Podcast appearances and mentions of Christian Marclay

Episode 177 Chapter 36, Modern Turntablism. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 36, Modern Turntablism from my book Electronic and Experimental music.   Playlist: TURNTABLISM   Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928. Recorded bird sounds is heard at about 36 seconds into this section. This is a 78 RPM recording from 1928 that used a turntable to play the sounds during the performance. 01:44 01:36 2.     Paul Hindemith, “Trickaufnahmen” (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004). 00:58 03:16 3.     John Cage, “Imaginary Landscape No. 1” (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959). 08:37 04:12 4.     Milan Knížák, “Composition No. 1' (1979) from Broken Music. Selection and assemblage of materials made by Walter Marchetti at Harpo's Bazaar, Via San Felice 22, Bologna. 03:26 12:46 5.     Grandmaster Flash And The Furious Five, “The Wheels Of Steel” (1981) from The Wheels of Steel. Medley Compiled by Sylvia Robinson; Produced by, Joey Robinson, Jr., Sylvia Robinson. 07:04 16:10 6.     Christian Marclay, “Smoker,” (1981) from the album Records. Christian Marclay, turntables and processing. Recorded on a cassette deck at home. 03:40 23:12 7.     DJ Shadow ... And The Groove Robbers, “Hindsight,” (1993) from In/Flux/ Hindsight. 06:55 26:56 8.     Afrika Bambaataa, “Looking For The Perfect Beat” (1985) from Looking For The Perfect Beat 1980-1985. 03:51 33:56 9.     Gen Ken Montgomery, “Droneskipclickloop” (excerpt, 1998) from Pondfloorsample. Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998. 07:19 37:48 10.   Crawling with Tarts, “Trecher Track”(1999) from Turntable Solos. By Michael Gendreau and Suzanne Dycus-Gendreau. 04:11 45:08 11.   Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise. 04:31 49:18 12.   Yasunao Tone, “Part 1” (excerpt 1999) from Solo for Wounded CD. All sounds used were from scratched CD's. 03:54 53:50 13.   Philip Jeck, “Untitled 2,” (2002) from Soaked. Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany. 04:30 57:42 14.   Maria Chavez, “Jebus” (2004) from Tour Sampler, recorded in Houston, Texas. Turntables and electronics by Maria Chavez. 04:59 01:02:12 15.   Marina Rosenfeld, “Three” (2005) from Joy of Fear. Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn't exist without the small collection of one-off ‘acetate records' (dub plates) that I've been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.” 05:47 01:07:12 16.   Luc Ferrari and Otomo Yoshihide, Slow Landing” (2008) from ‎Les Archives Sauvées Des Eaux. Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide. 10:40 01:12:58   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Nú á föstudaginn gefst áhugasömum kostur á að leggja leið sína í Listasafn Íslands og berja augum verk sem telst meðal merkustu listaverka 21. aldarinnar. The Clock (2010) eftir svissnesk-bandaríska listamanninn Christian Marclay hlaut gullna ljónið á Feneyjatvíæringnum árið 2011 og hefur síðan farið sigurför um heiminn. Vídeóverk Marclays er klippt saman úr mörg þúsund myndbrotum, sem hvert og eitt skírskotar til ákveðinnar tímasetningar og sem í réttri tímaröð spannar heilan sólarhring, mínútu fyrir mínútu. Tvær sólarhringssýningar verða á verkinu og sú fyrri hefst á föstudaginn kl 17. Víðsjá leit við í Listasafni Íslands í morgun og tók þar púlsinn á listamanninum. Við kynnum okkur líka nýlega hljómplötu úr smiðju tónlistarparsins Gyðu Valtýsdóttur og Úlfs Hanssonar, Auga, og rifjum upp hugleiðingu Aðalheiðar Halldórsdóttur um takt í tilefni af alþjóðlegum degi dansins.

