Inez van Lamsweerde "The Politics of Beauty"

Inez van Lamsweerde "The Politics of Beauty". Interview by Penny Martin. Foam #13. Winter 2007. 

excerpted quotes:

"By that show, we were kind of done with photography as a 'photograph on the wall'. We were also not so excited by what other people were doing. Usually, my work is a reaction to what I see around me, either in the art world or any other cultural world. Usually, I feel there us a dialogue between other artists and myself. But three years ago, I didn't want to talk to anybody!". 

"So we had to find abother idea. Vinoodh and I talked with my uncle, Eugene van Lamsweerde, who is a sculptor living in  France. Since he was a young artist, he has been heavily influenced by Joseph Beuys and the more spiritual, spatial approach clicked with us, so we started collaborating. The first thing we did was The Endless Head, a portrait of Amanda Harlech (Muse to Karl Lagerfeld) that we later showed in multiple variations as part of The Sceance in 2006). "

"Now, I don't know that many people that are politically involved. Nor do I know many that are involved in spiritual activity. It seems as if our culture has moved away from those two elements being considered important to the generation below me. What I would love to achieve is for certain spiritual or political awareness to become cool again, without it requiring an MTV-style aesthetic or appeal". 

"The idea of showing things that are related to death is so attached to imagery from various underground movements, where eberyone who wants to rebel uses a skull  as a symbol". 

"Elements keep reoccurring. That's why it's hard for me to live in the art world only".

"It's so true. We always say that at least in the fashion world we know it's about money! I get paid for a job, and I do it as well as I can, within the limitations of the brief or brand's vision. It's very clear. But in the art wolrd, it's even more about money, without anyone saying so. It has changed over the past few years, a lot, in terms of the business that it's become. The kinds of people that buy art now are very different".