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Boris Oicherman

Boris Oicherman

Art Practice
PhD Color Science, University of Leeds, UK, 2006
MSc Digital Color Imaging, University of the Arts, London, 2003

About

From June 2017 I am the curator for creative collaboration at the Weisman Art Museum at the University of Minnesota. 

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I dedicated the first 15 years of my professional life to color science and to photography. When I left my research job at HP in 2010, I did not do it because I disliked color science, or had anything in principle against corporate work. What I realized was that dedicating my life to a single task defined entirely by some predetermined disciplinary and economic boundaries, histories and conventions of little relevance to me personally was deeply unsatisfying. Instead, I embarked on the art practice of extreme site-specificity: one where all decisions on subject matter, means and media are products of the circumstances of the place where the art is made and shown. This is the practice of complete freedom of adapting one's act to context, practice of resistance to habits, of uncertainty as state of mind, of inventing one’s art anew in every new project; practice where craft is in the generalized method of learning — rather than in the discipline-specific method of treating the material. 

How do I learn as an artist? How do we all learn our environments as we live through it? How these two learning processes can converge? If they do, such mutual learning can create a democratic performative space where each element affects all others, where the artists, the audiences and the environments merge into one process: life. The ultimate ambition is to create an event, an occurrence that makes a proposition: a model that has potential existence outside of the context of art. 

Most of my work is in public spaces. My interests in learning and in public art stem from the old corny question: how does art fit into life? Therefore, I like working in locations where people live and work. I like working with other people – I believe that finding how art fits into life is only possible when art is considered within the whole context of life. I like finding how art can connect fields of knowledge, and how questions flow between disciplines. I would like to find out how art-thinking and art-making can fit into academic research, and imagine how art can become the catalyst of inquiry that is free from disciplinary conventions.  I like to think about why do we have art at all: why does the world need it, and why I can't quit making it.  I like being a specialist in not specializing: I think that art is the only discipline that allows the complete freedom of doing absolutely anything. I believe that using this freedom responsibly is the greatest opportunity and the greatest challenge in being an artist.

 

 

 

Mirror Banner, Performance. December 2014, Tel Aviv, Israel

 

Exhibitions

May 16, 2017 to June 18, 2017
THOMAS WELTON STANFORD ART GALLERY
January 11, 2016 to February 28, 2016
Coulter Art Gallery