Sylvielin's Blog

Interview with Jacob Fenger from Superflex

Posted in about Art, Interviews with Artists by sylvielin on August 1, 2010
“The Financial Crisis”(2009),film by Superflex. Courtesy Superflex.

“For me the idea of a tool is like a river without borders – it makes new possibilities but has an element of danger too. What may seems like an answer to other people isn’t always an answer for me. Even when we talk about the term ‘tools’ (…) these tools may not be a solution either. It may be a solution to something, but at the same time we want to see the tools as questions.”

—- Jakob Fenger, member of Superflex (extract from the interview) 

(Questions by Amy Cheng. Interview realized by Sylvie Lin. October 16, 2009, London. Chinese version included in Art and Society: Introducing Seven Contemporary Artists, published by the Taipei Fine Arts Museum, 2009. http://praxis.tw//publish/)

〔Extract from the original text〕

Q First I’d like to start with your latest film. Filmmaking isn’t a main part of your practice until very recently, with Flooded McDonald (2009) and your latest film The Financial Crisis(2009).

A We always worked with films, but earlier on it was more in a documentary kind of way. We did this project called the Guaraná Power, probably four, five years ago ; for that we also did some films. They are advertisements, small fictional stories. Indeed, in the last couple of years, we have become more interested in making more films.

Q Why this interest in this medium? Why use films ?
A With the way that we’ve been working, we have never been stuck in a specific medium. It’s always changing, depending on what we are doing. Sometimes it’s soft drinks, sometimes it’s beer, sometimes it’s biogas. There’ll be different kinds of media that you use for talking about something specific. In this case with the film, it might be a little bit different because it looks more like traditional films. This may be what you’re talking about. Actually, for me it’s not a big change. You could say that the main change of this film is that it starts and ends. It’s not like the kind of long-term projects that go on and on, which we also do, like the case of  the Guaraná Power, the Free Beer or the biogas. This kind of projects somehow keep moving on, whereas our latest film has the sort of a start and an end.

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