We recently visited Paul Chan to learn more about his practice, his influences and his approach.  He talked about his project “Waiting for Godot in New Orleans“, which has recently evolved into both a published field guide and year long MoMa exhibition. Paul touched on the importance of distinguishing the intentions of one’s work from the labels applied to it by the outside world. I found resonance in Paul’s solution to this problem - which is to explore and explain his own work honestly, but to relinquish control for how it ultimately becomes classified.

Some critics might question Paul’s decision to bring Beckett’s play to post-Katrina New. For me, the profundity of the project came as much from his on-the-ground approach to realizing “Godot” as it did from likening it to the streets of New Orleans. Contributing to colleges as an adjunct professor and creating a grant fund for artists seemed to carry as much impact as the performances themselves. Thus, the beauty of “Waiting for Godot in New Orleans” comes from both its usefulness and its ironic/absurd subtext.

Thanks for a great studio visit Paul!