Fusion: Could you please tell some words obout the history of your video magazine?

Corinne Groot, Arnold Mosselman and me (curators and artists) we are very interested in the artworld and we are magazine junkies, we like to collect all kinds of magazines and catalogus about art, and then we thought it was so one dimensional to read about artshows in regular artmagazines with only a picture with it. Actually we never really thought about to start a 'Videozine', but then I bought a camera in a 1992 and we were visiting New York. Arnold asked us to film certain exhibitions, so he could also have a look at the shows. When we came back from New York we were watching the videos and then we thought: Oh, it would be great to have video material every month from all the shows around the world you like to see. you can not travel, you can not go to every show so it should be nice to be able to see the shows really how they are, in a really objective way without a story of an artcritic or what ever.And then we thought about how to organize such a thing. You have to make a whole network of corespondents, of people who have the same idea. They sent us tapes and we can sent them tapes from Holland, Belgium or Germany. fusion: And then what would you do with it? You could go to national TV or local TV. But TV has to be always so educational, most of the people that are watching TV are not interested in what we like. They like to see more popular things. What we like to see and show are more the new things which are going on,like the work of young artists,new developments in art we think are important We were talking about this also in Germany, in France with friends, galleries and artists. And then one day we got a fax from somebody of friends and they said: Oh, you have an art magazine on video,-I'd like to buy it. And then I thought:Woooow! And then some other people from France, wanted to be a correspondent for us and other people from Germany and artists liked the idea too. We didn't have any background in video: we are not filmmakers, but the videofotage looked pretty good. It was very 'homemovie-like', so we just started this. In 1993 Mike Kelly was in Holland for the Sonsbeek exhibition where he curated a great show called The Uncanny. We were really fans of him. We arranged to go there for an interview. We were very excited to meet Mike Kelly. It turned out really well.that was the first item for the #0 tape (1993) We did also an interview with Joep van Lieshout a dutch artist we liked we also showed an exhibition from Villa Arson in Nice with Gregory Green, Philippe Parreno etc, and a poetryreading by Lee Ranaldo (Sonic Youth). We had no experience with editing. We got in touch with a guy in the Den Haag, who had a little editing studio, he liked to help us with the the #0 issue. After we sent out the #0 issue we got so much attention from people, they were supporting us and wanted to send material. We were approached by artists and videoartist who wanted to send in videos. So it became not only showing exhibitions but also a platform for artist who make videos, we decided to be independent as producer and distributor. We didn 't want to have gallery advertisments on the tapes, but just try to earn money ourselves and to see what happens.

Fusion: And how do you get the money for that, if you have no foundations?

From work. We credit jobs on the side.

Fusion:. How is this connected with the project?

Now it was more like working as a setdecorator on movies and TV, real commercial, like painting sets for movies and advertisment films. So it was good money, which we all put in the magazine.

Fusion: Was some kond of artistic behaviour or more like a service?

I think we didn't have the mentality of art critics. It was just the way we liked to show it. The only editorial concept we had was that we only put things on the tape that we thought of as interesting, especially for the new developments in art.

Fusion: How did you decide?

What we like to see. We imagined what we would like to see, if somebody else would make a tape. And then we have already good connections within the art world in Western europe with gallery owners and artists. So we had already the enterence into different things. The projekct was picked up very quickly by people.They thought it was an interesting project and they were very helpfull in bringing in material.

Fusion: How far do you consider your work as artistic work?

We are not really like an artistinitiative. it's not an artistic view on art. It's not that we try to make art of art. We don't use the art to make art. We try to show the things as best as they are just without comments.To let people work it out for themselves.

Fusion: Do you have a website with your movies?

Not yet. We have a domain name now :www.zappmagazine.nl, but the site is nnot ready yet.

Fusion: Do you have an idea to put these videos on the website?

Yes.It depends. I think in the future it can be really interesting, if you have the broadband, like lifestream video . Then it's interesting for people to have access to the archive , because we have so much footage that we didn't show. Or show immediately edits of footage of shows or artistvideos you are very excited by rather then waiting for the new issue of Zapp

Fusion: What are your plans for this show here in werkleitz?

In the beginning we were invited to make a videopresentation about the theme Arbeit". The videofootage we'd like to show however were already on Zapp Magazine so we decided to show them all in the context of the magazine because the magazine is also a kind of platform or form of work with art. They agreed with that and we had another idea to make a special videocatalogue of the art part of this show. So it will be like a Zappmagazine issue, but only about Werkleitz, about visual art.

Fusion:Are you only filming now or do you take interviews as well with the artists?

Yes, sometimes we took interviews. We did interviews with Vito Acconci, Mike Kelly and Sarah Lucas in London. We are not really journalists, we are not arthistorians. It's not interesting for us. We think it's there, and it's good, we like to show it in a very visual way. You look at the tapes without comment.The editorial part is just the decision we make, on what to show, rather than how to show it. In this way there is as little information as possible. Just enough information: who, where, when. And if people are interested, they can find their own way to the artist, to the gallery or to the event. So it's very abstract, very formal and that's the only information you get except of the visual. You get the most out of pure visual information. There are text passages inbetween just for orientation, about what is shown and where it has been taken place.