1 My works are socially engaged, or, broadly speaking, they are works of social practice.
I use my work to investigate various aspects of social relations and social practice, with an interest in socially engaged subjects, confrontation of different audiences and collaboration on collective projects. By establishing my own interdisciplinary networks, I perceive artistic work as research, a process of collaboration and self-organization. I often require active collaboration from my audiences, inviting them to “finish” works in the course of the presentation or during the life of the project.
A part of the creation process is often its multidisciplinary nature, in which specific artistic skills from different fields complement each other (working in cooperation with designers, programmers, sociologists, philosophers, molecular biologists, theologians etc.).
As another operational tactic, I quite frequently appropriate advertising methods and insert parts of my work in the public media space (billboards and city light posters, newspaper ads, radio jingles, etc.). Particularly in my Internet art, which creates a kind of social laboratory, operating both within and outside the art world, I use gallery spaces and institutional artistic framework as only one of many potential fields of action.
2 We need tools of resistance, no matter how small their range. It is crucial to keep them vibrant, alive, to develop methods, work with the audience, work with young people, open new possibilities and ask the right questions. There is a host of social practice works that tackle the issues only on the symbolic level, and I feel that is not enough. Merely being “critical”, especially when it comes to pointing out stereotypes and social issues that we all know and witness cannot lead to social change. Rather, we must use the art media to develop tools with persons who are influenced by a particular issue (or a subject covered by the work) as a way of finding a different kind of dialogue, tactics and strategy for different kinds of solutions and approaches to an issue. In doing so, inclusion and horizontal relation during the collaboration represent an integral part of the quality of the work.
3 It depends on whether you are willing to commodify your work and consciously turn it into consumer goods. If that is the case, you will probably be able to sell it and make a living from it. However, the logic of socially engaged art opposes the art market, but also authorship itself, which is why I very rarely sell my work, and when I do it is mostly to museums. Also, my works are often done in co-authorship with about 4 to 10 people, which then requires a strategy for the production of works that differs greatly from typical practices of the art market, art fairs, gallerists, etc.