“Le monde selon l'IA”au Jeu de Paume, Parisdu 11 avril au 21 septembre 2025Entretien avec Antonio Somaini, professeur de théorie du cinéma, des médias et de la culture visuelle à l'Université Sorbonne Nouvelle et commissaire général de l'exposition,par Anne-Frédérique Fer, à Paris, le 28 avril 2025, durée 16'50,© FranceFineArt.https://francefineart.com/2025/05/10/3616_le-monde-selon-l-ia_jeu-de-paume/Communiqué de presse Commissaire général : Antonio SomainiCommissaires associés : Ada Ackerman, Alexandre Gefen, Pia ViewingLe Jeu de Paume présente, du 11 avril au 21 septembre 2025, une exposition explorant les liens entre intelligence artificielle et l'art contemporain, qui sera la première au monde de cette ampleur.Développées à vitesse accélérée dans tous les champs de la société, les intelligences artificielles suscitent aujourd'hui étonnement, frayeur, enthousiasme ou scepticisme.Le monde selon l'IA présente une sélection d'oeuvres d'artistes qui, au cours de ces dix dernières années, se sont emparés de ces questions en art, photographie, cinéma, sculpture, littérature… Elle d.voile des oeuvres – en grande parties inédites – d'artistes de la scène française et internationale tels Julian Charrière, Grégory Chatonsky, Agnieszka Kurant, Christian Marclay, Trevor Paglen, Hito Steyerl, Sasha Stiles,…De l' “IA analytique”, sur laquelle se fondent les systèmes de vision artificielle et de reconnaissance faciale, . l' “IA générative”, capable de produire de nouvelles images, sons et textes, l'exposition traite de la manière dont ces technologies bouleversent les processus créatifs, redéfinissent les frontières de l'art, sans oublier d'en interroger les enjeux sociaux, politiques et environnementaux. Des capsules temporelles jalonnent par ailleurs le parcours, sous forme de vitrines suggérant des liens historiques et généalogiques entre ces phénomènes contemporains et différents objets issus du passé. Au-delà de toute fascination technophile ou de rejet technophobe, le Jeu de Paume propose, à travers cette exposition, une réflexion sur la manière dont l'IA transforme notre rapport visuel et sensible au monde, comme nos sociétés.L'intelligence artificielle, notion introduite en 1955, désigne de nos jours l'apprentissage automatique qui transforme tous les domaines de la société, avec des applications remplaçant l'action humaine sur la détection, la prise de décision ou la création de contenus textuels et visuels. Ces avancées soul.vent des enjeux éthiques, économiques, politiques et sociaux, entre autres en matière de vie privée et de discrimination, tout en bouleversant notre rapport aux images et aux textes. Dans le domaine artistique, l'IA redéfinit les processus de création, de production et de réception, mettant en crise les notions de créativité, d'originalité et de droits d'auteur. Les artistes de l'exposition mobilisent ces technologies aussi bien pour interroger leurs conséquences sur l'art et la société que pour expérimenter de nouvelles formes possibles d'expression.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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Die 24-Stunden-Filmcollage „The Clock“ setzt sich in Echtzeit aus tausenden von Filmszenen zusammen, in denen verschiedene Uhren eine Rolle spielen und die Zeit angeben. Ein geniales Filmerlebnis, das 2011 auf der Biennale in Venedig eine Sensation war und jetzt im Stuttgarter Kunstmuseum zu sehen ist.

Sandbox Percussion co-founder, Percussionist, Freelancer and Educator Ian Rosenbaum stops by to talk about the origins of the group, early performances, group management, and dealing with inventory (02:40), how Sandbox develops relationships with composers and their connections to Só Percussion and Third Coast Percussion (22:20), the rehearsal and performance logistics for Sandbox (32:20), Ian and the groups' various college residencies and the importance of their Creator Mentorship program (45:00), growing up in Westchester (NY), beginnings of playing drumset and piano, and attending many types of concerts in his youth (01:09:40), eventually attending Peabody and working with Bob Van Sice (01:18:10), his master's degree time at Yale and getting in the freelance scene in NYC (01:26:20), and finishing with the Random Ass Questions, including segments about performance setup and etiquette, great food, movies and books, and Christian Marclay's The Clock (01:37:35).Finishing with a Rave on the 2025 Grammy Awards ceremony (02:00:00).Ian Rosenbaum links:Sandbox Percussion websiteIan Rosenbaum's websiteSandbox's Creator Mentorship ProgramSeven Pillars - Andy AkihoIan Rosenbaum's Peabody page“Khan Variationa” - Alejandro ViñaoPrevious Podcast Guests mentioned:Victor Caccese in 2019Garrett Arney in 2019Todd Meehan in 2017Cort McClaren in 2022Other Links:Andy AkihoPaola PrestiniChristopher CerroneAdam RosenblattRobert Van Sice“Mallet Quartet” - Steve Reich“Drumming (Part 1)” - Steve Reich“Extremes from Imaginary City” - Jason TreutingSo PercussionThird Coast Percussion“Pattern Transformation” - Lukas Ligeti“NO one to kNOW one” - Andy AkihoViet CuongGreen Umbrella Series“Wilderness” - Jerome BeginDavid YoonGlen VelezJi Su JungPercussion Group CincinnatiBryce DessnerGoldberg Variations - J.S. Bach (Glenn Gould)Colin CurrieJACK QuartetAmandinda Percussion QuartetSimon Boyar“Late in the Evening” - Paul Simon“I Go to Extremes” - Billy JoelBela Fleck and Edgar Meyer Tiny Desk concert311 Tiny Desk Concert“Pretty Fly” - The Offspring“All the Small Things” - Blink-182Ton Freer“Threads” - Paul LanskyCloyd DuffEtuden for Timpani - Richard HochrainerThomas DuffyNew Haven (CT) PizzaThe Princess Bride trailerFast and Furious trailerSilo trailerFormula 1: Drive to Survive trailerJacob Collier - Tiny Desk concert“1612” - VULFPECKVictor Wooten Trio at PASIC 2018“So Much to Say” - Dave Matthews Band (Carter Beauford view)Christian Marclay's The ClockRaves:The 2025 Grammy Awards

Ep. 285: Amy Taubin 2024 Finale: Juror No. 2, Robert Frank, Nosferatu, The Clock, His 3 Daughters, Flow, Conclave Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest episode, I close out the year with the one and only Amy Taubin, as we catch up with a few movies we missed to talk about in 2024. The discussion includes Juror No. 2 (directed by Clint Eastwood), Nosferatu (Robert Eggers), His Three Daughters (Azazel Jacobs), Conclave (Edward Berger), and Flow (Gints Zilbalodis), plus two exhibitions at the Museum of Modern Art: the Robert Frank exhibitions and Christian Marclay's The Clock. Thanks for listening, and check back in the new year for more new episodes! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

(00:00:43) Er nimmt Aufnahmen aus Fotoautomaten, zerschneidet sie und gestaltet daraus eigene Kunstwerke: Christian Marclay. Nun hat er zusammengearbeitet mit Schweizer Kunststudierenden. Gemeinsam bestreiten sie eine Ausstellung im Lausanner Photo Elysée. (00:04:49) Was, wenn alle Frauen streiken? Dieses Szenario spielt der Roman «Alles so still» von Mareike Fallwickl durch. (00:09:07) Geburtstagstorte für Henry Mancini, den Komponisten von Pink Panther. (00:13:19) Der bhutanische Film «The Monk and the Gun» dürfte ein erneuter Erfolg werden.  (00:17:39) Digitaler Raub: Das Klagelied der Buch-, Zeitschriften- und Zeitungsverlage in Italien.

