Did you study art at the university level, and if so, what was your experience like?
 
Klint: After being a selftaught artist for twelve years, I studied art in Hamburg for two semesters in 2000. I quit because I didn’t like the way art teachers tried to destroy my individual style and - even more important: I realized that I had been on a better way before starting my studies.
 
If you identify yourself as a Stuckist, does it necessarily follow that you dislike conceptual art, installation art, or performance art?
 
Klint: No, the Stuckist manifesto doesn’t tell anyone to like or to dislike anything or anyone. The Stuckists are a worldwide conglomerate of individualists from various backgrounds and genres.
 
Do you communicate with other Stuckist groups?
 
Klint: Yes. I organized an international group show in Hamburg, co-organized a German/Belgian show in Brussels, participated in group shows in New Haven, Lewenhagen and Liverpool. Additionally I am the webmaster of www.stuckismus.de, the official website of the German Stuckists. On myspace and by email I’m in touch with many international Stuckists.
 
Is the Internet the catalyst for you becoming a Stuckist?
 
Klint: Yes. In 2002 Charles Thomson approached me by email, telling me about Stuckism and asking me to join.
 
How do you respond to the charge that Stuckists are retrogressive, reactionary, conservative, or their work is derivative of older modern art movements — that Stuckism is indeed “stuck” in the past?
 
Klint: Stuckism is the continuation of older modern art movements, so it can’t be labeled as retrogressive.
 
Why be a Stuckist — why identify with a group if artists are valued for their individuality?
 
Klint: Because as an individualistic being it is nice to be connected to a worldwide network of individualistic beings, to organize group shows with them and to communicate. I also see Stuckism as a quest for authenticity and I like the DIY attitude of our shows.
 
Do you follow closely the developments of the original Stuckists? Is Stuckism in your nation different from British Stuckism, and how so?
 
Klint: I do follow their developments quite closely and their media presence in the UK is very large. Unfortunately they’re better known for mocking the Young British Artists, the Tate and ex-Stuckists, than for their own works - what I like even less about their media presence, is the fact that Charles Thomson is often referred to as the „leader of the Stuckists“. Actually, Stuckism doesn’t have any leader, any spokesman or any kind of a hierarchy – otherwise I woudn’t be a Stuckist.
 
Do you agree with Charles Thomson and Billy Childish that art should be spiritually based? Do you think postmodern art practices are devoid of spirituality?
 
Klint: In my opinion, a dog’s droppings, a dead shark or an unmade bed are devoid of spirituality – whether labeled as art or not. Many postmodern pieces I perceive as unintelligent and unimaginative.
 
What is your opinion of young British artists (“yBas”) such as Damien Hirst, Tracey Emin, Sarah Lucas, Jake and Dinos Chapman, Chris Ofili, etc.?
 
Klint: Instead of looking at their Young British Artists label, I see the work of the individual artist. Some of their works I like and some I don’t.
 
Do you think they are successful because they know how to promote themselves better than other artists do?

Klint: They are more successful than many other artists, because they are or were hyped by Charles Saatchi – on the other hand: would Saatchi be stupid enough to push the work of an artist lacking artistic potential?