蒙大拿罐头寻找2020

MC是什么

迄今为止，在身体和心理上最具挑战性的艺术作品是什么?↓如何和NOSM HN身体总是在柏林奥林匹克体育场的大型建筑,像真正的大建筑很明显,因为它需要很多天,太阳打你,你必须戴着面具和你周围的生命线,这是一个大量的体力劳动。精神上，我不知道(笑)这是我们所做的，我们画画之类的，这是精神上的，不是心理问题或负担，这不是挑战，不是真的。不，这没有挑战性，我们也不是从来没有做过，我们已经做了很长时间，所以我们有自己的套路，我们坚持这个套路，把工作做完。我的意思是，有时可能会有压力，但我不知道这是心理上的挑战还是什么(笑)。MC:从你的画廊作品来看，你似乎对室内艺术创作和室外艺术创作都很适应。你对工作室/画廊工作的想法和你的户外工作有相同的起源吗?你是否尝试或想要以任何方式将它们分开，还是它们都是相同的视觉对话?如果你过多地关注其他艺术家的作品，你的作品就会发生变化，开始变得像其他人的作品。你可以从某些错误中汲取灵感并从中学习，比如建造一堵墙或在工作室里做一些事情。 You applied it on both so. MC Is there any artist or art makers that inspire you guys a lot? Does art from the streets inspire you or is gallery work more engaging for you as viewers? HN There are great artists out there in general, regardless of backgrounds you know, artist graffiti or street art or fine art or anything you know. We have tons of books in the studio from all kind of genres of art you know. I guess that people’s achievements and work effects inspire us you know, when somebody does a lot of great projects you know, it’s like something to you know, just try for, do that too you know. There are too many artists out there to just pick one by now you know. If you look too much at other artists your work will change and starts looking like other people stuff so you don’t want that. It’s not inspiring anymore, it’s gonna influence you. MC We assume your move to NYC in 1999 and your work with the TATS crew must have been a massive step for your careers. But was it a big change for your life quality? Your origins from Spain, Germany and all the countries you have travelled to must have given you a sense of what it means to live somewhere else. What makes living in New York enjoyable for you? HN TATS crew definitely helped us a lot when we moved to New York, one, they gave us work so we could actually support ourselves. We have done tons of tons of projects with them hundreds of videos, I don’t know how many videos, but like ten fifteen videos for like superstar, musicians, we’ve done nationwide campaigns. So as far as the job was, it was very multifaceted and we’ve done quite a lot of that, but at some point it was just too much of the same work and it became less about what our art was looking like but it was more about what the agencies or the people that hired us wanted us to do you know. And at some point, it was 38 Interview HowNOSM IN PARIS

只是几乎绘制数字，画出这个并复制它，它真的很开始忽视你所知道的自己的艺术。就像我们没有发展你知道或者没有作为个体艺术家的发展。但从不少，这是一个很好的经历，我们仍然拥有TATS船员，他们仍然是我们的家人，我们仍然是胡说八道（笑）。即使没有绘画纽约是一个伟大的城市，你所知道的，有很多文化。我的意思是你知道的很棒的艺术，很多人。我的意思是纽约仍然......我们仍然喜欢它，它已经改变了很多，它已经失去了很多贪婪和可能污垢。大多数人可能不喜欢，但我有点像它，它有点像纽约那样独特的触感。Now it’s all become in a little bit too uniform you know, all the neighborhoods are starting to look the same and ugly building arises and stuff like that but I mean you can see that in any country really, like I’m sure here in Paris they do the same thing you know. But never the less, we like the attitude there, we like the food, our families are there, we’re still happy there. Are we planning to stay there forever? I can’t really answer that question. For now, we’re happy there. MC What has been your favourite place to paint? Which has been the worst? HN The worst? (Laugh) There’s no favorite, there is too many favorites. The worst is when we don’t get to paint, or when people who invite you just don’t have the stuff together and are totally unprofessional and of course I can’t do my job and that’s looks bad on me so… It’s not only a waste of time but also a waste of my money and their money you know. But a favorite place, I don’t know. We like coming to Paris, we like doing projects here, we have lots of friends… I don’t know, it’s hard to say really, we’ve been to a lot of places and have met a lot of great people you know. It’s hard to really pick one place. at some point, it was just pretty much paint by numbers, paint this and copy that Interview HowNOSM IN PARIS 39