ნნლ ნლ ნალ ნალ ნალ ნ აალ, ნლ აალ აალ ალ ალ აალ, ნალ ნალ ნალ ნალ, ნალ აალ ნალ ალ ალ ალ ალ ააალ, ნალ ალ ალ აალ ალ ალ, ნალ ალ
සඳසිනයට්ම හොඳහින්මයෙයෙ, ගයරන්මය තිරන්යට්යින්යෙන්යෙන්යෙන්යෙන්යෙන්යෙන්යෙන්යෙන්යට්යෙන්යෙන්යෙන්යෙන්යෙන්යෙන්යෙන්ය ඵෙන්යක
сожал trenches
แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง แสง.
or to look to a chicken from another country, which I also know, which is very top gastronomical chicken, which is the French pull at the breast.
And then I see that the French are very proud of this chicken, that it is very good for the kitchen.
But another thing is that it has red in the head and white in the body and blue in the legs, which is the French flag.
So the manipulation went that far that it becomes a nationalistic symbol. So I thought, I thought this is not right, I think.
So I started this program by making the combination between the mekos kukuk and the pull at the breast to show that I believe in the result of it, which is an animal in between.
Which, in my opinion, has more chances to survive.
If you create a standard, if you create a race, we know that after a while
the fertility and the immunity and all these things will go down by inbreeding.
We have an example, by the way, in England there is the typical English red cup. In the sixties it was so popular for their eggs that they start to inbreed.
And after a while this whole race becomes infertile.
So they disappear from the map.
And this is what really happens if you stay in one frame.
So I believe as an artist that we have to break these frames, that we have to break frames to get some kind of new energy, to emerge new things.
And to give maybe an example for what evolution can be.
From the really beginning I started to think about an artistical project.
Because when the first generation that I was making, the people who supported this, I said from the beginning
I said I will breed a new chicken but as a piece of art and not to eat.
Because there are so strong questions in this process.
It's dealing with a lot of issues like globalization, racism, cloning, genetic engineering.
By setting up this project, putting animals in a cage, shaping their space.
But putting in the same cage two animals from a different race.
And then they match and out of this comes something which is completely different.
I mean, only that action gives for me a new view on society.
I believe that you have to give more chances to developing.
Like out of this manipulation can come a kind of mutation which nobody can control.
And so also the energy of the space is dealing with the chicken.
It's dealing with the object.
I have another approach as an artist.
And also now at this moment I can feel it that is like this.
Because after 12th generation I find a combination with a geneticist
to go and look inside of the chicken what's going on.
And one of his points is that why he's thinking that it's very interesting
is that I'm using the tools as an artist and all the tools as a scientist.
I mean for a politician he should take this and to become, to start to use this for its purposes.
I'm not doing this kind of way.
I let it what it is.
I start to make conversations of it and I put up some debates.
And that's another way of approaching.
That's another way of dealing with the work.
And I think that's art because you involve the society in the work.
So when we set up a debate, I mean, then I'm not the one
answering unscientific questions.
The scientist is sitting next to me.
Or the philosopher is sitting there.
It's not my job to answer there.
I will, if they ask something about the world,
I cannot or a creative cannot.
Thank you for watching.
Let's start from the beginning.
If I put the mechosu kukuk together with the pull at the breast
and the result is the mechosu breast,
then I could say, oh, it's a nice chicken.
It's a beautiful one.
We can keep it and it's a new race.
But I don't do it.
I break again that frame because I put there a chicken from another country.
I'm not keeping another standard.
The standard will not survive.
The standard in other terms died after maybe 4, 10, 15 years.
So this generation, which I call the first generation, will die.
I create a society next to a society.
That means a reality next to another reality to show what evolution can maybe.
Maybe we can grow by crossbreed.
Maybe we can reach another level if you are open to others.
This is what the real content of the work is.
And if you're open to the others, it's like a pyramid.
And at the end, on this pyramid, you have not the global uniformity,
but you have the global diversity.
Well, it's a different way of painting.
It's putting elements together.
It's making connections between things.
Like I mentioned before, it's about simplicity.
I feel it like a living painting.
It's an installation that combines all the elements with each other.
I have in my garden, I have the llama, I have the chicken.
I have the color of red of the chicken lamps when the little chicks are hatched.
And in this installation, everything of the garden is coming together.
You have a big camel standing over there, which has the same structure as a llama.
In the nest, you're standing in the middle of the installation,
and something is hatching out of it.
We don't know what is going to come.
It's a future thing.
That's why the egg is so transparent.
But it's yesterday, today and tomorrow.
It's every moment that will come together in this piece.
And this is in confrontation with the video screen,
which is sending out like the news on the BBC or the CNN.
Everything is going on every day, and we are doing this, and we are doing that.
At the same time, there is something unknown which we never can control.
The artist himself is first healing himself and then hopefully is healing the world.
There are big words.
In the whole process, you are going for one big desire.
And that's a big difference.
If you talk about desire, then having ambition, you know what I mean?
The desire is something which you really cannot describe.
It's something which you feel.
My paintings are all built up with eggs.
I paint with eggs, I paint with corn, I paint with feathers.
So it's like all kind of elements where I can find in my barns.
I use it on the painting.
And for me, the expression of the painting is something which will...
It's some kind of an energy which is just before the crossing.
If you look at it, it's like an embryo.
It's like something who is trying to come out, who is trying to get his form.
It's still not finished.
It's something which will come.