Who smoked more: academics like John Cage, La Monte Young and Vladamir Ussachevsky- or the underground scenesters, like Glenn Branca, Arthur Russel and Laurie Anderson? Why is turntablist Christian Marclay on the cover of "Transfigured New York," but not in the book, even though she interviewed him multiple times? Could AI design be to blame? How did the old guard of "New Music" feel about the commodification of computer-based music production four decades ago? In the 1980s, Brooke Wentz hosted a radio show in the middle of the night that focused on experimental music, which was developing all around her in New York City. Over the course of a decade, many of the artists Brooke played on that show would join her in the studio. Her journalism days are through, (now she works on the business side of the industry) but she has just released a book with selected interviews back in the day called “Transfigured New York: Interviews with Experimental Artists and Musicians," available now from Columbia University Press. This may be a bit of a shock to you, but I'll say it- I'm a big fan of oral history interviews, and I'm a big fan of experimental music. I'm pleased to feature Brooke and her work here today, which includes a couple of clips from her interviews (with Morton Subotnik and John Lurie, respectively). She joins me today from a working holiday somewhere in Mexico. The artwork for this episode is a drawing by my kid Camille, based on a photo from "back when" sent to me by today's guest. Terrific. Many thanks. Low Profile is stoked to be a part of the Ruinous Media network. This show is also supported directly by you on Patreon ( patreon.com/lowprofile ) Low Profile also receives in-kind support from these independent Olympia businesses: Schwart'z Deli, San Francisco Street Bakery, Old School Pizzeria, Rainy Day Records and Scherler Easy Premium Shitty American Lager from Three Magnets Brewing Company. More on the book: http://cup.columbia.edu/book/transfigured-new-york/9780231558631 Instagram: Brooke @seven_seas_music and Markly @lowpropodcast Facebook Community: Low Profile Listener Hub Patreon (donation-based bonus content+goods): patreon.com/lowprofile

durée : 00:37:46 - Affaires culturelles - Musicien, compositeur et plasticien, l'artiste suisse ne cesse d'inventer de nouvelles pratiques, que ce soit avec des platines vinyles, des montages d'extraits de films ou avec Snapchat. Rencontre avec un artiste qui réenchante le monde, à l'occasion de son exposition au Centre Pompidou.

“Je suis un artiste. Je préfère ce terme à celui de compositeur, musicien ou platiniste. Je fais plein de choses, de la vidéo, de la sculpture, de la photographie et ça m'arrive de faire de la musique aussi. Je dirais que mon travail se situe entre la musique et les arts visuels.”Artiste, Christian Marclay compose avec les images, dévoile leur potentiel sonore. Inventeur de nouveaux instruments, comme la “Phonoguitar”, une platine vinyle portée telle une guitare, le créateur américano-suisse fera pendant longtemps du vinyle l'une des matières premières de ses œuvres en en cousant les pochettes dans ses “Body mix” ou en recréant des pièces inédites avec ses “Recycled Records”.Il échantillonne, coupe, monte, des sons ou des mots, mais aussi des vidéos dans lesquelles les portes s'ouvrent, se ferment, ou interrogent notre rapport au temps. Avec “The Clock”, il obtient le Lion d'or du meilleur artiste lors de la 54e Biennale de Venise. Une variété que l'on peut découvrir jusqu'au 27 février au Centre Pompidou à Paris, et une occasion pour nous de rencontrer cet artiste dont l'œuvre s'écoute autant qu'elle se regarde. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:56:11 - Côté Club - par : Laurent Goumarre - Côté Club, le rendez-vous de toute la scène française et plus si affinités reçoit Tim Dup, Mika, Eric Barbier et Christian Marclay pour son exposition au Centre Pompidou. Bienvenue au Club !

