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Conversations where all parties involved contribute to the discussion.
UNCOLLECTABLE Playlist by +Aziz, 2013
Believe Half of What You See and None of What You Hear Jingle, by artist Dimitris Ioannou - dj Βουνό, voices by George Salem and Kika Kiriakakou, cover by Litsa Diamanti, Τέρμα Τα Παράπονα (B. Zazem-T. Easy-Ντ. Μαρκοπούλου, Τι άλλο θα ’θελες, 1979 ), Greece, 2013
Bad at Sports, Whitney Museum’s appointment of Biennial curators, 2013
Richard Holland, Claudine Ise, Duncan MacKenzie, Abigail Satinsky
On the subject of the Midwestern region and the Whitney Museum’s appointment of two Biennial curators hailing from that Midwest.
Ricardo Basbaum, Octavio Camargo, Chiris Gomez, and Brandon LaBelle, Preparation for common recognition, Originally presented live on the São Paulo Biennial Radio, 2012, in collaboration with Mobile Radio (http://mobile-radio.net/)
Place : Los Angeles, 1998. It is night.
The action takes place at a rock club, located in the neighborhood of Silver Lake. It is a small though important club, where a certain sub-cultural scene has developed in recent years : it is a venue where people gather to witness the emergence of the new.
We are located in the crowd, as part of the event. The following dialogue takes place here, yet we must imagine that everything has stopped : the people, the music, the action. It is a frozen moment. Within this moment, three voices emerge : the band, the spectator, and the stranger. A conversation ensues. They speak, to each other, at each other, around each other.
Workshopping the Unruly, The Owl Farm Bar Meeting Monday, March 11,2013
The members of the group are : Barbara Adams (USA), Itziar Barrio (Spain/USA), Daniel Bejar (USA), Juanli Carrion (Spain/USA), Rob Carter (UK/USA), Jenny Marketou (GR/USA), Dread Scott (USA), Blanca De la Torre (Spain).
A WUrs meeting recorded in New York City especially for Radio 22 and Radio Campus Mullhouse for the program “ Before our Eyes : Believe Half of What You See and None of What you Hear “ and will be broadcasted in March, 2013 at Kunsthalle Mullhouse, France.
For our contribution we decided to meet at The Owl Farm Bar at Prospect Park in Brooklyn on Monday, March 11 and to talk about a lecture that we all had attended about Trench Art (The Art of War) earlier that evening. Our conversation is conceived as an auditory experience, while as a group of friends we are having fun and it is purposely set against the ambiguity of events and the Babel sounds of an American Bar which bleed continuously through our dialogue about serious matters such as war, the politics of aesthetics, art as social practice, thingness, agency.
WUrs (Workshopping the Unruly) is a group of unruly artists, curators and professors who meet once the month at a different location each time with the goal to challenge existing aesthetics and notions of “workshopping “ not as a production of knowledge with rules and pedagogy in which pressing problems are addressed together in ways solicited by structures of authority but rather as an opportunity for meeting and encouraging scenarios for socialization, intimate discussion, exchange, debate, interference, rupture and as a method for institutional critique.
Bad at Sports, On Chicago, 2013
Richard Holland, Claudine Ise, Duncan MacKenzie, Abigail Satinsky
Serkan Ozkaya, Kristofer Paetau and Gregory Fleisher, Blanches Neiges, 2001
It was a collaborative piece by three people. We were suppose to be in this show called "Blanches Neiges" (Snow White) and it was in Nantes, France. One Turk, a Fin and an American... Only the Finnish guy, Kristofer Paetau spoke French, so a few days before the show we had the press release and he translated it for me and Gregory (Fleisher). We videotaped it and submitted that as our piece for that very show. The actual press release became the subtitles and Kristofer’s lousy, spontenious translation accompanied by our remarks and oysters and champagne was the spoken part.
Adela Demetja in conversation with Flaka Haliti I, II & III, Frankfurt conversation : Questioning the Wings, 2013
Adelheid Mers, project title : Sounding out Useful Pictures, 2013
Since 2008, Adelheid Mers has talked to many artists about their work and created diagrams in response. Mers finds patterns in methods and strategies mentioned in those conversations, and also considers contexts that are being referenced, including popular beliefs, market structures, social constructs and personal histories. At best, these diagrams depict the [distributed] cognitive engine that drives an artist’s idiosyncratic practice - as presented at that moment. Mers thinks about her diagrams as attempts to reverse engineer artists’ carefully honed and guarded tacit knowledge with artistic methods - a doubling of applied aesthetics presented through useful pictures.
