Creative Disturbance

Join Roger Malina for a conversation with AoSL founder Harvey Seifter as the two discuss the impact of artistic skills and experiences on the processes of learning and innovation. 

Direct download: Harvey_Seifter_Podcast.mp3
Category:general -- posted at: 5:54am CDT

Luciano Queiroz (@lucianocupim) e João Silveira (@johngaucho) recebem Anunciata Sawada para entender como a Arte e Ciência ou Ciência e Arte estão presentes na Fundação Oswaldo Cruz (Fiocruz).

Nosso objetivo é abordar assuntos relacionados a arte-ciência através de entrevistas com pesquisadores brasileiros nesse campo de estudo e entender o que é arte-ciência e como ela está inserida em nossas vidas.

How does the relationship between science and art take place in one of the main research institutions in Brazil, the Oswaldo Cruz Foundation (Fiocruz)?

 Anunciata Sawada is the guest of Luciano Queiroz, @lucianocupim , and João Silveira, @johngaucho, in this second episode of Papo ArteCiência, and will talk about this interaction!

Direct download: pac_002_ciencia_arte_fiocruz.mp3
Category:general -- posted at: 3:00pm CDT

Ben Lima speaks with Yve-Alain Bois on the topics of modernist painting, art history, and his current work. 

Recorded and edited by Oskar Olsson. 

Direct download: Yve_Mastered.mp3
Category:general -- posted at: 7:07pm CDT

PhDc student Rae Pleasant speaks with Roger Malina about her work in the field of oral histories that seek to preserve the ideas and life experiences of multiple generations. 

Direct download: Rae_Pleasant.mp3
Category:general -- posted at: 3:35pm CDT

Cleomar Rocha is the guest of Luciano Queirozand João Silveira in this talk about smart cities and Media Labs in Brazil. 

Direct download: pac_001_cidades_inteligentes_medialab.mp3
Category:general -- posted at: 3:48pm CDT

Zhang, Peili is considered the father of Chinese video art for his three-hour video 30X30 (1988). He is also as an influential educator who started the New Media Department at China Academy of Art in 2002 where young artists such as Hu, Weiyi, Lin, ke, Lu, yang among many others graduated from.

This episode starts with a re-discovery of his 30X30. The work depicts the artist breaks a mirror and glues the pieces together. Although being labeled as the first Chinese video art piece in China, the artist’s intention behind the work has been ironically covered by its fame. Firstly, in today’s talk, it is actually called a “failure” by Zhang as he actually planned to lock the audience in the room, forcing them to stay with the monotonous or “meaningless” time of mirror gluing, and thus making obvious the consciousness of time passing. However, it was him ended up being forced to hold the video controller and keeping fast forward under the press of the audience. What made this work pivotal in contemporary Chinese art is not that it made in the video form, but the effort to engage the audience, trying to make them part of the work and thus create an experience for them which might leave some traces or make some differences in their life instead of just a pretty painting on the wall to be taken a glance of. In that sense the original intention of the work hasn’t been touched upon at all at the time. Secondly, the point is to create a period of “meaningless” time no matter what Zhang was doing. Because of the expectation of the TV media, the audience would tend to expect something happening during the event, but they would be disappointed to find that there is actually nothing happened, neither in terms of the content nor the video form, camera language or visual effect, nothing happened only except for the time passing. Zhang mentioned Waiting for Godot when asked about if he has been influenced by the Greek mythology Sisyphus. But the choice of mirror breaking and gluing has its own symbolic meaning anyway, which actually came from the Chinese idiom “A broken mirror joined together” to indicate a certain hope after the violent break. The work finally shows helplessly that a mirror can never be rejoined and reused. We didn’t dig into the political metaphorical meaning which could possibly be there, but continue to talk about the use of video instead of performance and the difference in between. Zhang dislikes the kind of showing himself of performance in front of the audience and he feels much more comfortable when facing with a camera, which means, the “mediated” time is more “natural” for him than the “real” time. From there we discussed his later works from Uncertain Pleasures (1996) to his retrospective exhibition Certain Pleasures (2001), covering the topics including the relationship between “to look at” and “to be looked at”, the visceral power of media worthy of both artistic exploration and particular vigilance.

Thank you for listening and please don’t hesitate to contact me via duansiying@gmail.com if you would like to learn more about the details of the conversation or have any suggestion.

 

With particular gratitude to Chronus Art Center for facilitating this interview.

Direct download: episode2.mp3
Category:general -- posted at: 9:09pm CDT

A continuation of Ben's conversation with John Mraz on photography in Mexico.

The music used for the intro and outro bumpers is Cello Suite no. 1 in G, BMW 1007, composed by Johann Sebastian Bach.

Recorded and edited by Oskar Olsson.

Direct download: Episode_1_Part_2_John_Mraz.mp3
Category:general -- posted at: 1:42am CDT

A conversation with John Mraz about photography in Mexico.

The music used for the intro and outro bumpers is 

Cell Suite no. 1 in G, BMW 1007, composed by Johann Sebastian Bach. 

Find the full piece here.  

Recorded and edited by Oskar Olsson.

 

Direct download: Episode_1_Part_1_John_Mraz.mp3
Category:general -- posted at: 7:21pm CDT

Janeil Engelstad talks with Shannon Stratton about her work as the Mildred and William Lasdon Chief Curator at The Museum of Arts and Design, New York, NY, as well as Stratton’s own background as an artist and MAD’s recent exhibition Sonic Arcade: Shaping Space with Sound.

Direct download: MAP_-_Shannon_Final.mp3
Category:general -- posted at: 4:20pm CDT

Jieming Hu is one of the pioneering artists of digital media and video installation art in today's China and is currently the chair of the academic board at the School of Fine Arts at the Shanghai Institute of Visual Arts.

This episode covers topics including early Chinese media art practices in the background of social changes, his thinking about media culture as reflected in his artworks, artistic exploration into time and life, manipulation of installation spaces via smell, sound and light, etc.

1980s and 90s witnessed a transition in the living condition of Chinese people which was reflected in the media condition. In contrast with the information exploration in the Internet Age, TV used to be the only information resource for Chinese people with only 12 channels. Being sensitive to the social change of the times, the first period of Hu’s art creation focused on questioning the relationship between media, popular culture and people, such as taking snapshots from the 12 TV channels and making them into a synthesized visual experience of labyrinth, juxtaposing pictures of Coke cans, Pepsi bottles and red flags to create an ironic new version of the “Raft of the Medusa,” etc.

In the years following 2000, Hu’s works turn more “inwards” into the exploration of the issue of time and memory. For example, his installation work Dozens of Days and Dozens of Years (2007) displays a set of furniture pieces decaying 4000 times faster than normal decaying speed with chemical and optical facilities, thus directly presenting the power of time and the fragility of life. When discussing the on-site affection of an artwork, Hu mentioned his long interest in the documentary of the animal world, and how he incorporates these primitive sensorial arousing elements including subtle changes in smell, sound and light into the construction of his artwork. The episode then ends with a discussion of Hu’s twofold solo exhibition with Jeffery Shaw: how the parallel presenting of the two art pieces gives a strongly contrasting effect and play between “showing” and “hiding”, “presence” and “absence”, and thus also exemplifies a particular Chinese way of artistic exploration into new media.

Thank you for listening and please don’t hesitate to contact me via duansiying@gmail.com if you would like to learn more about the details of the conversation or have any suggestion.

Direct download: episode1.mp3
Category:general -- posted at: 9:13pm CDT