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very small, all these actors could not create. This is exactly what you were talking about at the moment which is at

stake here. How to fight against capitalism and globalization? At the same time alternative movements are motivated by a very pronounced idealism. Art, in all its forms is a weapon, not a defensive one, but one that raises awareness. This is where I agree with your ideas of active art. It is absolutely necessary to respond to the world and art can

answer to it in many ways. If besides that, it invites people to rethink their values its mission is fully successful. That

such a global awareness is raised into a global dimension seems highly unlikely to me though, as we actually speak of counter-cultures that engage with only a small percentage of the population.

This militancy of which you speak, do you also practice it at other levels? It is obviously conceptually present in your

work, but you also remain somewhat distant to the art market, the more commercial aspects of art? I guess that joins the ideas conveyed in your work.

GB: Yes, this hope is the motor behind alternative scenes. In Black Metal, what also seems important to me is this, sometimes arrogant, pride, to distance oneself from the herd. To ignore the prevalent mentality that says "we must get along with it, anyway we can't change anything" The elitist, nietzschean attitude of Black Metal, the will to overcome mediocrity and create the Superman within sets itself really apart in a society that despises radical positions and values pragmatic submission and sarcasm. How to fight capitalism and globalization? This seems at first impossible today because capitalism is no longer an economical alternative among others, but it dominates everything and is present everywhere in the world. I think everyone has to fight on his own territory. As an artist we have chosen to fight in the art world. It is true that we take our distances towards commercial art and the few times we have exhibited in galleries, we proposed works that were difficult to sell. The question is to know if you are credible when criticizing the same system that you belong to and which you feed with your productions. This dilemma is not new but it is more acute than ever. Everyone has to take his own decisions and live with its consequences.

KM: This is actually a dilemma that often seems to cause fundamental problems and has already led to very radical reactions. I am thinking here, for example, of suicides and murders in the Black Metal scene, often for reasons of

betrayal of original values, a direct evidence of the weakness of which you speak. An approach seems interesting

to me between Black Metal (music) and your work. It is the desire to "spoil" the work, to give it a rawer aspect and

escape tricks and artifices that are possible with modern technology . The sound of Black Metal is often strident, full of pollution and perched at frequencies that are unflattering for music. Your images are also produced with ash on the lens, blurred, very dark images. We are far from HD devices or images. It is a commitment to authenticity that

reinforces the power of your images. This ideological concept together with your art make it possible to speak about Black Metal Visual Art.

Your next work is called Tempestarii. Unground led us deep into the world as a journey from which we come back with the impression of having been where everything ends. What will you explore with Tempestarii?

GB: At the beginning of our interview, we talked about cycles of destruction and renewal. Everything does not end with Unground . I better not go into too much detail because the new video is not finished yet but here are some basic ideas. Tempestarii is born from the desire to raise a storm in the Arctic Ocean based on techniques of medieval witchcraft. It is also a kind of reinterpretation of the myth of Sisyphus dealing with the absurdity of human gestures and efforts to face the unchangeable reality of confronting the forces of nature that are completely beyond our control. Creating (or Producing) the film is a big challenge for us, first because of the weather in the region and also because the shooting involves a rather challenging physical performance. It's important to know that we always work without a film crew. We have no cameraman or soundman etc.. There's Nadine and me and if one of us gets his feet wet in the icy ocean to perform a pagan rite, there are not many left to make the film. So it's hard, also because of the lack of financial support, but it is also very exciting to do. We shot the first part of the film in October / November of last year and we are going back in April to work on the sequel.



Profile for 立方計劃空間 TheCube Project Space


立方計劃空間與盧森堡卡西諾當代藝術中心合作,於9月11日展出來自盧森堡雙人組藝術家加斯特‧布歇與娜丁‧希爾伯(Gast Bouschet & Nadine Hilbert)個展:〈渾沌〉(UNGROUND)。開幕當晚,並邀請為此作品擔任聲音設計的實驗聲響/重金屬樂手史帝芬‧歐馬利...


立方計劃空間與盧森堡卡西諾當代藝術中心合作,於9月11日展出來自盧森堡雙人組藝術家加斯特‧布歇與娜丁‧希爾伯(Gast Bouschet & Nadine Hilbert)個展:〈渾沌〉(UNGROUND)。開幕當晚,並邀請為此作品擔任聲音設計的實驗聲響/重金屬樂手史帝芬‧歐馬利...