Lazar Lyutakov
 "Lazar Lyutakov, Untitled (Feiyue), 2013")
1. What are you working on right now?
a) On my second publication. For the past 10 years my grandmother has been running an exhibition space in her basement in Shabla, a provincial Bulgarian town. I’m collating documentation of the events that have taken place there together with new contributions from various artists, which will be published as an 84-page book.
2. What does your schedule look like?
a) It varies, I don’t have any set work habits – ideas can come anytime and anywhere. I do need a studio though, a place for contemplation, concentration, planning and decision-making, as well as for storage. Some of my work is generated through specific ongoing practices, like my lamp works.
3. What is your studio like – messy, sparse. Do you share it with others?
a) Messy – much of my work is based on collecting stuff, so there are lots of objects and materials lying around. I’ll probably never use a lot of it, but you just never know.
b) Sparse – I’m not into messiness on principle, because at some point I can’t find anything anymore and that’s unsettling. I try to organise stuff, but somewhat sloppily.
4. What do you get outsourced or find ready-made, and what do you make yourself?
a) I always use something found that already exists as a departure point – not ready-made in the classic sense, because it’s not neccessarily about the object as such, or the fact that its industrially produced. It's more about a story, or history that is embodied in some way and strikes me as interesting. Then I let something happen to it – through comparison, remodelling, exertion, translatation, or whatever... I try not to be too strict in my thinking during the execution. I like it when artworks have something concrete and playful at the same time.
5. What does the internet mean to you in relation to your work / practice as an artist?
a) It’s crucial
b) It’s relevant
c) I’d survive somehow without it
6. Who is a mentor for you from whom you get guidance?
a) A fictional person, made up of several friends and colleagues. They don’t give me any advice.
b) I consider every opinion to be of equal value
c) One should only work for one’s own pleasure
7. Do you think you will ever stop making art?
a) I don’t think its good to over-romanticise the art-making process, so sure, I can imagine stopping.
b) That saying about un-learning to ride a bike, what was it again?
c) The nature of art renders a clear answer to such a question impossible.
8. What’s the most annoying thing about Vienna?
a)
b) nothing
c)
d)
9. What is the most absurd thing you’ve ever heard or read about your art?
c) At least three people have asked me whether my pepper-roasters can also be used to make rice-stuffed peppers.
10. What show have you seen recently that you really liked?
b) Krebber in Bordeaux, perhaps because I only read about it.
a) On my second publication. For the past 10 years my grandmother has been running an exhibition space in her basement in Shabla, a provincial Bulgarian town. I’m collating documentation of the events that have taken place there together with new contributions from various artists, which will be published as an 84-page book.
2. What does your schedule look like?
a) It varies, I don’t have any set work habits – ideas can come anytime and anywhere. I do need a studio though, a place for contemplation, concentration, planning and decision-making, as well as for storage. Some of my work is generated through specific ongoing practices, like my lamp works.
3. What is your studio like – messy, sparse. Do you share it with others?
a) Messy – much of my work is based on collecting stuff, so there are lots of objects and materials lying around. I’ll probably never use a lot of it, but you just never know.
b) Sparse – I’m not into messiness on principle, because at some point I can’t find anything anymore and that’s unsettling. I try to organise stuff, but somewhat sloppily.
4. What do you get outsourced or find ready-made, and what do you make yourself?
a) I always use something found that already exists as a departure point – not ready-made in the classic sense, because it’s not neccessarily about the object as such, or the fact that its industrially produced. It's more about a story, or history that is embodied in some way and strikes me as interesting. Then I let something happen to it – through comparison, remodelling, exertion, translatation, or whatever... I try not to be too strict in my thinking during the execution. I like it when artworks have something concrete and playful at the same time.
5. What does the internet mean to you in relation to your work / practice as an artist?
a) It’s crucial
b) It’s relevant
c) I’d survive somehow without it
6. Who is a mentor for you from whom you get guidance?
a) A fictional person, made up of several friends and colleagues. They don’t give me any advice.
b) I consider every opinion to be of equal value
c) One should only work for one’s own pleasure
7. Do you think you will ever stop making art?
a) I don’t think its good to over-romanticise the art-making process, so sure, I can imagine stopping.
b) That saying about un-learning to ride a bike, what was it again?
c) The nature of art renders a clear answer to such a question impossible.
8. What’s the most annoying thing about Vienna?
a)
b) nothing
c)
d)
9. What is the most absurd thing you’ve ever heard or read about your art?
c) At least three people have asked me whether my pepper-roasters can also be used to make rice-stuffed peppers.
10. What show have you seen recently that you really liked?
b) Krebber in Bordeaux, perhaps because I only read about it.
22 May 2013. Translated from German by Signe Ross.
LAZAR LYUTAKOV, born in 1977 in Shabla, Bulgaria. Lives in Vienna. Recent exhibitions include: Lamps (solo), Song Song, Vienna; Magnets, ICA, Sofia; Kunstgastgeber Gemeindebau, KÖR, Vienna (2012); Werkbank Lana (solo), Lana, IT; Solo presentation with Galerie Winiarzyk, Fruits, Flowers and Clouds Art Fair, MAK, Vienna (2011).
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