Adding an additional dimension, Mers is now returning to those
artists, asking them to record responses to their diagrams - test and
contest their usability - in conversation with Mers or with another
interlocutor of their choice, and/or by creating new sound art works.
Diagramm#1, by Andrea Sodomka, Vienna, 2013
Composed in response to the diagram about how Andrea works as an
artist, made in 2012.
Kirsten Leenaars in conversation with Adelheid Mers and with Tricia Van Eck, about a diagram, made in 2011, about how Kirsten works as an artist. (Chicago, March 2013)
Michelle Tupko speaks about a diagram, made in 2011, about how she works - or worked - as an artist. (Ann Arbor, March 2013)
David Court in conversation with Adelheid Mers and with Carolyn Lambert, about a diagram, made in 2008, about how David works as an artist. (New York, March 2013)
Lise Haller Baggesen and her children, Eleanor and Adam, in conversation with Adelheid Mers about a diagram, made in 2011, about how Lise works as an artist. (Chicago, March 2013)
Ebby Addo speaks about a diagram, made in 2011, about how Saskia Janssen works as an artist. (Amsterdam, March 2013)
Ebby Addo speaks about a diagram, made in 2011, about how George Korsmit works as an artist. (Amsterdam, March 2013)
Abdellah Karroum in conversation with Elfi Turpin, CRAC, Mulhouse, 2013
Storm Janse van Rensburg and Georgia Kotretsos in conversation with Dr. Bonaventure Soh Bejeng Ndikung I & II, On non-Western Art On the West, Berlin, 2013
Georgia Kotretsos in conversation with Storm Janse van Rensburg I & II, The Beautyful Ones, Berlin, 2013
Ashok Mathur and Glenn Lowry I & II, Indian Residential Schools, Canada, 2013
Glenn Lowry and Ashok Mathur in conversation as they drive across Canada : a reflection on Indian residential schools, place, and geography. This conversation took place as they drove South and East from Sault Ste Marie, the site of teh Shingwauk Residential Schools Center that is the focus of current research on art and history.
Kerwin Rolland, Hearing in Villetaneuse, 2011
In 2011 the artist was an artist-in-residence in Villetaneuse, where he spent 8 months in the streets asking people about the sounds that make up Villetaneuse. Villetaneuse has a bad reputation. In fact the city may have the worst reputation in France ! Such that anyone in France understands the meaning of "Tu viens d’Viletaneuse !" meaning "You come from Villetaneuse". The phrase is taken out of a famous sketch that points out that if you come from Villetaneuse, you are less than a looser. Very harsch !
In France, Villataneuse is known for its housing projects, the "projects", of the "flats", where one thinks that you find any kind of businesses and trouble run by villains. In reality, this is not true.
Of course there are 3 "projects" in Villetaneuse, but in fact the city is rather quiet - apart from some groups of teenagers who are a small minority. The people living in the housing "projects are very kind and developing lots of social projects such as french classes for new migrants or informing women about their rights in France as well as many sport and cultural related programs.
The urban design of Villetaneuse is actually very interesting, since there are lots of "holes" in the city : lots of big wastelands, lots of space between the buildings with a University in the very middle of the town. In regards to architectural styles it varies significantly, there are the "projects", small houses, small over protected areas of the wealthy surrounded by walls like castles and a very nice area designed by the French communist architect Jean Renaudie.
Villetaneuse is actually fascinating, but people outside and inside of it just dispraise it, hence its difficulties to become an attractive city and to generate internal development. Kerwin loved his time in Villetaneuse, he lived there and spend his time everyday in the streets, while planning a project at the town council.
"Hence, I would like to speak about my surroundings when I used to be in Villetaneuse, and my surrounding was about sounds, and how other people listened to them, I heard through the ears of the people I met, just like you do.
Here is my interview with a french creole family speaking about ’what they hear in Villetaneuse’. I love this interview it’s very human, it’s very sensitive".
Believe Half of What You See And None of What You Hear is a project conceived by Georgia Kotretsos, as part of the project Sous nos yeux (part 1) curated by Abdellah Karroum at La Kunsthalle of Mulhouse, in collaboration with the University Haute-Alsace (SUAC) and Radio Campus Mulhouse.
Thanks to : Isabelle Lefèvre, Sandrine Wymann, Charles Zimmermann, Manos Tsatiris and Dimitris Ioannou - Vouno Dj.