Det är tio år sedan författaren Masha Gessen kom ut med sin bok "Mannen utan ansikte", om Putin. Efter krigsutbrottet har hen rapporterat från Ryssland och Ukraina. Hör Fredrik Wadströms intervju . EVOLUTIONEN ENLIGT SARA GRANÉRSerieskaparen Sara Granér har i sin bok "Den sjunde vännen" skapat en alldeles egen evolutionshistoria. Från tiden före språket, via kollapsade civilisationer och Kains bibliska brodermord av Abel, fram till vår tid och citatet: "Varför går inte fossilkapitalet och lägger sig?". Du möter henne i dagens P1 Kultur.FINNS DET EN FRAMTID FÖR AVATARER OCH 3D-GLASÖGON?Det är tretton år sedan den första Avatar-filmen kom, men nu är uppföljaren här: "Avatar 2: The way of water", som har biopremiär idag. Vår reporter Nina Asarnoj har sett filmen, och pratat ihop sig med filmkritikern Maria Brander om upplevelsen och vad den nya Avatar-filmen säger om framtiden för 3D.KONSTNÄREN CHRISTIAN MARCLAY RÖR SIG FRITTKonstnären Christian Marclay skapar egensinniga uttryck i ljud och bild - han jobbar med vinyler och skivspelare, foto, video och film. Vår konstkritiker Cecilia Blomberg har sett hans utställning på Centre Pompidou i Paris. Där visas lekfulla uppiggande verk ur hela Christian Marclays karriär."DET GÅR ATT TÄNKA MOT STRÖMMEN"Religionsfilosofen Jacob Taubes läsning och tolkning av "Paulus brev till romarna" pekar på en linje mellan Bibelns text och 1900-talets antikoloniala rörelser. Det menar författaren Mattias Hagberg i dagens OBS-essä.Programledare: Lisa Bergström Producent: Anna Tullberg

“Christian Marclay“au Centre Pompidou, Parisdu 16 novembre 2022 au 27 février 2023Interview de Jean-Pierre Criqui, conservateur, service des collections contemporaines, Musée national d'art moderne, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 14 novembre 2022, durée 20'19.© FranceFineArt.https://francefineart.com/2022/11/18/3349_christian-marclay_centre-pompidou/Communiqué de presseCommissariat : Jean-Pierre Criqui, conservateur, service des collections contemporaines, Musée national d'art moderneCommissaire adjointe : Annalisa Rimmaudo, attachée de conservation service des collections contemporaines, Musée national d'art modernePremière exposition en France du travail de Christian Marclay depuis 2007, cet événement est pensé selon un réseau d'affinités et d'échos déployant la logique de l'artiste, qui mêle détournements et métamorphoses.Né en 1955 à San Rafael (Californie), de nationalités suisse et américaine, Christian Marclay est un artiste multimédia dont l'oeuvre s'ancre dans l'univers du son, qu'il explore dès la fin des années 1970 en collaborant à de nombreux projets musicaux à l'occasion desquels il fit du microsillon vinyle et de la platine tourne-disque ses instruments de prédilection.Christian Marclay, qui compte parmi les tout premiers pionniers du scratching, s'est illustré depuis ses débuts par de nombreux enregistrements avec des musiciens d'horizons divers et par des concerts/performances dans le monde entier.Placée sous le signe du collage et du montage, son oeuvre s'est étendue avec le temps à tous les registres des arts visuels : assemblages d'objets, installations, photographies, estampes, peintures, vidéo, en un ensemble ouvert où s'impose la dimension auditive, qu'elle soit littérale ou silencieusement évoquée.Artiste par excellence de la reproduction et de sa dispersion, Christian Marclay nous confronte, sur un mode ludique, aux paradoxes de la différence et de la répétition. Puisant abondamment dans le répertoire visuel et sonore de la culture dite populaire, il agence un monde où se reconfigurent les motifs du quotidien postmoderne. Son oeuvre, héritière de John Cage et d'Andy Warhol, mais aussi des bandes dessinées et de l'esthétique punk, livre la version la plus aiguë, la plus stimulante, de ce qu'est aujourd'hui l'esprit pop.L'exposition présente, distribuées en archipel, la plupart des grandes installations de l'artiste : Surround Sounds (2014-2015), plongée tourbillonnante au sein des onomatopées des comics et des mangas, Subtitled (2019), qui combine silencieusement un feuilleté de sous-titres en provenance de multiples films, All Together (2018), réalisé à partir de Snapchat et présenté sur des smartphones. Mais aussi ces classiques que sont désormais Guitar Drag (2000), où violence et destruction se teintent d'un commentaire politique, et Video Quartet (2002), hommage, en quatre projections simultanées, à la musique, au cinéma.Par ailleurs, une toute nouvelle installation vidéo, Doors (2022), sera présentée pour la première fois dans le parcours. Photographies de tout format, assemblages de pochettes de disque, instruments de musique modifiés, impressions, collages et peintures assureront le tissu conjonctif de ce dispositif choral, polymorphe et inédit.Catalogue de l'exposition : Christian Marclay, sous la direction de Jean-Pierre Criqui aux Éditions du Centre Pompidou. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this podcast, Jean-Pierre Criqui, curator of the exhibition “Christian Marclay”, talks about several works of the tour. Along with some sound excerpts from Marclay's works, his comments introduce us to the artist's universe, at the frontier between visual arts and music. With the participation of Jean-Pierre CriquiProduction: Célia CretienSound recording: Ivan Gariel Editing and mixing: Maxime Champesme Sound design: Sixième SonMusical excerpts: Christian Marclay, Pandora's box, Recycled Records and phonoguitar ; The Beatles, Revolution 9 and Carry that weight ; Sylvie Courvoisier and Mark Feldman, Shuffle ; ensemble Musiques Nouvelles, Ephemera ; Joan La Barbara, Manga Scroll Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans ce podcast, Jean-Pierre Criqui, le commissaire de l'exposition « Christian Marclay », nous présente plusieurs œuvres du parcours. Accompagnés d'extraits sonores d'œuvres de Marclay, ses commentaires nous font entrer dans l'univers de l'artiste, à la frontière des arts visuels et de la musique.Avec la participation de Jean-Pierre CriquiRéalisation : Célia CretienEnregistrement : Ivan Gariel Montage et mixage : Maxime Champesme Habillage sonore : Sixième SonExtraits musicaux : Christian Marclay, Pandora's box, Recycled Records et phonoguitar ; The Beatles, Revolution 9 et Carry that weight ; Sylvie Courvoisier et Mark Feldman, Shuffle ; ensemble Musiques Nouvelles, Ephemera ; Joan La Barbara, Manga Scroll Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In part 2 with ArtNet News critic Ben Davis, we talk about: environmentalism and our approach to the climate, as well his emphasis on finding a good middle ground between overly dire and overly sugar-coated perspectives on the conversation; Christian Marclay's video works “Telephone” – which Apple co-opted, making their own version when Marclay wouldn't sell it to them – and “The Clock,” which Ben considers to be Marclay's response to Apple and its iPhone, and images' ‘place-lessness' (which “The Clock” returns to us); how he frames the immersive art trend as a question of ‘what's at stake here?,' and how there are many trends that he feels needs to be seen from both sides; Alfredo Jaar's immersive video in the most recent Whitney Biennial, prompted by the very short time window artists now have to gain viewers' attention; the case of the lovably ordinary @world_record_egg, an Instagram feed that both parodied and addressed concerns about the effects of social media on our individual psyches as an artistic provocation; and Ben's own tricky relationship with social media (IG).

