CH: What is your main interest as a researcher and how do you approach your questions and topics as an artist?
JM: My main interest is to reveal critical infrastructures and processes that remain hidden to most of the global citizenship, but still sculpt our reality and affect the way we think, behave, act, and, basically, define what means to be human to a large extent. However, we have very little control and power to intervene these processes. Thus, in my work, I strongly focus on developing pedagogical strategies aimed at disclosing how these structures and process work to a wide variety of public through research, texts, workshops and artworks.
CH: As the curator Tatiana Bazzichelli already mentions in her statement, we are seeing a relatively new field of artistic practice, where art is seen as a means for producing evidence of misconduct and wrongdoing, as well as a terrain of meta reflection on whistleblowing, leaking, and surveillance. How do you perceive your role as an artist in this specific context?
JM: As I stated previously my practice focuses on identifying, understanding and exposing critical processes that directly affect us as human beings. Within these processes there’s a wide range of misconduct and wrongdoing, which my work tries to make visible.