Gelatin

gelatin’s journey to sofia: an interview with ourselves

gelatin’s journey to sofia: an interview with ourselves
title: gelatin’s journey to sofia: an interview with ourselves
year: 2005
publisher: Institute of Contemporary Art - Sofia
ISBN/ISSN: 3-86588-192-0
language: english
author(s): Gelatin
source: Gelatin, 2005, Sofia: Institute of Contemporary Art, ISBN: 3-86588-192-0
supported by: The project takes place in the framework of relations. relations is a project initiated by the German Federal Cultural Foundation

how did you come up with the idea to travel to sofia?
we feel, that it is an urgent thing to do.

why are you choosing mopeds and not other ways of traveling?
there are a lot of good reasons to use mopeds: the reduced speed, the open air feeling, the incredible noise of the moped, that puts you into a stage of trance. you
don't have to talk all day to the others, but at the end of the day you can talk about what everyone saw. and it is really different things what everyone sees.

what do you see on the road?
the images and patterns of asphalt are amazing. it’s not so different in all the countries we crossed so far. it’s not grey or black at all but has all these dots and spots. and the speed of the mopeds make them wipe if you focus too long on the road. it’s like the very moment before falling asleep and starting to dream.

what about getting lost?
that's basically the fun about traveling, but we are very well equipped having tobias with us. he was born in germany and his temporal lobes are similar in size to those of australian aborigines. he can navigate with the tip of his tongue even while eating honey with chili

are the seats of the bikes hard? does your ass hurt?

it’s about attitude and the use of pillows. the more pillows you use the more your ass was hurting before.

is it easier to go to the east or to the west?
you go west to express yourself and you go east to impress or explore yourself. it is not about easy or difficult it is a totaly different subject. i believe that eastern europe is a truly romantic place and it is a good place to float around and have an emotional love affair with.

what kind of image do you think you are transmitting, while you cross eastern europe?
respect and hope. like after watching a very good movie. you have this happy feeling that there are people out there who do a good job. that's a very relieving moment. crossing national borders is a complicated thing sometimes.

how are your experiences with border crossings, national borders and borders in general?
approaching borders is a good introduction of what expects you after crossing them. sure we have the right passports making it smooth and easy to step in. but the vehicles and our styling gets us a little more attention. so in the end we have to assist ourselves to make this border crossing really happen. and there's no difference between any borders at all. a true borderline experience was crossing the border into romania and the first 2 days of traveling there. surprisingly beautiful and hardcore mysterious in every little detail.

and the people you are meeting on the journey?
millions of different people with millions of different desires. a lot of happy people who like to be what they are. beautiful, fantastic musicians in bars and discos. sweet old ladies, who sing and dance in the afternoon. dirty loud highly educated children, who speak english with us. shepherds who sleep all day and become 120
years old. nervous young men who want to be italian. beautiful girls who would ignore us, because of our lousy mopeds. when you travel at low speed, you can see a lot of snails, bugs, insects, frogs,... crossing the street.

What are your feelings towards these creatures?

it’s like racing with them. a permanent competition. flying insects become your competitors in speed. the slower crowd on the street are our slalom poles. left, right, left... trying to never hit one.

which songs come to your mind while you ride in the rain. which ones in the sunshine?
when its raining its peggy lee's fever. sunshine brings iron butterflies in a gadda da vida

where are the bikes now?
sitting in vienna grazing the meadow in our studio’s backyard garden.

are you using the bikes in vienna?
we use them now and then. not only in vienna. it’s so good to have them. now we can take a ride wherever we are going anywhere, slow or fast, river deep, mountains high.

most beautiful moment on the journey?

every time one of the mopeds brakes down it is just horrible. the moment when it works out and it is possible to fix it once again and then you kick-start and it runs and you test-ride, this is the most beautiful moment of a moped-rider.

what's so good about traveling in general and where to go after all?
traveling with no timetable and no plan and dates and just a basic general idea of getting somehow to sofia or naked or mexico or nothing or kongo or whatever is pure pleasure. most important is the not calculated character of a trip. as long as you do not have a plan, nothing can stop you. after all we just go on.

do you see yourself as the four riders of the apocalypse?

we are bikers. and a biker is a biker is a biker. we are all travelers in the wilderness of this world, and the best we can find in our travels is an honest friend.

what is the show in sofia’s ICA about?

about how impossibly degenerated it is to be a professional artist and how self-degrading this profession can be. and how beautiful it is to make art.

how do you make a living as artists based in vienna?
we sing and dance naked in bars and cafes. we pretend being blind and beg for money in the streets.

how would you describe the difference between sofia and new york, between belgrade and paris?

what makes a city are interested, sensible, aware, positive and energetic people. you can find a city everywhere.

what souvenirs did you bring home?
nasser klumpatsch

Published in Articles
Read 324 times
Last modified on Feb 10, 2021

Tagged under

Vector. ICA-Sofia: Motives, Analyses, Critique is a project by the Institute of Contemporary Art - Sofia.
The project is realised with the financial support of the National Fund Culture, Critique Programme