Ws Evan Cm on the right door, but the wrong door feels more sppropriare— through the wrong door you find an encounter with something ‘that you don’t actually expece, and so consequently you are some- how refigured or remodeled against the backdrop of another; some how you find yourself in a scenario that isn't of your own writing. Tt wasn'c sculprure, because it was too much like window-dressing, but it wasn't window-dtessing either, nor theater. It felt more like a decor, a setting, In Brondtbuzrs’ work, what is facinating is what ist dabe ov what hap- ‘pons between the objects that compose the pees. ‘This idea of decor was the revelation. By making choices and mak- ing relationships between objects, it was possible to construct meanings and to change che ways in which we perceive of these things as singular objects. William Busroughs and Brion Gysin wrote a text called The Pbird Mind (1978), and chey said chat when- ever there ate cwo minds cogecher they create a thitd—the third mind represents the dialogue between the first two, and both are changed and somehow compromised by it. In this kind of *ehird space”—the dialogue between one and two (and it’s very rarely binary in my experience of looking at Broodthaers)—there are con- vversations that happen. It's not much like this conversation where | speak, then I feel chat Ive said as much as T want eo say, chen there's a pause, you catch up with what that is, you speak and then respond to that; it's aot this kind of ping-pong conversation. It may be possible chat I'm speaking in Flemish, you're speaking in Japanese, you're speaking abouc che hiscory of the orgsnization of Certain structures of classification within Japanese historical porce- lain, and Pm talking abour my cop 12 recipes of what co do with {foie gras, for instance. But somehow, the dialogues appear to take the form of a conversation in that chey're happening at che same time, somehow they'te eliding or slipping over each other, such that you could go in on many different levels. One of che things. ‘hac impressed me was that Broodthaers was capable of making this happen in the room; what normally happens in your mind would hhappen in the room. Mark Cousias wrote a ext that I have been fond of for many years, and actually it was a cext thar I asked him to write about aa installacion I had made—I'm sory, it sounds arrogant to describe it as one of my favorite texts because it’s writ- ten about my own work!—bur I was very pleased with what he ‘wrote because it picked up on things and put things into languageWr Evans, ceor eas that I was ing to pur doing into words, this would be one of the voices that I would be pleased to hear. And so there is a certain sense of satisfaction that there is someone out there who gets what you're trying to do, oF is thinking about i in che same kind of way. He talks about image and object swinging on a hinge; an idea that I sell ind very artrac~ tive. Another one that 1 was pleased with, which some people _migh¢ think of as an insule, bue for me was the exact opposite, was talking about che experience of walking into this installation and seeing the piece I'd made: Mark said chat it felt a bit Jike being a deaf man staring at a radio. There is something preposterous in that—obviously, there is something amusing about it but when you break ic down and look at the subvle things thac undercut a statement like chat, there's a perversity at the cote of it, That kind of aggression, that classic cinical subversive cactic is something. thae is very nourishing because it goes against a liberal, hamanist, progeessivise notion of creativiey: of creativity being generally for the human good in some sense; that creativity is aourishing; that ic is some kind of energy that is tantamount to biological growel; that it is in some sense natural. For as long as I remember, I have been very antagonistic towards chis idea of creativity being 3 thwarted version of childbirth or procreation—that it's & natural outler The early films tet you muade tere influence by your encounter with the suerk uf Broodehaers; they were alvcessarrangemests of dps, trapctoriet, Aistores, rwanings and associations, But L was wonderrng bow the inter- cat that go's rhmced for files and cinema developed ‘Welsh is my firse language, and learning English was something, that just happened; Icon’ think I had lessons—it was 00 television and all around me in Llaaelli where I grew up. 1 went to a Welsh primary school where it was forbidden to speak English, but outside school hours ic was familiar. I think the idea of translation started carly for me, of chinking, chat you can have che same word in €wo Janguages, buc the shapes and appearance of the words are very dif- ferent although they have the same kind of meaning ot idea, and this became a space for ideas for me. In {Jean-Luc} Godard’s Tio oF ‘Three Things 1 Knute Aboiet Her (Deux ove troit cbsoes quar ye sais dele, 1966), there is a marvelous moment at the beginning of the film where Marina Viady, the extraordinary actress who plays Juliette