A one-off experience visits Birmingham's Electric Cinema: The Afterlight, an 82-minute collage assembled from footage in which every person in frame is now dead. Director Charlie Shackleton accompanies the film on its tour, not only to give post-screening Q&A sessions, but also because he is in possession of the only copy of the film in existence - a single 35mm print that gradually degrades with each successive screening, picking up scratches and other wear and tear, and when it's finally too damaged to watch any longer, it's gone for good. It's a compelling idea, invoking questions of film preservation, the ways in which film captures and preserves moments in time, and the peculiar cinematic magic (and particularly magic of celluloid) that brings ghosts to life through illumination. And Shackleton is a charming, intelligent and witty speaker, the best advertisement for his own film, although his style and confidence activate José's cynicism circuits - do we really believe that he hasn't kept a copy of the film for himself? But as for the film? It's an enjoyable experience, the footage assembled into a rough narrative of sorts that takes us through similar actions and settings seen across countless cinematic sources, and both the choices of source material and the editing's sense of rhythm create an appealing mood throughout, but much of the specific choices feel too vaguely motivated. Why has this shot in particular been included? Why the focus on one setting or action instead of some other? These questions are never satisfactorily answered, and the film meanders with too little intention. One point of comparison in particular comes up in our discussion: The Clock, Christian Marclay's 24-hour installation film that we saw large segments of both together and separately when it visited the Tate Modern three years ago. It's similarly constructed of clips from films, its rubric to find shots that show clocks and other timepieces so that the film itself can function as a clock. We think about the difference in how often Shackleton and Marclay take creative liberties with their source material and build something new and expressive with it, and the different ranges of that source material to begin with (one of our biggest criticisms of The Clock being the unimaginative Anglo-American cinephile context from which most, if not all, of its sources came). Criticisms notwithstanding, The Afterlight is an interesting and enjoyable one-off experience that literally - and we do mean literally - has to be seen in person, and if it screens near you it's worth the evening. It won't look as good as it did for us, admittedly, but at least it'll look even worse for the next audience. Recorded on 7th July 2022.

Alan Licht is a writer, musician, and curator based in NYC. He is known for his solo guitar work and long-time collaboration with guitarist Loren Connors and rock bands Run On and Love Child and the experimental group Text of Light. He is also the author of several books, including his new book Common Tones: Selected interviews with artists and musicians from 1995-2020. In this in-depth and wide-ranging conversation, we talk about his interview with Lou Reed, the new Velvet Underground documentary by Todd Haynes, Alan's work at the seminal NYC venue Tonic, his collaboration with Loren Connors, and his interviews with Christian Marclay, Michael Snow, Milford Graves, and the late writer/musician Greg Tate., who passed away the day after our conversation.

“The process of editing is what I enjoy most - putting the pieces together and making sense out of them.” -Christian Marclay. Let's write a book together! Let's document this chapter in history. Let's do some good. Listen to episode #853 (and subsequent Monday episodes) for more details. Today - Pandemic Stories assignment #15 - structuring your short story. Join the author conversation: https://www.facebook.com/groups/inkauthors/ Learn more about YDWH and catch up on old episodes: www.yourdailywritinghabit.com

