++++ _ What is your view on Manifesta’s role ?
Above all, Manifesta has to remain a specific place, keep its previous commitments and all the political, artistic and social goals which were formulated at the beginning.
Go on with the idea of being a true production and dissemination interface for young artists engaged in a process of questioning the limits and definitions of art.
Elaborate an active network between the artistic, political and economic urban institutions. Find also foreign places, relay, specifically for the co-production of certain art pieces and possible itinerant exhibitions. Manifesta should not be reduced to a simple event but thought of as a durable and growing project.
Not reproduce the other biennials’ schemes which look like promoting, marketing and disseminating lists of names. Avoid also the usual divisions between media and categories, as the crossover sterotype. The important thing is to point to real links between art and other domains of creation and research (one of the most important points in Manifesta’s statement). But one should reject all the binary dichotomies between art and fashion, art and architecture and music...
Keep in mind how artists work with heterogeneous materials and references.
Show movements between periphery and centre.
Institutions should care about the difficulties of an exhibition’s conditions, especially concerning moving images which always imply specific devices. Urban collaboration with cinemas is a good reply to the growing production of artists’ films. Manifesta is not only a research place on present-day creativity, but also on its context of manifestation. Work with the artists and invent their presentational conditions.
To concentrate on interesting projects and avoid spectacular shows with too many works and artists, melting of signs and zapping.

_ Which issues or themes are you currently most preoccupied with?
The issue of machines:
Subjectivity’s machines and production’s machines, the political and the economic machine. How art may be defined in relation to standard machines. I am particularly interested in source and reference issues, also in the way artists integrate, think and connect themselves to the world. The essential question for me is the porosity of art and its place today in a society which produces more and more images.
The issue of the artist’s role:
In one of my current projects (Wannabe), I would like to present all the first pieces of the artists I have been propagating for a long time. Those specific works which first allowed them to position themselves as an artist. The idea is to work against current notions such as novelty or breaks, but also to bring to light the permanent and obsessional aspects of artistic process.
The collective structure in art:
Real stuctures such as independent production and exhibition spaces. The dynamic combined effects of projects which engage various partners and knowledge. The notion of alterity is important within this problematic.
I’m currently writing on the notion of the economic phenomenon of starification and mediatization of art through industry (fashion and communication). The art show business tendency is quite a new phenomenon and I think that this question should be debated clearly and in public. Artists should respond to that point.