YES or NO
 
An interview of Jonathan Monk by Claude Closky, October 2005

All the questions are taken from recently published commentaries on Jonathan Monk's work.
 
 
Were you born in Leicester, England, in 1969?

 YES
 NO
 
Do you live in Berlin?

 YES
 NO
 
Does your work comprise looped 16mm films?

 YES
 NO
 
Slide projections?

 YES
 NO
 
Text pieces?

 YES
 NO
 
Paintings?

 YES
 NO
 
Performances?

 YES
 NO
 
Do you draw upon what is already available?

 YES
 NO
 
Do you integrate fragments of art history in your work?

 YES
 NO
 
Is this principle a strategy?

 YES
 NO
 
An active methodology?

 YES
 NO
 
Do you aim to test the continued strength of the Modernist canon?

 YES
 NO
 
Do you challenge the idea of purity in modern art?

 YES
 NO
 
Do you employ key strategies of the 1960s and 1970s art making?

 YES
 NO
 
Is seriality your medium?

 YES
 NO
 
Do you follow precise systems?

 YES
 NO
 
In your video works, do you favour magnified detail over cinematic space?

 YES
 NO
 
Do you address the sculptural relationships between the material object and the moving and projected image?

 YES
 NO
 
Do you raise questions that address procedures?

 YES
 NO
 
Manufacturing processes?

 YES
 NO
 
Authorizations?

 YES
 NO
 
Authorships?

 YES
 NO
 
Do you have an enthusiast’s approach to art history?

 YES
 NO
 
Do you reapply today thoughts and methods found in art history?

 YES
 NO
 
Do you think for a work to become real it must be repeated?

 YES
 NO
 
Are you more conceptual than the conceptual artists themselves?

 YES
 NO
 
Do you displace the question of what we know towards what we believe?

 YES
 NO
 
Do you add frisson to cold rigorous conceptualism?

 YES
 NO
 
Are you less concerned with politics than your conceptualist forebears?

 YES
 NO
 
And more interested in your personal history?

 YES
 NO
 
Is your work nearly all autobiographical?

 YES
 NO
 
Does your work have a therapeutic intent for yourself?

 YES
 NO
 
Are your re-interpretations of works from other artists part of your interest in your own history?

 YES
 NO
 
Are you engaged with the documentary art mode?

 YES
 NO
 
Do you sample wistful images from the past?

 YES
 NO
 
Is your work an excavation of nostalgia?

 YES
 NO
 
with a tinge of melancholy?

 YES
 NO
 
Is romanticism also a major theme in your practice?

 YES
 NO
 
Are you an artist who loves other artists?

 YES
 NO
 
Do you express a critical camaraderie in your subjects?

 YES
 NO
 
Did you film your page by page burning of Ed Ruscha's book entitled "various small fires and milk" as Bruce Nauman did in 1967?

 YES
 NO
 
Did your action enabled to keep the works of these two artists very much alive in the contemporary artistic debate?

 YES
 NO
 
Do you believe in continuous destruction, as a means of creating value?

 YES
 NO
 
Is less worth more on the art market?

 YES
 NO
 
Do you suggest alternative models for how art can be interpreted?

 YES
 NO
 
Do you defy categorisation?

 YES
 NO
 
Do you want to demystify the creative process?

 YES
 NO
 
Do you underscore the dry humour of the structural approach?

 YES
 NO
 
Can you resist a good one-liner?

 YES
 NO
 
Is slapstick humour inherent to all your projects?

 YES
 NO
 
Do you use humour to form a bridge between the world of high art and the insignificant moments in your life?

 YES
 NO
 
Do you juxtapose everyday anecdotes and high art myths?

 YES
 NO
 
Do you generate an humorous confusion in the reading of your work?

 YES
 NO
 
Is your work gently playful?

 YES
 NO
 
Do you refuse to surrender to the course of art history?

 YES
 NO
 
Of your personal history?

 YES
 NO
 
Did you decide to add new meanings to given narration?

 YES
 NO
 
Do you have one foot in the past and one foot in the future?

 YES
 NO
 
Is your future an ideal combination of time and space?

 YES
 NO