My practice varies from project-to-project, and is sometimes collaboration-based and at other times the result of my personal art making practices in diverse media, including site-specific installations, sculptures, performances, works on paper, films and audio pieces. My work has been exhibited at galleries in New York and elsewhere, including David Zwirner Gallery, Postmasters, Ronald Feldman Gallery, Xavier Hufkens (Brussels), Studio 10, and Pierogi 2000. In 1999 and 2000, a grant from Phillip Morris Foundation in conjunction with the Künstlerhaus Bethanien, Berlin allowed me to live and create work in Berlin. I had a major exhibit at the Brooklyn Museum in 2013, as part of its Raw/ Cooked series. It featured multi-media installations in several parts of the museum, and a film program. In addition, I have done many projects abroad, including shows/installations/projects in Germany, Scandinavia and Ramallah. 1990 till 2000, I hosted and co-directed the Four Walls art space in Williamsburg, Brooklyn, a project space whose function was something between a clubhouse and laboratory. It was a place where exhibitions, panel discussions, performances and projects took place, creating a nexus of cultural exchange for artists. In 1989, I received a National Endowment for the Arts grant which became seed money for the Four Walls project. My intent was to create a condition for the exchange of ideas. From1993 to 2011, I directed, curated and organized The Slide and Film Club. I invited artists—and non-artists— to show Super8 films , 35mm slideshows and videos. A house band played improvised music to programs that lacked soundtracks, should someone request it. The project brought together hundreds of visual artists, writers and musicians such as Brian Dewan, Christian Marclay, Joy Garnett, Jim Torok and Carla Pearlman among others. It fostered the work of many artists, as well as my own Super 8 film work. My studio practice over the past five years has primarily been object based. I have often relied on processes based on coincidence, or cues that I receive from my life in order to generate works which perform a useful function, or at least an approximation of one. For example, “Weathervane” at Pierogi Gallery in 1997, fulfilled its metrological role, as well as a quasi-metaphorical one: it took the form of an abstracted Pinocchio head. “Moo-Moo” (2010), was a giant, sculptural cow head on the roof of the Brooklyn restaurant, Diner. It was a portrait of one of the locally-sourced animals being served. “Billboard” in Hudson, New York played with the nature of what billboards are, using them to present subtly disorienting landscape images in unlikely places. Since March of 2020, the world, and certainly my world, has been circumscribed by COVID, making it more difficult to present art in the usual ways. One piece I did in early 2021 was a guerrilla installation in a local park. In the tangle of branches of bushes and trees near the entrance of Cooper Park, one might find two blue rope-like sculptural forms weaving around the forms of the trees. Those pieces are called “Jay” and “Pea” and, in addition to bringing visual play to the local park, they commemorate my friend, the artist Joyce Pensato, who passed away the year before. It was the park she used to frequent with her dog. Another recent project had a commemorative aspect, this year's “Word of Bird is Cured” shown at Studio 10, Bushwick. My friend, the artist and writer Matt Friedman had passed away after a long illness. My piece covered the windows of the gallery with blue paper, with thousands of silhouettes of birds cut into the paper by hand. The gallery faced west, and as days grew long, projections of the birds flooded the room. In the room I created a series of cellophane bags, based on the forms of boulders. The bags were inflated by fans from below, precariously erect and quick to wither when the fans were turned off.

Lisa Spellman first arrived in New York to study art at SVA, moving into a loft that seemed pre-destined to be a gallery. Kim Gordon was reading about the art happening in New York while she was in LA, but when she got to the East Coast, ended up playing music. A few years later, Spellman founded 303 Gallery and Gordon was writing and playing with iconic band Sonic Youth. The two talk to Marc Spiegler about New York City in the 1980s and 1980s, the art scene and the music scene, the places they all went, and how it all intersected. It's an image of an old New York that still reverberates in the city today. For further reading:-Andy Warhol's Factory:https://www.artlife.com/inside-the-factory-the-studio-where-andy-warhol-worked/ https://www.nytimes.com/2018/11/12/style/andy-warhol-factory-history.html -Cady Noland:https://www.guggenheim.org/artwork/artist/cady-noland-Christian Marclay:https://whitecube.com/artists/artist/christian_marclay -Dan Graham:https://www.crash.fr/a-meeting-with-dan-graham/ -Jim Jarmusch:https://www.sensesofcinema.com/2003/great-directors/jarmusch/-Johnny Thunders (New York Dolls, Heartbreakers)https://www.loudersound.com/features/so-alone-the-johnny-thunders-story (long in-depth profile on Johnny Thunders' life featured in Louder Sound, a UK rock magazine published by Future)-Judson Dance Church:http://judsonclassic.org/Dance -Kim Gordon's Design Office:https://www.303gallery.com/public-exhibitions/design-office-with-kim-gordon-since-1980/press-release-Richard Prince:https://gagosian.com/artists/richard-prince/ -Rodney Graham:https://www.lissongallery.com/artists/rodney-graham -White Columns:https://www.nytimes.com/2021/06/10/arts/design/anniversary-white-columns-gallery-.html

Retour sur l'oeuvre audio-visuelle The Clock, de l'artiste Christian Marclay.

Shelley Hirsch: Primal Impulses Equal parts composer, vocalist, and storyteller Shelley Hirsch is universally admired for an astounding gift firing off free association between words and sounds, which is our focus in this edition. Here with collaborators keyboardist/arranger Simon Ho, turntablist Christian Marclay, guitarist Kazuhisa Uchihashi, pipa master Min Xiao Fen, electronic percussionists Ikue Mori & Samm Bennett, cellist Okkyung Lee, keyboardist David Weinstein, and Horst Rickels' Mercurius Wagen https://roulette.org/

Equal parts composer, vocalist, and storyteller Shelley Hirsch is universally admired for an astounding gift firing off free association between words and sounds, which is our focus in this edition. Here with collaborators keyboardist/arranger Simon Ho, turntablist Christian Marclay, guitarist Kazuhisa Uchihashi, pipa master Min Xiao Fen, electronic percussionists Ikue Mori & Samm Bennett, cellist Okkyung Lee, keyboardist David Weinstein, and Horst Rickels' Mercurius Wagen.

