MICK RAUBENHEIMER’S Round corners mini-interviews situate artists outside their medium while exploring their sense of the artistic. He speaks to the prodigiously inventive and subversive artist/filmmaker/author ARYAN KAGANOF.
When did you first identify as a creative artist?
I was always lazy, a shirker, and above all wanted to avoid work. Art seemed like the natural choice – an easy way out of a lifetime of drudgery.
Outside of your medium, what branch of art most stimulates you?
I have always been fascinated by people who channel the dead. This kind of speaking strikes me as urgently necessary now as we are plunged into end times by the Trumpet of Babylon.
Which artist/s in said discipline have significantly inspired you, and why?
Giacinto Scelsi’s unique compositions, which are improvised, recorded and then scored are compelling arguments for an entirely sound-based approach to music composition. Uaxuctum is a good place to start, in which Scelsi channels the legend of the Maya city.
What, to you, is art’s most important function?
To connect us to the dead, to humble us, to inspire continuity with the life force that each of us embodies.
Local creatives (in any medium) that currently excite you?
Graham Newcater, still composing 12-tone music at nearly 80 years of age. Mareli Stolp will be performing his most recent compositions for solo piano at the Africa Open Institute in Stellenbosch on Thursday, 25 January 2018. Well worth attending.
What specific work – be it in literature, music, or visual art – do you return to, and why?
The Little Prince by Antoine de Saint-Exupery. I read it every couple of years to remind me how shallow everything is becoming and how very deep the depths of love and friendship need to be in order to survive this gruesome period.
Any current project you’re unveiling/wrapping up?
I have written my first work in the Afrikaaps idiom. It is called ffuilgat and is published by Kakboeke. It’s a really kak boek.
Who: Aryan Kaganof