes, the art “evangelist” – and she told us that the tumblr people thought that Rudolf Bonvie was in his mid-20s. 00:03:06.540 --> 00:03:10.495 RUDOLF BONVIE: Yes, that was best! 00:03:19.450 --> 00:03:26.156 PRISKA PASQUER: We live in a digital age and this age is all about sharing, 00:03:26.463 --> 00:03:30.444 about being inclusive rather than exclusive 00:03:31.198 --> 00:03:39.882 And with the 20 | 13 project, we are now trying to identify the kind of art that fits with this age. 00:03:39.882 --> 00:03:44.110 And this exhibition marks the beginning of 20 | 13.