SUKA OFF is a Poland based artist collective existing since 1995. They have been creating work across visual theatre, performance art, club action, installation, photography, video art and music visuals. Their work has been presented in theatres, art galleries, clubs and festivals in most European countries, as well as in Canada, USA, Mexico, Argentina, Brazil, Chile and Japan. They remain completely independent and not supported by any public institution due to the character and content of their work. [via official Suka Off website]
How would you summarize this past year on an artistic and personal level?
I don’t speak publicly about private matters. Artistically – this year brought a new experience of working with fashion designers. In many ways an interesting experience for me was to perform at Paris Fashion Week.
Which album have you listened to most often this year (not necessarily released in 2014)?
Every month I stumble upon something interesting and inspiring, so it’s hard to generalize. I’ve never been a fan of one band. I always treat music as a kind of soundrack for a film that has never been made.
The albums that stuck in my head the most this year would be: Eric Holm (Andoya), Positive Centre (An Assembly), Ontal , GRZombie , Clarity, Skee Mask (Serum), Copeland (Because I’m Worth It), Dadub (You Are Eternity ), Bones (Garbage). Also I very much regret that Death Grips broke up because I was hoping to finally see them live.
What was the best gig you’ve attended?
We rarely go to concerts because we’re working in similar areas, so in our private life we avoid clubs and mass events. I don’t expect from the music I listen to a spectacular live act (or to be precise – I no longer expect it after many disappointments) or an experience shared with strangers.
What was the best non-music related cultural experience you’ve had?
Our stay in Tokyo, which has revised our stereotypes about Japanese culture. Sadistic Circus Festival – both the logistics / preparation of such an event as well as the quality of performances.
Was there an event within this past year that has significantly influenced your philosophy and outlook on life, or your perception of the world around you? For instance some specific place you visited, people you met and so on?
I will return to the previous answer. After our stay in Tokyo and meeting with local artists, nothing will ever be the same. Once again, I realized that to achieve a high quality of art, you need consistent, systematic work. The concept of crafts in Japan is still alive, it’s the basis of all artistic activity. It is a pity that in Europe it’s being trivialized.
What was your greatest disappointment in 2014?
The level of performance art (in the world) and Polish theater. From year to year it’s getting worse.
More and more often I have to explain that I don’t make stupid faces or cabaret packaged in a pseudointellectual gibberish.
Constructing performance space on the basis of light and objects became a fad.
From what I’ve seen this year, 90% are some selfish jinks, devoid of formal workshop.
Contemporary performance art in large part is a form of political propaganda at an individual level and the simplest way to pump ones artistic ego.
Your plans, hopes and expectations for 2015?
Going back to Japan, finishing and publishing the next INSIDE FLESH feature film „BLACK LAB”.