A Quote by Juergen Teller
I like the idea that things can exist in different formats - in a gallery, a fashion ad, in books.
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If I have a piece that's solely based on the web and it's going to also exist in a gallery, it needs to exist in a gallery where it doesn't feel redundant.
What the podcast novelists do isnt all that different from what self-publishers do. We put the books out in different formats, but the goal is the same: build an audience and attract a publisher.
I like the idea of experimenting with different kinds of formats, and I think you've got to keep on your toes and keep changing.
So fashion was, in a way, an accident. But this world opens you up to a lot of different avenues that interested me. I loved the idea of working in different countries. And I loved the idea of construction and working with imagery. But, yes, I fell into fashion a bit by mistake.
With books like 'AD: After Death' and 'Wytches,' a lot of those things are inspired by reading things that terrify me.
In high fashion, we're always accused of doing things that are not very relevant, not the real world. I know that it's important sometimes to do fantasy, but I felt like touching people and going back to different women and men, especially the idea of different ages and body shapes.
I remember when I went to a gallery in Paris at one point, they had drawings of earthworks set in different places. I asked the person sitting at the gallery desk where these works were - where in France they could be found. She looked at me in horror as if I'd asked something completely insane. She said, "Well, of course, these works don't actually exist. They're concepts."
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
I really love being a weirdo who writes a lot of different things for a lot of different ages. I have been considering doing a guide on my website so that a reader who liked one of my books could find the other books that he or she might like, because I know some of the books are really different from the rest.
How do we think beyond interruptive ad formats, and do things that are much more integrated, much more innovative, and actually empower the viewer and give them a better product experience?
Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.
When I stepped back from the gallery I was in a phase where I thought I wasn't going to be making work for a gallery context for a while. People were like, "You should never leave a gallery if you didn't have somewhere else to go," but I wasn't trying to disrespect the gallerists in that way.
I like the idea of doing things that only exist for as long as they exist, which are not archives, which are not sold or prepared even.
There are tons of people who are late to trends by nature and adopt a trend after it's no longer in fashion. They exist in mutual funds. They exist in clothes. They exist in cars. They exist in lifestyles.
In general, I don't like game mechanics, I mean it's the idea you do the same things through different levels. I think, in my mind, it's an ideas I don't really like because I love to do different things and like to see the story moving on and I like to do different things and different scenes, not do the same thing over and over again. If it involves violence at some point fine, if it makes sense in the context. But violence for the sake of violence, it doesn't mean anything to me anymore.
Emo means different things to different people. Actually, that's a massive understatement. Emo seems solely to mean different things to different people—Like pig latin or books by Thomas Pynchon, confusion is one of its hallmark traits.
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