An E-mail Conversation with Mark Edward Grimm
The net establishes its significance as artistic medium no longer in specialized communities but has become dispersed more and more into contexts commonly assigned to the “classical” art business. As a logical consequence the coherence of these structures is broken up and infiltrated. Traditional processes have been running along the line: Production of an object-contextualisation as artwork-selling of it (eventually). For a few years now, however, the question has been raised if the “fetish object” as an artist’s product is still acceptable. A basic principle of artistic analysis is the inclusion of a reality which does not necessarily mean descriptive realism but intellectual examination. Thus, can the examination of realities by means of an object be more than mere decoration? As a role model for a discursive medium, doesn’t ‘the net’ need to replace the “progress” (meaning a linear progress of an operating process resulting in the manifestation with an object )?
In his works Mark E. Grimm covers different contexts whichâ€”evaluated by conventional criteriasâ€”could be considered as undecisive. The collaborative work in and outside the net, the study of the working processes and the transfer of net-related working methods into real life are all practices deliberately dealt with as artistic statements but rarely leave material-related marks. Perhaps we observe here the reversal of the 90′ s Californian Ideology and its “Second Life”: the reality is not subordinated to the net but the net turns with its constant use into a part of the reality. (Interview conducted by carlos katastrofsky in June 2007)
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