via iCommons [Link]
Art Intercom is a six part series conducted by Art Fag City blogger Paddy Johnson, who will be interviewing the iCommons Summit Artists in Residence. In the weeks leading up to the Summit, interviews will be posted once weekly, profiling the artists’ work and describing their approach to Creative Commons licensing. Artists still to be interviewed in the following weeks are Kathryn Smith and Nathaniel Stern. Interviews with art collective MTAA can be found here and here, with painter, Joy Garnett, here and with Jaka Železnikar, here.
Media artist Ana Husman often speeds up durational video, in effect, animating happenings and actions to underscore the development of social mores. Such techniques throw back to films like Godfrey Reggio’s Koyaanisqatsi, a work known for speeding up shots of city dwellers, and Michael Snow’s Wavelength, which consists of a single 45 minute tracking shot of a room, though Husman’s tends to empart a more pointed social message than either piece mentioned above.
A graduate of the Academy of Fine Arts Zagreb, Husman explores shared experiences and cultural norms. When I spoke with the artist last week over the phone we focused primarily on her conceptual collaborations with amateur artists as well as her professional experiences with Creative Commons licensing, though we also touch upon her film The Market, which was featured on the iCommons Summit 06 DVD. We finish up our conversation with a discussion about the work she will be creating for this year’s Summit.
AFC: The concept of a shared experience is one of the primary concerns of your work, so Creative Commons makes a lot of sense for you. Do you see yourself as being pro-actively copyright friendly?
Ana: I wouldn’t call myself an activist. I just see myself obligated to the people I work with. On the subject of Creative Commons licensing though, I think there are at least two good reasons to being using it, especially for The Market. Firstly, the film was supported by the Croatian Ministry of Culture with taxpayers’ money. Secondly, often when I create work it is drawn from shared heritage; I am “using” other people’s stories. By putting them in my own context I would find it inappropriate to close it, to copyright it or to sell it, in any way to make it unavailable for them to use. [read on...]