Christin Bolewski
LandE scape
CONTEMPORARY ART REVIEW
separate it. A lot of knowledge from teaching goes into my artwork and what I am exploring in my artwork also goes into my teaching. Furthermore, my artwork is the research that I undertake as part of my academic role. I do practice-based research hence the strong relationship to theoretical issues and media reflection that I investigate within my artistic practice. This also explains the very methodological approach to my work that you have described as having‘ rules’ for the creation of my work. Teaching post-graduate or supervising PhD students which is very intensive engagement with a subject matter probably has a greater influence on my own work. But sometimes it can be also just a detail in some other artists work- how a particular problem is being resolved visually in a fresh way that can be inspiring for my own practice. This can be a student ' s work or something I see in an exhibition somewhere else.
I started teaching at Universities already 20 years ago immediately after my postgraduate diploma. Since then I have been holding posts in several University Art and Film Departments in Europe and the USA. Being an artist and teaching is so intertwined for me that I can hardly
Over these years you have internationally exhibited and one of the hallmarks of your work is the capability to create a direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
I am very aware that as an audiovisual artist or filmmaker you can influence your audience to a very high degree, particularly the sound track or the visual rhythm that is created via the montage process influences the audience perception, mood and
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