American - Artist | 1968 -
We live in a world where art exists in galleries and museums, and musicians have to play the same venues over and over.
Doug Aitken
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I don't really care about interruptions. I accept technology, and I don't turn things off. I've found a peace with fragmentation and a harmony with switching gears quickly to other things.
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I have a weak spot for late '60s-early '70s yippie paperbacks and protest manifestos. I find them at flea markets or online. One of my favorites is 'Right On,' a compendium of student protests made into this 95-cent paperback with the most amazing graphics.
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I'm really pleased to share the 'Station to Station' film. It has a very unorthodox structure; it's made up of separate one-minute films. So you watch this piece that is like time moving. Everything is democratised, whether it's a minute of Patti Smith or a single landscape with a drone, it's this amazing modern kaleidoscope.
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We are engaging with so many art forms at once in the 21st century, but we're presented with them in a way that is so isolated.
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The 20th century is a period defined by cultural and artistic movements. However, the 21st century creative-scape that we occupy now doesn't really have movements in the same way. Instead it's made up of diverse individuals working across various platforms simultaneously; art, architecture, film, music and literature.
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We're moving into an era when things are dematerialised and much more holographic. Floating above the physical world and the geographic map, there's another landscape that's constantly changing - something like a cloud - of communication, information, exchange and commerce.
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I love art that haunts me, that stays with me, that is left embedded in my mind. I don't really think there is any use for owning or collecting art; it is more about remembering and preserving it in the minds eye and allowing it into your cultural DNA.
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We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.
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There's really no differentiation between the work I make and the world I live in.
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It's very easy to lose track of the environment around you, to lose touch with the present.
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The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.
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