A Quote by Malik Bendjelloul
There's nowhere like Detroit; it's a modern necropolis: all these art deco masterpieces crumbling away.
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When I was at the height of my fame I got my first what you could loosely describe as a mansion! I didn't even find it myself, my keyboard player was leafing through a homes magazine at the dentist's and said, 'You'd like this.' It was art deco and I loved art deco, I lived there for about 14 years.
The Art Deco movement, architecture from that period and sort of the industrial aesthetic from that period. Art Deco meets tribal kind of thing. All that is my primal inspiration.
I look at [Toronto] and think well, perhaps my grandchildren will someday look at this stuff with the sort of appreciation I once held for Art Deco. Although I've come to find Art Deco quite creepy too.
Detroit's industrial ruins are picturesque, like crumbling Rome in an 18th-century etching.
My dad loved Deco as a player. He started calling me Deco as a nickname around the house.
For him it was a dark passage which led to nowhere, then to nowhere, then again to nowhere, once again to nowhere, always and forever to nowhere, heavy on the elbows in the earth to nowhere, dark, never any end to nowhere, hung on all time always to unknowing nowhere, this time and again for always to nowhere, now not to be borne once again always and to nowhere, now beyond all bearing up, up, up and into nowhere, suddenly, scaldingly, holdingly all nowhere gone and time absolutely still and they were both there, time having stopped and he felt the earth move out and away from under them.
Make it new is the message not just of modern art but of modern consumerism, of which modern art is largely a mirror image.
...if you think of modern art like sex in all its forms - heterosexual, bisexual, homosexual, multipartnered, bestial, whatever, with absolutely no holds barred and with everything available and permissible - that would be modern art.
The purpose of art is higher than art. What we are really interested in are masterpieces of humanity.
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
When I'm in London, Claridge's is a great favourite. I'm a big fan of art deco architecture and the rooms are extraordinary.
I've always loved the fashion of the '30s and everything that came with the Art Deco era - the jewelry and the glamour.
Art Deco for me except in its most crazed and attenuated forms, it's jut a matter of taste.
Nowhere on earth has more soul than Detroit.
They were like little palaces: all rococo or art deco. You'd walk in off those hot streets into a nice, air-cooled theater, and you'd spend all day watching Cagney or Jimmy Stewart. It cost all of 17 cents.
I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.
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