Recently, I’ve been considering how pain is an undervalued resource, particularly the role it plays in driving invention. My painting “Night is Deaf and the Morning Remembers” alludes to Alexander Graham Bell’s discoveries. The home fractures and the living room spills into the grass. Isn’t it profound that the man who invented the telephone and dramatically improved global communication was unable to be heard by his own deaf mother?

Equally important to me are the lessons her works suggest when juxtaposed beside other artists’ creations.  Movement, in most pieces I observe in the Centre Pompidou, is central to communicating the devastation and chaos that the natural threatens in our carved-out, mechanical lives.  Much has been written about Mendieta’s relationship with the earth, but not a great deal has focused on this sense of global catastrophe, the overwhelmingly real or feared natural events that might make our moving bodies disappear.

First, it was really shocking, and I knew I needed to just chill out, be calm, and not seem nervous. The other thing that happened dawned on me later; I think I felt it immediately, and I just didn't know that I felt it. My dad was an addict when I was a kid, and I had been in lots of places like this. I’m pretty sure that I never saw people using in front of me, but I was around that type of adult for sure as a child.

During my time living in Jerusalem I decided to make work exclusively in the West Bank, I made a number of works using photography, painting, sculpture and process biased art, and one work seemed to lead to the next. One day while out in the South Hebron Hills visiting a tribe of Bedouin who live in caves, I came across the landfill site in this work. I returned a number of times to view the location and eventually decided to make work there.

It’s shock- ing to see how such a celebrated hero is seen as an incredible, idealistic leader. Meanwhile, on the other side of history, he is seen as a murderer. In my Utopia, I want to see a mythical leader from 360 degrees. I want to see how it was for the American, the Native, and for others.

Art is all about realizing and updating rituals in which mankind deals with their environment, the duty of the artist is to help realize but also to update the idea of realism itself. Children can rotate objects within a special field, when we grow old we lose this ability. 

S: What guided you in choosing artists for the enigma issue?

A: A lot of shoe leather. I let the photographers speak to me. Some have been found through active discovery, speaking to friends, and I rediscover artists whom I have always admired. I knew I wanted to include fashion photography since fashion imagery is inherently enigmatic. Once I decided that, my first thought was Guy Bourdin.

Well, I woke up on November 9th at about 4:30 in the morning and checked out the news. I was horrified that Trump was now my president. My world just went upside down. I thought that my work Left Right Left Right that was installed in the Whitney’s Human Interest exhibition didn’t make any sense anymore.  The piece was a celebration of protest or opposition, but that morning I and it felt defeated.

If you take photographs seriously, that’s the end of the story. Moriyama’s public career began in the magazine PROVOKE vol 2., in which he shot a couple having sex in a love hotel.