Design & Decoration S03 ep14 : Serge Spitzer, Spitzer Artist, [????]
Interview with Serge Spitzer
Serge Spitzer (born Romania 1951) is an American artist who uses sculpture, site-specific installations, works on paper, photography and video to question, explore and reflect on the shared reality everywhere. What ties his works together since the 1970s has been the challenging of assumptions. He gives a clue to this by calling his works 'reality models', alerting the viewer to the possibility that what we are looking at is perhaps an altered or amplified aspect of the world around us. Whether transforming architectural spaces by flooding them with hordes of unexpected, incongruous objects, or arranging a seemingly endless piece of thread into a tangle of lines as a 'drawing', Spitzer manages to gift his audience with a sense of wonder.
I’m involved very much in questioning reality and everything related to it. I try to use very simple
elements which you can find everywhere and unite people in different places in the hope that
somehow by connecting those points something becomes clear.
I was lucky that the society in a certain moment agreed to support my research into the unknown
and the mysteries of what I do.
I grew up in Romania and I never thought I’d have a career in this, I never thought about me as
someone who chooses a path but somehow the path choose me.
When my parents asked to leave Romania when I was one and we got permission when I was 21 so
this waiting time it was a fermenting time maybe a place which I learned many things I speak now
eight languages and I think six of them I spoke when I was there.
I was already very active in Europe before I came to New York and even if today I still feel like a
European in New York I still feel like an American in Europe so, it evens up.
I knew very, very few people and when a famous artist invite me to a party in his home it was Bob
Reichenberg, I knew him by chance and there were 300 maybe the most famous and powerful
people in the art world in New York, I didn’t know anybody. So I saw a familiar face, I went to
him, I said you look familiar, he said yes I’m Dustin Hoffman. I was not really aware of the players
in this world at all so I didn’t know their faces, didn’t know what they really do, unless I was faced
with this confrontation.
The piece … related to pieces I’ve done in the 70’s it’s a struggle to make something local which
becomes universal and to take universal ideas from one place to another and still feel that they
belong everywhere. Somehow it becomes this combination of truth which is totally spooky and I
feel horrible talking about it but it feels like that.
Initially I was so frightened by all this idea of exhibition opening, I used to sleep in the gallery of
the museum before the opening night because I was not satisfied and there was still, something was
wrong and I struggled with it. In the morning of the opening I would wake up on the floor
wherever I slept and everything became so clear and most of them involved going back to the
original starting point which during time I tried to improve by destroying it, so in time the security
that the solution lays at the beginning give me the security that I know what I want and I know
how to do and I know how to achieve it.
I’m fascinated very much by the idea of making the huge monumental piece but treating it very
lightly and the quality of something like this it’s a kind of generosity about the public space, it’s
generosity about people, it’s generosity about ideas and things if you can make something which
will never move, feel like it can move, you achieve something.
The way to do things is to make people curious. Most of the people are hold back by definitions by
structures which are already predetermined they have already everything put in boxes and if you
can take it out of that and shuffle them and make them unsure any more where the beginning and
the end is I think you achieve something very, very important.
It’s this mixture between logical, illogical, between sensuality of a place, facts you know history,
politics, they all trigger things, you cannot exactly pinpoint but they’re all in there.
Why I prepared myself to work with four ton of material which I got but the mass of that instead of
being 50gm per unit it became 200, more than 200gm per unit so it means that I have the same
weight but it’s spread on a much smaller number of particles so it’s a molecular problem I take it.
OFFICIAL WEBSITE: Serge Spitzer, Spitzer Artist, ???