Conociendo a Oliver Czarnetta

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One week later, we dive into the world of  the German sculptor Oliver Czarnetta.

Oliver studied art history and philosophy and simply could not hold a position as a mere observer. His commitment to art was, is, much greater. His artistic proposal responds to a line of work resulting from the existential concern for the human being, to delve into how vulnerable, how suggestible or how brave we are in relation to ourselves, others and the environment. His artistic speech opens an intense debate, in which we invite you to participate.

What does the artistic creation mean to you?

For me the artistic creation is a basic evolutionary skill. Even when people forget the art’s relevance in hard times, it is very  important for the constitution of the mankind. A single person perhaps can live without art for a long period of time, but the society can’t live without art. It is not the decorativ aspect of art which makes it so important, it is its quality as a matter of cognition and its ability to give life to the world through the way that we see it. Humans are able to see something new and revolutionary in the common things. This is part of the source of our development and a good artpiece just talks about it.

The single artpiece for me is a cognitive matrix/toy. It is a conglomeration of material, form and content which is shaped by the action and cognition of the artist. It is a manifestation of a special way of seeing, thinking and acting. A sculpture has a certain temporal impact due to the invitation that makes to the viewer to orbit it, this is a bonus of 3-D art.

Do you remember the first contact you had with the contemporary art world?

When I studied history of art, there was a question related to the medevial artworks: Were them made like they were in reality?, Why the artists of those days were not able to make them in a more realistic way? In my opinion the conclusion is that they saw a difference between a real body and the body painted on a canvas. But their concerns were not focussed on depicting what our science based understanding sees in the world. What they wanted is to depict the way they see the thinks/worlds essentialities before their mental background; and thus they did in a perfect way. This thought not only opened my mind for reading old or modern artworks but it also influenced my work intensively. Never mind what epoque an artpiece comes from, it is always an abstraction from the real world, because it depicts, how people see the inner world. Our nowadays sight on the world is science based, we like to take an close analytic look on the world.

Do you have a reference in any artist?

In one way or another, I am inspired by a lot of artists. I like Fischli & Weiss, Erwin Wurm or Maurizio Cattelan. My biggest reference is Hieronymous Bosch El Bosco.

What artistic epoque would you travel back to?

The artistic epoque that El Bosco belonged to: medieval art, this would be the epoque I would travel to.

Do you remember an artwork with a particular meaning to you? What is the museum where you could happily get lost?

One is El Bosco‚ Garden of Eden and so I could get lost in the Prado Museum. The other one is a film called‚ Der Lauf der Dinge from Fischli and Weiss,  so I would get lost in front of a screen.

Is there any artistic plan that you still have to do?

I don't have special plans but to continue the process. Rather than having a goal what I have is a direction, because this allows to have an open minded which lets a process work. It is easier to see what is on the right and left of the road without focusing on the final point.

Do you remember any written critic or comment about your work particularly special for you?

Prof. Wolfgang Becker, Aachen, last sentence of his text for the catalogue, 7 years‘.

Here fear and worry produce initiative, the joy of experimenting and much courage to break the rules of discipline. The personality which sees itself as process (I refer to Czarnetta's quote), draws its strength from the denial of a static core of the ego - an adventure. The oeuvre that doesn't spring from a pre-stabilised creative being, possesses the freedom to be youthful, energetic, elastic, non-solemn. The wind that ripples the water in which this Narcissus is reflected, will chase him from the shore, before he drowns himself.

What would you do in case you weren’t a visual artist?

I think, probably, I would be a gambler, I like playing ;-)

Is there any book or film that you can see a million times?

I read The Hobbit and The Lord of the Rings pretty often, but only because they calm me down.

Do you have at home/studio any object that has a talisman effect on you?

In this moment I have a  maneki neko (a plastic japanese waving cat) I took from an Asian fast food restaurant a year ago. It sounds like a watch without being one.

Is there any phrase or expression that you use to motivate yourself?


And a last one, would you give us an advice for those who are initiating their way into collecting?

I think that it is important try to esthablish and develop an emphatic sense for the density of an artpiece in the same way that people a language. Material, form, content and all other characteristics of an artpiece are part of its way of communication. Be open for communication in the way the artworks dialogue within themselves and you will be led to an emotional/cognitive feedback. The good artpiece/collection gives place to a lot of possible interpretations and will offer new prospects of communicating with you even in the long term. Like a scentence, an artwork can be more or less sophisticated. By practicing this emphatic sense your collecting-decisions will get more confident and your life will be enriched, because this way of seeing an work is influencing the way you see the world.


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