I am in internet culture. I mean I am embedded in that in a way that I am stealing constantly. It’s
remix culture, it’s collage. I do take animations that I find online. And I alter them, I recombine them I
take them out of their initial context and recombine them into new artworks. So, my art act is like
transformation of existing materials. What’s unique in ways of something is that huge collaboration.
Except collaboration isn’t a fair word, because if it’s collaborating to me it would seem that you
would be discussing the structure of it with everyone. That would have been unmanageable to set
up the structure for it and to insist that they would stick with the rules. Once we get through all four
episodes it will be 114 artists will have made — remade a minute of each or 60 seconds of the
original documentary ways of seeing by John Berger. I am NOT a director in that way that I kind of
asked artists to create stuff specifically. What I did is I set up rules, a structure. One of the big rules
was first of all, you couldn’t use the original footage but your 60 seconds had to include the
soundtrack and the most important thing was that it also had to include the closed captioning.
Because I saw the text being present there as a way of really unifying it but at the same time causing
attention of discontinuity because a minute can end like, you know, 60 seconds, can end mid
sentence and so when you see a sudden switch in text style or the fonts or even like animation of
the fonts from a still… to me that´s the most interesting thing going on is the tension between the
visuals and the text. Because I mean, the text is Berger’s and it flows through the whole piece.
It´s a weird thing because I have never done this before in terms of like taking something. I think
actually, you know, technically probably it all belongs to the BBC. Now we got all the source files
came from youtube so the sounds from youtube, the closed caption – like the youtube video where
closed captioned in the first place – so I was just like writing down the captioning so I could send it
to each artist. It´s kind of interesting that it´s not like I, you know, I went to BBC archives. This was
something widely available as a historic kind of thing on, you know, a video file sharing platform.