Dario Roberto, Minneapolis Institute Of Arts, Chris Certificate discussed on On Being with Krista Tippett
I'm Chris Certificate and this is on being today and with the Artists Dario Roberto at the Minneapolis Institute of Arts. So I think there's microphones wandering around that we can pass around. Is that right? Is there a microphone somewhere or am I just? I'm not seeing. Oh here it is. I like this method I was saying beforehand because I think the the format where you have the microphones up here. And people have to come to the microphone privileges the extroverts in the room. And so I want to encourage. introverts to raise your hand and you don't have to be too conspicuous microphone will come to you. Yes. It seems like a lot of your work has to do with. Materials and material objects. And I'm just wondering how you feel about a world that seems like it's increasingly digital and has a lot of information that's not necessarily. Embodied. In. Physical objects. I'm definitely not a anti technology. Back in the old day kind of guy. I always resist going down that road but as be because I'm sensitive to what's happening on the edges generally of any topic, for example. The past several years the only. Growth Industry and music has been sell vinyl records and I find this these kind of these kind of forgotten little charts, indicators of something deeper happening in culture like what's to explain the resurgence of. A digital age. I think you can't answer that unless you talk about people's needs to attach a motion to things something fundamentally human about. A vessel containing the emotion. Or? That wants to form. and. So I suspect, there will be many things like this that pop up. IN THE COMING YEARS Not that it's going to turn the tide at all but but I, think there'll be more of an evening out on the topic at some point you mean, maybe old things will because all right I was wondering. What would the Dario Roberto of today? You know you might not grind vinyl records to dust. What would you do a crime dead ipods dust or something? A. No it's not the same Yom. But but I I suspect people will surprise us. In how they saw answer this question in ways we just don't know yet which I always I never worries me about this this question because. It's just too human to need. To need to attach emotions to things and. And there will always be some outlet for that. But if I a quick little. Anecdote a tear ipod point that really floored me that happened recently. A group of students I was talking to. Who are. One of the students mentioned. That his father. Had Willed to him his record collection. And you know how touched he was by. The other students were sort of making fun of them like you gotta carry that in life. Now, they were thinking of it as a burden a physical burden. To carry records in life and I just had this impromptu thought like I asked them. Because I found that. So interesting because I I don't think of it as a burden at all but. They. I asked him has everybody had an ipod of course, everybody raise their hands. And I said, has everybody had several ipods. Everybody raised their hands and I said how many of you could foresee a day when you will your ipod collection to your child nobody raised their hand. And Interesting instinctually they knew that seemed odd. The generation that only has had ipods and I don't know what to make of that I'm just saying that that. There's weird things like that. That will happen that I that I would be excited to see how we solve the in the future. How does the spirituality of the music that you grind up manifest in the art object? Is it a phantom? Is it that it becomes a thing greater than the song or does the song infuse it in a different way? So. This is the leap I ask of the viewer, but it's a leap. We are asked to do all the time with all kinds of things. I'm asking the let's. Say. Patsy clines voice embodies a life experience that means something to us. It's real and authentic. and. Can I expected that to be in the objects when I transformed her voice as a material I'm making the leap the Yes it's there. And I I always do that with my with my but that's one of the beauties of art is that you can ask to make that leap, but it's not just started I mean we do this all the time with. The buildings being held up with materials where all trusting are structurally sound. They have some meaning was placed into them by years of science. That we don't really question but every everything, every material asks something of us. that. We don't often question. And that's why the power of objects that do ask us those things I find this beautiful and fascinating in the world. Because there at some point there leap, you have to take a leap. and. I like that I've always enjoyed when art asked me to do that. I keep mentioning Patsy Kline. Obviously she is important to me but. PATSIES, asking me to make. To to believe what she's singing about real and true. I I've made it many many times so Yeah. I I liked. That much of us. So. I think it's in there is what I'm saying. I really appreciate the way that you honor the spirit of your material that you're working with and. I like the way you've talked about memory..