December 20, 2015
Fairweather Magazine: How has your work as a curator affected the ways in which you think about your own art practice?
Samuel Draxler: I started curating and making art around the same time. For me, producing an artwork is a curatorial act at heart, at least in terms of the underlying logic. Buyout / Tragedy, for instance, is organized around a proposal for “a new work – a tragedy in which the characters, dialogue, and plot have all been removed, leaving only the landscape.” The work is to be exhibited “with or without accompanying text and illustrations,” which allows it to be reformulated in different contexts using different materials. At the ACC Galerie Weimar, for instance, the installation was structured in relation to the life of Christian Gottlieb Priber, an 18th century German utopianist. The piece was first conceived of as a literary work, inspired by the scene descriptions from extant Greek tragedies. The combination of texts and images, both original and appropriated, lets the references shift with each iteration. It’s become a more open investigation into the depictions and functions of tragedy.
The full interview is available at fairweathermag.com.