Concludiamo la nostra retrospettiva su David Moss nel catalogo Intakt con gli altri tre album del batterista/vocalist pubblicati dall'etichetta svizzera. Nell'85 Moss forma la David Moss Dense Band, che - con partecipazioni di una sfilza di personaggi come John Zorn, Fred Frith, Arto Lindsay, Bill Laswell, Bill Frisell, Christian Marclay - diventa una delle cose emblematiche dell'avantgarde newyorkese degli anni ottanta: una incarnazione in quartetto della Dense Band, con Anthony Coleman alle tastiere, si ascolta in Texture Time, registrato nel '93 e pubblicato nel '94 (Intakt 034), che contiene fra l'altro un brano ispirato da italo Calvino, Invisible Cities. Time Stories, registrato nel '97 e pubblicato nel '98 (Intakt 054), consiste in una serie di duo di Moss (voce, batteria, percussioni, elettronica) con Heiner Goebbels (siamo nella fase in cui Moss collabora come vocalist con Goebbels per Surrogate Cities: proprio ascoltandolo cantare in quest'opera, Luciano Berio rimane colpito dal suo talento e lo chiama a partecipare alla sua opera Cronaca del luogo), Catherine Jauniaux, Hans Peter Kuhn, Koichi Makigami, Christian Marclay, Phil Minton e Frank Schulte. Con quattro di loro - Jauniaux, Minton, Makigami e Schulte - nel '97 Moss si esibisce a Zurigo, in un set documentato da Vocal Village Project Live at the Rote Fabrik, pubblicato nel 2001 (Intakt 068).

Concludiamo la nostra retrospettiva su David Moss nel catalogo Intakt con gli altri tre album del batterista/vocalist pubblicati dall'etichetta svizzera. Nell'85 Moss forma la David Moss Dense Band, che - con partecipazioni di una sfilza di personaggi come John Zorn, Fred Frith, Arto Lindsay, Bill Laswell, Bill Frisell, Christian Marclay - diventa una delle cose emblematiche dell'avantgarde newyorkese degli anni ottanta: una incarnazione in quartetto della Dense Band, con Anthony Coleman alle tastiere, si ascolta in Texture Time, registrato nel '93 e pubblicato nel '94 (Intakt 034), che contiene fra l'altro un brano ispirato da italo Calvino, Invisible Cities. Time Stories, registrato nel '97 e pubblicato nel '98 (Intakt 054), consiste in una serie di duo di Moss (voce, batteria, percussioni, elettronica) con Heiner Goebbels (siamo nella fase in cui Moss collabora come vocalist con Goebbels per Surrogate Cities: proprio ascoltandolo cantare in quest'opera, Luciano Berio rimane colpito dal suo talento e lo chiama a partecipare alla sua opera Cronaca del luogo), Catherine Jauniaux, Hans Peter Kuhn, Koichi Makigami, Christian Marclay, Phil Minton e Frank Schulte. Con quattro di loro - Jauniaux, Minton, Makigami e Schulte - nel '97 Moss si esibisce a Zurigo, in un set documentato da Vocal Village Project Live at the Rote Fabrik, pubblicato nel 2001 (Intakt 068).

L'artiste Christian Marclay a carte blanche pour animer le nouveau musée réunissant Le Mudac et le Musée de l'Elysée à Plateforme 10 lors de la remise des clés en novembre prochain. Entretien par Florence Grivel.

A lovely opening gambit about the difference between competence and skill turns Lee and Simon's pre-show natter into the show itself. Get in touch with Lee and Simon at info@midlifing.net.Just three related links:Christian Marclay's The Clock: https://en.wikipedia.org/wiki/The_Clock_(2010_film)Surgeon Simon Bramhall signing his initials on livers: https://www.theguardian.com/uk-news/2017/dec/13/surgeon-admits-marking-his-initials-on-the-livers-of-two-patientsDigital poverty: https://www.digitalpoverty.co.uk---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

Our season break hiatus came a little early and has lasted quite a while. But Luke returns with friend and guest Harry in Dionne’s stead, for an anniversary celebration of Mark Cousins’ documentary series on cinema history; The Story of Film. Harry is relatively new to considering the wide world of cinema as art and upon recommendation has been watching Cousins’ documentary series as a “way in” to understanding the history of cinema and important milestones and key figures. Enthusiasm proved infectious and Luke decided to rewatch alongside Harry to discuss viewing choices and insights from the series. Join us for a spirited talk about film through fresh eyes, in a wide-ranging discussion featuring an eclectic assortment of titles. We discuss an Iranian documentary short about a village where those suffering leprosy live, in Forough Farrohkhzad's The House is Black (Khaneh siah ast). The intense emotion laid bare in close-up in Carl Theodor Dreyer's The Passion of Joan of Arc. Harry espouses a newfound love for Agnès Varda's work with the discovery of her intimate portrait of Rue Daguerre shop owners in Daguerréotypes. Luke closes out the episode with a couple of recommendations. The rhythms of life, as seen on screen in a 24-hour period assembled from cinema, in Christian Marclay's video art installation piece The Clock. Finally, delving into the nature of self identity in Derek DelGaudio's filmed hybrid magic act meets performance and spoken word stage show; In & Of Itself. Titles this episode: The House is Black (1963) (14:30) [ DVD ] The Passion of Joan of Arc (1928) (34:25) [ Amazon Digital | HBO Max | Criterion Collection Disc | Criterion Channel | Kanopy ] Daguerréotypes (1976) (1:01:15) [ Criterion Collection Disc | Amazon Digital | Criterion Channel | Mubi | Fandor ] The Clock (2010) (1:18:45) [ Not currently in exhibition ] In & Of Itself (2020) (1:27:40) [ Hulu ] Other Links & Mentions: Harry mentioned this one when we discussed the Criterion Collection. Please do check out his reviews! DaisukeBeppu's Youtube Channel Follow Us: You can find us online via DIY Film School: Facebook Instagram Twitter Our Website (under construction) Subscribe on Apple Podcasts Harry will return for another chat or two further along his journey. Though we just might have another unconventional episode in store for you next week…

