{"id":47697,"date":"2017-03-13T02:24:46","date_gmt":"2017-03-13T01:24:46","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=47697"},"modified":"2017-03-13T02:24:46","modified_gmt":"2017-03-13T01:24:46","slug":"thomas-bayrle","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/thomas-bayrle\/","title":{"rendered":"The Great Beautiful Boredom of Repetition with Thomas Bayrle"},"content":{"rendered":"
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\"Thomas Thomas Bayrle – Rosenkranz, 2009<\/p>\n

Kunstbau M\u00fcnchen is currently showing\u00a0an exhibition by Thomas Bayrle – one of the first German artists who worked\u00a0with computers and technically generated imagery. He was also one of the German pioneers of pop art who influenced further generations of artists and whose works are shown in many established and famous collections all over the world. Sleek had a talk with the artist about the uniqueness of artworks and\u00a0the embarrassment behind religion.\n<\/p><\/div>\n

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Your new exhibition at the Lenbachhaus shows a variety of different media: sculptures, videos, black and white projections. Do you have a preference for any material or medium?<\/strong><\/div>\n
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I do not follow preferences, I follow ideas and their realization. I’m trying to construct rather hermetic circumstances in between materials, forms and contents. No matter if film or sculpture, I want to condence.<\/div>\n
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You were one of the first artists in Germany to work with computer-generated imagery. How did you come up with that?<\/strong><\/div>\n
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When I started out working in 1960, I felt like I was swimming in a collective broth of mass production and mass communication. Like Andy Warhol put it back then –\u00a0passively being pushed by the circumstances around me. Therefore I did not aim for elements such as\u00a0style and artistic expression too much, but instead tried to become\u00a0acquainted with mass\u00a0production related to\u00a0computers, watching out for procedures that helped to\u00a0set out a collective access to newspaper connections and so on. But to be honest,\u00a0at the same time I felt mistrust towards the unspecific digital mass food, always knowing that one single hand-drawn line will stay forever.<\/div>\n
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\"Thomas Thomas Bayrle – Conductor (Ford Galaxy Wiper), 2011<\/p>\n<\/div>\n<\/div>\n

At that time computers were something completely new, something very interesting to explore and to work with. What would you advise young artists nowadays: to look for new media or to search for new ways of using the old ones?<\/strong> \nOf course young artists should look at both sides! At both\u00a0the individual aspect\u00a0and the mass aspect\u00a0of being. But what is that now philosophically? I do not believe in any radical sameness! I – and this is naive, like artists and children – only believe in similarity.\u00a0Artists of our times\u00a0should step into the great beautiful boredom of repetition and at the same time know that everything is singular! Everything stays original \u2013 there is no radical sameness even in billions of repetitions.
\nWhat do you think are the strongest social changes that took place in the art scene over the last 20 years?<\/strong> \nIt is embarrassing that god exists and we all know it and we all can\u2019t express it without sounding reactionary. The great thing was total uncertainty – like quantum theory. Is there anything that is fixed? Hopefully not – us\u00a0artists are not an insurance company. We hold\u00a0a certain amount of fantasy and this will help us to survive.\n<\/div>\n

\"ThomasThomas Bayrle – Monstranz, 2010<\/div>\n
\n 
\nWhat media you have never used before would you like to try now?<\/strong> \nAgain, even more embarrassing: I’ve never worked with\u00a0the Bible. Johann Sebastian Bach and D\u00fcrer used it, and James Joyce had his.
\nDo you think it’s still important to look at\u00a0art in person\u00a0when everybody can check it online nowadays? Does personal experience yield\u00a0something that the screens can’t?<\/strong> \nOh yeah, both fields will continue, neither\u00a0one will be better than the other. They\u2019ll both be part of the same! Some things seem not allowed: to stay depressive, to stay in permanent vacation. Sorry: You have to work!<\/p>\n
<\/div>\n
\"ThomasThomas Bayrle – Rosario, 2012<\/div>\n
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