Pipilotti Rist Quotes

I have no animals, unless you count my two kilos of bacteria.

I want to try to come away from that one directional, clear rectangular form. It's not used because it's the most beautiful form; it's just the practical thing. That's why our TVs are rectangles. Even in modern architecture, they want us to believe, "That's the nicest, most beautiful thing." I love modern architecture, but actually it's that they cannot afford amorphous shapes or ornaments.

Whenever we remember a series of events, we remember them different. We are constantly changing. It's a flaw, but on the other hand, when we say a word, the meaning is not what you put into it. Rather, the meaning of the word is all of the past usages of that word. Like this cloud that makes up the meaning of the word. It's your subject if you write. For instance what you put in that word and what you assume it means, even its flaw. It has a general agreement.

First I did animation films, when I was young, in time-lapse. And then in the '80s I went directly to video. The main reason for that was that I could control all the steps.

Sexuality, eroticism and desire are important for all of us. But that is also the contradiction. How can we speak about pictures and, for example, say no to this way of representing a woman's body? It's also a camera-and-object problem, of who is really guiding the camera.

It will probably take several more generations before the female body can be considered a stand-in for the human body.

The main reason for civilization is that life is more comfortable. In a way, houses are there to protect us from rain, cold, and heat; cars are there to overcome distances. Culture is the exception. Music, art, and all of the different cultural expressions are not going in that direction. They're not about comfort; they're about understanding each other.

It's impossible for artists to accept compliments.

When I close my eyes, my imagination roams free. In the same way I want to create spaces for video art that rethink the very nature of the medium itself. I want to discover new ways of configuring the world, both the world outside and the world within

I did not go to art school thinking that I was an artist; I went there mainly doing stage sets for bands. I considered my work more as an applied art for musicians, not as art in and for itself.

That is an annoying side of democracy. The pendulum falls often in the extreme, and then we have to bring it back. It's never stable; it's a permanent discussion about finding a way back.

Choosing a name is a self-fulfilling prophecy.

Every work is completely different. Sometimes the music is first, sometimes it's parallel, and sometimes the music is after. There's no rule. Music goes differently to your emotions. With music you can create different spaces and feelings easier than you can with the visual - maybe not easier, but in a way, it's more seductive.

For me, it's not important whether [subjects] are naked, half-naked, or dressed. What I'm more interested in is how they present themselves: if someone is half-naked and having self-confidence or you have the feeling that she has or he has control of the situation. She likes to do it. Then I have nothing against it. But it's true that society doesn't talk about such issues. They just talk about whether there is a breast or not, but for me it's more interesting how the power game of camera and object is shown. And if it's a cool picture.

Fifty years ago, the spoken word reigned, but during the last fifty years, the power has gone over to pictures.

Women are less interested in watching two people having sex than in understanding how and what these people are feeling when they are having sex. If you kiss someone, you want to know what the other person is feeling. So I want to find pictures that express what the other feels.

I'm always in awe of and respect humans for their ability to plan, but sometimes, good intentions are lost along the way. And often the way becomes the goal.

Should one be for or against pornography? I prefer to propose images of sexuality rather than to analyze the pros and the cons of pornography. Women are interested in erotics and sexuality, so I want to use my energy to propose images about that.

The smaller the group, the more trial and error and experimenting you can do. I do a lot of garbage.

I always try to create equal power between the subject and the object, so as not to end up creating a relationship where the camera is here and the object out there. This is for me a very difficult and sensitive balance. When I produce a work, cut and frame images, I realize that spectators can identify with the images and almost forget that someone else actually made them. This would be the optimal situation. I don't know whether I succeed in doing so, but that's what I would like to have happen.