A Chat with Jonathan Meese

A Chat with Jonathan Meese

PAS: Jonathan, why did you choose Scarlett Johansson so often to be integrated in your work?


JM: That’s a good question. I don’t know.


PAS: OK, and why did you choose puppet octopuses to be in your work?


JM: That’s also a good question. But, you know, to me Scarlett Johansson and octopuses are the same. Like metabolism.


PAS: I presume you have at least eaten octopus. Have you ever met Scarlett Johansson?


JM: No. But, actually I would not like to meet her. It might destroy my image of her in my work.


PAS: When I saw first your performances only I had the impression you might be a scary guy with your shouting out of your dogmas and gestures like the military greetings. Here I have the feeling you are a very gentle person who is very polite and friendly to the people.


JM: Thank you - my mother also thinks that way.



PAS: When I look at your paintings and sculptures and performances I have the feeling nothing is save from you. There is no taboo. Why?


JM: I believe all will be part of the dictatorship of art. That is why.


PAS: Do you really think that and how should that work?


JM: Art does not need human genius – it is totally a game. The dictatorship of art is the future, because it refers not only to the humans only, but to everything. It has everything play. Everything will be able to play with each other in love and without any rituals. How this is going to look like in detail is – of course – not known to anybody. Things will come by instinct or metabolism.


PAS: Are you the dictator of art?


JM: No, I am not the guru or messiah or humanpowerpoliticianfanatic of art. I am the ant of the dictatorship of art.© UGL


PAS: It is very difficult to get a sentence of you that makes reasonable sense to me. I have the impression that you play with mass media very well. How can you maintain your role as Jonathan Meese the artist?


JM: I was always like that. And the media are a toy of the dictatorship of art.


PAS: Thank you very much.


by U. G. Lambert 2008


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