00:00 the Balincour, or Jules de Balincour for the French, and Joao Ribas, the from Portugal
00:07 arriving curator who is already since a long quite a long time in New York.
00:12 But perhaps you can tell us a little bit about your choice. Why did you bring Jules
00:17 to Salzburg for us? And perhaps... Sure, yeah, I mean it's always difficult to
00:24 talk about an artist when he's standing so close to you, but I think one of the
00:29 main reasons I decided to... I mean Jules came to mind immediately, mostly because
00:34 when you think about a quintessential sort of New York artist, to me that
00:41 always means someone who came from somewhere else actually. It means
00:45 somebody who intersected with the city of New York at some point. I think that's
00:49 been true for a long time, since the post-war period with people like de Kooning. But I also
00:53 think besides any justification, I think the paintings are just extraordinary.
00:58 And in and of themselves belong here, I think, just because I think Jules
01:03 represents one of the most incredible kinds of painting that's happening in New York.
01:07 It's also strange to praise someone while he's also standing so close, but I
01:12 suppose we should ask him how he approaches... I mean I think the
01:19 question here is also between what it means to work in New York,
01:24 rather than let's say being from New York.
01:29 Because I think one of the things that Jules does extremely well
01:33 is to bring in these diverse, very charged set of issues with a great
01:39 commitment to, I think, what makes painting great. And I think that's good
01:44 enough reason to choose him. I do think that there's something specific about
01:48 where the subject matter and the painting meets that's very interesting,
01:51 and I think it's unique to what's happening in painting in New York.
01:55 So I think that's probably why.
02:19 Actually I've been living in New York for five years, but actually this work
02:23 was actually done in Berlin. I know that's a little problem with the theme,
02:27 but all this work was actually done in Berlin. I decided to go to Berlin for ten
02:33 months to do a show with Art + Partner, and part of the reason was that I wanted
02:38 to get away from so much of my themes and my work were dealing with
02:44 America and the certain political and social situation in America at the time.
02:48 And it sort of become like an overwhelming overriding factor in my
02:53 work was America and American politics. So I decided I will go somewhere else to
02:59 experience a different experience and have a different reaction. So I went to
03:02 Berlin and it took me a while to adapt to being in Berlin and to just being in
03:12 a new context and trying to understand a culture I knew little of or a
03:17 history I knew little of. And some of the first things that I kind of responded to
03:21 was how open and progressive and free Berlin seemed in comparison
03:28 to America, strangely enough. And I just found it interesting that in a sense
03:35 Berlin, a country that had such a strong previous history, all of a sudden
03:43 to feel like it was a complete reaction against what it used to be in the 40s.
03:49 So I was sort of struck by, for instance, this sort of certain brute... I mean this is
03:53 inspired... this is from my imagination, but I was sort of inspired by the certain
03:57 brute fascist architecture that one sees in Berlin. But then there's this new
04:02 historical context of this new history of the certain kind of free organic
04:07 openness within this sort of rigid historical framework. So it's this
04:12 contradiction of past and present.
04:14 And that's what your picture shows in a certain way.
04:17 And there was a certain openness and lack of authority in Berlin, which was
04:23 you know, such a... so shocking to me coming from New York after 9/11 and what...
04:30 I mean September 11th, where there's been so much authority and police and rigid
04:36 regulations that I was sort of... all of a sudden I was really struck by this
04:40 certain liberty and openness that I found in Berlin. So I was sort of
04:44 inspired by that.
04:47 Thank you very much.
04:48 You're welcome.
04:50 Thank you.
04:51 Thank you.
04:52 Thank you.
04:53 Thank you.
04:54 Thank you.
04:55 Thank you.
04:56 Thank you.
04:57 Thank you.
04:59 Thank you.
05:01 Thank you.
05:03 Thank you.
05:05 Thank you.
05:07 Thank you.
05:09 Thank you.
05:11 Thank you.
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