American - Artist | 1968 -
The 'Station to Station' film is made entirely out of one-minute films, and each of the 62 minutes is a completely different person, place or encounter.
Doug Aitken
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One of the core reasons for creating 'Station to Station' was to provide a space for exploration and cultural friction between different mediums. It should be natural for mediums like music, film and art to cross over, and we wanted to empower that process.
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The 'Station to Station' film has been fascinating to create. It feels as though it made itself in a way, and after awhile, the film told us what it needed and began to sculpt itself.
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My office has two buildings that function like the right and left sides of the brain. There's a room where everything is being edited for an upcoming project, but you can pull out of that into a tranquil space to work in a different, more solitary medium. It's an architectural unfolding of the process instead of just one chaotic structure.
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The perfect pop song is a 20th-century creation; it's not a sonnet, it's not an opera, it's something short - three and a half minutes by nature - and has this ability to travel and to defy class and economic structures.
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I always thought about 'Station to Station' as an approach. It was about creating an alternative platform for culture where different mediums could co-exist.
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Our culture is not this thing to be seen from a distance. We need to be embracing the friction of it all - that is where the energy is.
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I think there is a hunger for things that wake you up, something that makes you peel back your eyes, that reminds you that you are alive. Art is at its best when it is in the 'now.'
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Art is always a search for understanding, and the different levels and frequencies of that search feel completely comfortable and natural to me.
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We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.
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I have always just made things. I don't see what I make as being defined by a medium or aesthetic. It probably comes more from a fundamental restlessness, an attempt to create tools for questioning or understanding, and I have always been interested in using a wide spectrum of mediums to do this.
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I see life as a burning meteorite that you can climb all over, and feed off, as it is falling to earth.
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