PEOPLEText: Eduard Prats Molner

Art has never been as commercial as it is now. Do you think big commercial investments from brands such as Absolut Vodka, Nokia, etc. are positive?

Absolutely. This is a great step for understanding how life works right now. It is very important that BMW asks Joshua Davis to generate artwork out of the shapes of their latest car. This kind of thing helps set up a real market in which we can work. In the same way some galleries such as Bitforms are doing a great job.
My house gets more and more saturated with technology (laughs). We only need the LCD and plasma technologies to be more affordable and that’s it! We can hang a piece of work from Casey Reas in our living-rooms, bedrooms, etc.

Can we consider the Open Source approach as a step towards the Knowledge Society (as artistic influences can now be represented by pieces of code)?

Well, I think that projects such as “Processing” by Casey Reas and Ben Fry can be considered as a step towards the Knowledge Society. It’s very democratic, but I don’t think we should generalize…

Folkert Gorter talked about the impact of communication on human evolution. Are we going too fast?

We are probably going too fast, or we are forced to move very fast, and I must admit that sometimes I feel dizzy; but at the same time, it is part of something new we don’t know about yet. I don’t think this speed can be kept up very long anyways.

Do you think that digital identities may degrade human relationships?

Not at all. I think it is just a common sense question. You should know about the limits and, after all, be conscious that this is just another way to contact or meet people, but not the only one.

I have always been a very shy person, most of the time! The net helped me open up more. During the first OFFF editions I had some problems when talking to people; nowadays this is one of the things I enjoy the most… Also, I am actually very proud that I found my wife through the net.

Have you ever thought about organizing debates with philosophers and/or sociologists to talk about a more self-critical vision of the digital society and its impact? Or do you feel this would be too far away from the festival’s spirit?

I think these contents are already offered by other events and do not fit into our program.

How do you imagine OFFF in 2010?

I hope we will be able to celebrate our 10th anniversary with our audience and, if it’s possible, with all artists that have been at OFFF before and of course without debts! (laughs)

And how did you imagine it five years ago?

Honestly? Five years ago I never imagined I would be answering these questions.

How many people started OFFF and how many people are involved right now?

In 2001 we were four people working on OFFF. Currently we are about 10 people plus several external collaborators.

Will it be possible to see John Maeda some day?

I hope so. We are in touch with him and trying to arrange his appearance. Last year we finally managed to have Yugop after trying to get him several times before. I believe John Maeda will be at OFFF soon.

A wish?

Stefan Sagmeister (next year this mission will be accomplished!).

My next question is… would you like to tell us a secret?

In 2007 we will have 3 different OFFF editions.

An important film in your life?

Mauvais Sang by Leos Carax and Maman et la Putain by Jean Eustache. It’s hard to choose only one…

And the last question… A book?

Andrei Tarkovsky’s Sculpting in Time. You could ask about a song… (laughs)

Which song would that be?

Sometimes from My Bloody Valentine.

Thanks a lot, Hector! Would you like to say anything else?

Thanks a lot for the interview, it was a pleasure! By the way, this is the first time someone asked me about my favorite film, book and song. Thanks for that as well!

Text: Eduard Prats Molner

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