avant / garde / under / net / conditions (vormals: perspektive | issue 43 | 2002 )

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[/] interview (deutsch)
[/] interview (english)


[/] concepts


[/] ONE DOLLAR (22.6 kb, jpg)

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> tan tolga dem mc - [turkey]
> massurrealism - [USA]
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/->/ filmemacher anna (1999) salt lake (2001) // türkei // aktiv in der surrealismusgruppe bei yahoo (ueberwiegend in türkischer sprache)

>> art as a revolutionary symptom
>> / interview /
[question-1] :v: [question-2] :v: [question-3]

> [question-1//perspektive]
in your surrealistic work futurism is an electro-vibrator and eros a love anarchist: an avant garde meeting between a dadaistic monte/ur and erotic voyeurism. avant garde has to be a kind of voyeur of the hegemonial system of art/poltitics. what is your voyeuristic point of view in and out of your surrealistic avantgarde system? how does you erotic panopticon goes into function?

>> [question-1//response]=[tan tolga dm rc:]

I believe reality is the only object that humanity lost after living his imaginary life. In this half equation, erotism belongs to the secondary style of life which we can call "system of signs"... Erotism is just a
symbol that symbolises the reality we lost. The main purpose of my avant garde surrealistic thought is to pull out the primitive pleasures that were hidden in our ancient-imaginary life. This is the only way to smash these well-known codes of erotism. On the other way, if we can smash these social codes, erotism will leave itself to its pure image. In surrealism, we need this shining image to lose ourselves or we have to kill the symbols to reach the imaginary life that we lost as a "necessitative" of civilisation.

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> [question-2//perspektive]
An avant garde ingenieur today has to use tools which are provided and derive from "older" avant garde techniques. take futurism as an electro vibrator and stimulate code engines to disrupt the cute surface/s of every day life/art. what are your tools to smash the code (kluitenberg) and which engines do you use for it?

>> [question-2//response]=[tan tolga dm rc:]

In the previous question, i told about the necessities of reaching the imaginary state. This state is against to art and every day life because art is also a symbol or maybe a revolutionary symptom which lives in our fiction history. First of all, we have to destroy these values to embrace our raw existence. For today, surrealism is the only way to transform estranged reality. Here are the tools of these transforming tecnics:

1) To use psychoanalytic theories in two type:

a) To explain the work of art (Lacan, Laing, Cooper, Jung are
the most important helper when it comes to express the technical
side of surrealism)
b) To create the work of art.

2) Black humour (By transforming "situations" into humorous way)

3) Analogy (By transforming words into their "cloudless" meaning)

4) Otomatism (By transforming the states of mind into its primitive logic)

5) Dreams (By transforming the "civilisation" into a kingdom of sleepiness)

6) Childhood (By transforming the capitalistic dreams into the power of
imagination -anti Disneyland- )

7) Being critical (By transforming post modern art into a modernist

8) Love (By transforming ourselves into other bodies)

9) Coincidence (By transforming daily signs into philosophical realities)

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> [question-3//perspektive]
you state that surrealism is life and that you are "the movement". this seems like an avantgarde monade which tends to reach the borders to get limonade. what is the movement like and is surrealismus still a vivid concept to get into life again or is life the only stranger we will never meet?

>> [question-3//response]=[tan tolga dm rc:]

I think artist should be effective (voyeurist) in every position of creating or re-creating his dreams. That's why, i'm the sperm and surrealism is the ovule. I got to fertilise this "marvellous" to cry on the shoulder of my phallus. Surrealism should be passive to save itself from being a dogma. Surrealism is not a fetish of mine. It is just a reaction as a results of my princibles. My surrealism borns as a consequence of tension that happens amongst my princible pleasure and the reality princible; in a similar word, my surrealism create itself as a result of the distance of my imaginary life and the social (symbols) life. I founded "surrealismus" to live and to make people live these sacred tensions as i said before.

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