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[title]Art is a weapon for RIP Germain, aimed straight at the heart of oppressive power structures. His conceptual approach has seen him create intense installations at places like the ICA, filled with things like hydroponic systems, masked security guards and Tupac Shakur chains. His work has loads of ultra-dense cultural references and nods to illicit worlds, but the whole thing is geared towards undermining the system, and exploring the Black experience in the process. It’s deeply and intentionally complex, it’s art without answers, only questions intended to jab the system in the ribs, over and over.
What would you say your art is about?
‘Adding a lot of grey to the black and white.’
What inspires you?
‘There are too many to name, and I’m not really interested in listing as it never gives you the total picture. I will always be drawn to the output of the fearless renegade though, I will say that.’
What are the challenges of being an artist in London?
‘Where do I start? Lol… just having enough money to eat, pay your bills and spend a meaningful amount of time making art is a huge challenge. The majority of studio spaces are so expensive that just to have a chance at making work, the rest of life becomes a contortion to sustain that space. One friend of mine has three jobs, her only studio time is late at night or on a Saturday; someone else I heard the other day is living in a guardianship with no shower so they go to the council gym to wash. These kinds of sacrifices are unfortunately not rare, they’re what it takes now to keep making art in London.
Opportunities to show can be hard to come by, there’s a lot of conservatism. I’ve got friends who are making great stuff but a lot of spaces would rather do another show with someone they have already shown than give a shot to someone new. Meanwhile, when you do get a show, you have to negotiate comms people who package your ideas in terms of PR, chasing a definition of accessibility that amounts to dumbing-down or diluting you into banality.’
What one thing could be done to better support young artists in London?
‘A Universal Basic Income would transform the possibilities for who could become an artist. If artists weren’t forced to work full time, and they could dedicate more time to work on their practice as well as taking breaks to decompress; we’d have real diversity in the arts, and a lot more people from different walks of life able to sustain a career. Right now we’re losing the voices of anyone who’s not able to keep this crazy balancing act going.’
What would you do with the Turbine Hall?
‘Show you a Babylon.’
Steven Cairns, curator at the ICA says:
‘RIP Germain is establishing a distinctive niche in contemporary art. His work, characterised by its complexity and multi-layered structure, scrutinises and reinterprets the traditional paradigms of exhibition making. Central to his practice is a reflective dialogue with his audience, and this approach allows for a richer audience engagement, fostering a symbiotic relationship where feedback serves not as an endpoint, but a departure for further exploration and development in his work.’
This interview is part of Time Out’s The Future of London Art series. Read more here.