Drawing Room Confessions #3: Miriam Cahn

(…) When you look inside a studio, it’s also a raw form. It’s the original raw form, but when you see it in the context of an exhibition, a themed exhibition, for example, where there are artworks around by other artists, then it’s something completely different again. I myself, when other people hang my paintings, I always think, “What is that? it says nothing to me any more.” So I always think happily, “Thank God it’s gone.” And I also notice when they’ve been put up in context and I haven’t done it myself, then sometimes it even leaves me cold. (…)

THE CAST

MIRIAM …………………………. Miriam Cahn1
THE EGOIST …………………………. René Pulfer2
THE BLIND MAN …………………………. Griselda Pollock3
TANGO ………………………….. Andreas Osterwalder4

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Made of words and exchanges, with no images, Drawing Room Confessions is open to diverse practices and voices. It is named after a game played at the end of the nineteenth century in England and France, which consisted of a fixed questionnaire answered by players to reveal their tastes, aspirations and personalities. For every issue of the journal, we invite one artist to play the serious and playful game of conversation. Each section follows a set of rules, only the players change, as interviewers from a wide range of fields contribute to a portrait of the artist at a certain time.