The 'Station to Station' film is a fast-moving journey through the modern creative landscape. It's a kaleidoscope of voices and impressions rather than a standard linear film.
I'm really a believer in being in situations that feel new and awkward and different. And I love that feeling of being in motion - that sense you find when you're traveling.
Our culture is just too comfortable in creating these kind of divisions between culture.
Our culture is not this thing to be seen from a distance. We need to be embracing the friction of it all - that is where the energy is.
I have always just made things. I don't see what I make as being defined by a medium or aesthetic. It probably comes more from a fundamental restlessness, an attempt to create tools for questioning or understanding, and I have always been interested in using a wide spectrum of mediums to do this.
I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.
I am fascinated by the indecisive moment and the peripheral view.
We are engaging with so many art forms at once in the 21st century, but we're presented with them in a way that is so isolated.
I'm really pleased to share the 'Station to Station' film. It has a very unorthodox structure; it's made up of separate one-minute films. So you watch this piece that is like time moving. Everything is democratised, whether it's a minute of Patti Smith or a single landscape with a drone, it's this amazing modern kaleidoscope.
There's really no differentiation between the work I make and the world I live in.
In our daily lives, we see ourselves often in very reductive ways. I want to explore motion, change and flux, whether we are looking in the mirror or seeing ourselves in our surroundings. The singular view of self contradicts the act of living.
I think that 'Station to Station' is a nomadic project not only in a literal sense, as it's traveling by train from place to place. Some of these places are New York City or Los Angeles, but some of these places are rather off-the-grid places.
We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.
'Station to Station' is a series of happenings that go across the landscape. What is a happening? A happening is a moment in time. A moment in time that is not choreographed, where you don't know precisely what's going on. Where there are aspects of different layers of culture.
It's very easy to lose track of the environment around you, to lose touch with the present.
My office has two buildings that function like the right and left sides of the brain. There's a room where everything is being edited for an upcoming project, but you can pull out of that into a tranquil space to work in a different, more solitary medium. It's an architectural unfolding of the process instead of just one chaotic structure.
I think there is a hunger for things that wake you up, something that makes you peel back your eyes, that reminds you that you are alive. Art is at its best when it is in the 'now.'
The 'Station to Station' film is made entirely out of one-minute films, and each of the 62 minutes is a completely different person, place or encounter.
'Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.
I have a weak spot for late '60s-early '70s yippie paperbacks and protest manifestos. I find them at flea markets or online. One of my favorites is 'Right On,' a compendium of student protests made into this 95-cent paperback with the most amazing graphics.
I love art that haunts me, that stays with me, that is left embedded in my mind. I don't really think there is any use for owning or collecting art; it is more about remembering and preserving it in the minds eye and allowing it into your cultural DNA.
Communication is paramount, and what medium or what format you utilize should be a non-issue. In some respects, that has created a barrier for new media, especially web new media, because often times maybe the media itself comes before the concept, before the ideas, and ends up navigating or dictating the outcome.
I think about museums often. There are things that I want museums to do that they often don't. For me, I like it when there's a system within the museum that can continuously change - whether it's a museum that is nomadic or one that's designed so the building can shape-shift. I like restless spaces, and I want to be engaged.
I don't really care about interruptions. I accept technology, and I don't turn things off. I've found a peace with fragmentation and a harmony with switching gears quickly to other things.
I always thought about 'Station to Station' as an approach. It was about creating an alternative platform for culture where different mediums could co-exist.
Art is always a search for understanding, and the different levels and frequencies of that search feel completely comfortable and natural to me.
The idea of a 'happening' is that there is little distance between the viewer and it, whatever 'it' is. It's an experience that's on-going and evolving.
I'm not a journalist; I'm probably a horrible interviewer. The one small thing I have is I'm curious, and I'm interested in who I'm with.
I see life as a burning meteorite that you can climb all over, and feed off, as it is falling to earth.
'Planet Caravan' by Black Sabbath is such a delicate song from such a surprising place.
We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.
Doug Aitken is an American artist.
