Drawing Room Confessions #5 Benoît Maire

(…) It could be linked to something like responsibility, in the sense that, when you create a work, you’re the only person responsible for its existence vis-a-vis a third party, or an audience. You are simultaneously also responsible for an ideology, because a work is still a position with respect to the real and is therefore an ideology. Whereas the act of reducing oneself to a pathetic state makes you irresponsible. You put responsibility on the shelf.I was drunk, so I acted like an idiot. I’m forgiven. I had the right to act like an idiot. (…)

THE CAST

BENOÎT ……………………………………….. Benoît Maire1
THE EGOIST ……………………………………….. Clémentine Autain2
THE BLIND MAN ……………………………………….. Falke Pisano3
TANGO ……………………………………….. Mark Geffriaud4

--

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, one artist is invited 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.

"It could be linked to something like responsibility, in the sense that, when you create a work, you’re the only person responsible for its existence vis-a-vis a third party, or an audience. You are simultaneously also responsible for an ideology, because a work is still a position with respect to the real and is therefore an ideology. Whereas the act of reducing oneself to a pathetic state makes you irresponsible. You put responsibility on the shelf.I was drunk, so I acted like an idiot. I’m forgiven. I had the right to act like an idiot."