Arnold Veber interview by Leila Antakly

What inspires you the most as an artist?

The dystopian data about the current state of the world, the unknown within a human being and my ability to wonder at the simplest things.

What trends are currently taking place in Russia?

Well I don’t follow trends, but I’d say 3D graphics, neural networks, filters, masks, short videos. A lot of information received in a concise form. Alot of expensive work because no one in Russia buys our work. 

What would be your dream collaboration? 

aes + f . They are super.

How would you describe your visual identity? 

I don’t have a specific visual style, it changes depending on the project. Before, I thought my work had a certain plastic nature to the light, but that was a requirement of the concept. Perhaps after a while, retrospectively, I will be able to give the correct description. Now, I want to say that everything is saturated with a light spirit of negligence.

For those unfamiliar with Russian culture, what reaction do you expect from them when they look at your work?

I probably want to surprise them and show them that in some ways we are all similar. Of course, you always want to tell a story and depict some kind of universal extreme – to share what hurts. Through art, it is possible to open up and explore common, shared problems.

How is the art world changing? 

It seems to me that art reacts to the current agenda. Lately, that agenda has been very global. We are all human, we have the same bodies that need to be serviced in the same way and from this there are similar problems that can be discussed: growing up, illness, trouble, death. Therefore, in a way, yes, Russian and Spanish art could be similar. But honestly, I don’t know, I don’t know the Spanish heart.

How is the world changing in your opinion? Has the emergence and rapid development of the digital realm had a positive or negative effect on contemporary art photography?

Yes, in general I think it would be cool if digital photography destroyed traditional photography. It could be possible to create perfect simulacra and completely fictional, digital, photorealistic worlds, like re-designing one’s own dreams. Then, classical photography could be reborn in a very unexpected, interesting way. 

What does the curatorial concept of “Home” personally mean to you as an artist?

A state of consciousness in which one can be anywhere, but not at any time. 

What would you like to share with the public and what do you think it would be interesting for them to know about you?

I love to smile. 

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4 December 2020

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