Esther Bourdages is an art critic, radio journalist, independent curator, and musician based in Montréal. She is an improviser of extraordinary sensitivity, bringing a playfulness to her tactile manipulation of vinyl records, sometimes outright mishandling them. This freedom to destroy is indicative of a resistance to structure and formalism, but Esther’s work can’t be easily dismissed as some sort of exercise in catharsis. Instead her approach to live improvisation is raw and expressive, and cultivated over decades of ongoing exploration. Much of her recent studio work is for radiophonic diffusion, often based on field-recordings and with a politicized context. We discuss her unique approach to vinyl, the history of Canadian artist-run centres, and the intersection of art and sound from multiple perspectives. Interview recorded in Montreal, October 2020 Produced and mixed in Montreal, January 2021 Read more at: http://acloserlisten.com/2021/01/21/sp-episode-16-freedom-to-destroy-with-esther-b-podcast/ TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Esther B. –Think about the rhythm (Audio Postcard, 2020) Esther B. - excerpt a (live at Spiro Space, 2019) Esther B. / Erik Hove / Thom Gossage - The Space between - 01 Exclusive piece_no1!(Particles, Contour Editions, 2021) [the user] (Emmanuel Madan and Thomas MacIntosh) - “Silo # 5” (Silophone, The Kitchen, 2001) Esther B. - excerpt b (live at Spiro Space, 2019) Luigi Turra / France Jobin – “France Jobin Variation” (Fukinsei VARIATIONS, 2020) Togetherness! – “Salaam/Looking for Gilchrist (Abdullah Ibrahim / William Parker)” (Togetherness!, Mr. E Records, 2018) Martin Tétreault ‎– “Abandon” (La Nuit Où J'Ai Dit Non, Audioview, 1997) Christian Marclay & Okkyung Lee – “Rubbings” (From The Earth To The Spheres Vol. 7, Opax, 2005) Esther B.- Silence film : quand l’audience devient la trame sonore 2016 Anne-F Jacques / Tim Olive – “Sur Place/Staying” (AMPLIFY 2020) Joane Hétu / Diane Labrosse / Zeena Parkins / Danielle P. Roger* / Tenko ‎– “Les Pluies Acides” (La Légende De La Pluie, Ambiances Magnétiques, 1992) Esther B. (with Jon Ascencio, Aimé Dontigny, Édouard Jeunet, James Schidlowsky, David Turgeon) – “Untitled 4” (It is not easy for doug engelbart to give a conference when Youppi and Mad Dog are in the house, No Type/Bricolodge, 2004) Jean Tinguely – “Homage to New York (Radio sculpture) / Sculpture at the Tate 12 / Mta harmonie II” (Sculpture at the Tate, Audio Arts, 1982) Esther B. - excerpt c (live at Spiro Space, 2019) Maria Chavez – “The Rain of Applause” (Amplify 2020) Cover image: Jean Tinguely

Episode 19   Maximum Turntablism, Part 2   Modern Experimental Turntablism and CD Glitch Music   Playlist: Pierre Henry, Concerto Des Ambiguïtés parts 1,2,3,and 5(1950) from Symphonie Pour Un Homme Seul / Concerto Des Ambiguïtés (1972, Philips). Premiered on August 7, 1950. Christian Marclay, “Smoker,” (1981) from the album Records (1997). Christian Marclay, turntables and processing. Recorded on a cassette deck at home. DJ Shadow ... And The Groove Robbers, “Hindsight,” from In/Flux/ Hindsight (1993) Institut Fuer Feinmotorik, “A1” from Wenig Information: Kein Titel (1998). Recorded live between April and June 1998 in Cloister Bad Säckingen, Germany. For turntables, mixer, compressor, various processed records, paper, cardboard, scotch tape, household rubber, wire, various other odds and ends. Peter Cusack & Nicolas Collins, “Hazlitt” from ‎ A Host, Of Golden Daffodils (1999). Recorded live in concert at STEIM (Amsterdam, The Netherlands) June 1996 and at Museum für Gegenwart, Hamburger Bahnhof, (Berlin, Germany), November 1996. Electronic processes, CD, radio sources, trombone-propelled electronics, Nicolas Collins; guitar, bouzouki, whistling, electronics, sampler triggers, Peter Cusack. Gen Ken Montgomery, “Droneskipclickloop”(excerpt, 1998) from Pondfloorsample (2002). Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998. Crawling with Tarts, “Trecher Track” from Turntable Solos (1999). By Michael Gendreau and Suzanne Dycus-Gendreau. Yasunao Tone, “Part 1”(excerpt 1999) from Solo for Wounded CD (1999). All sounds used were from scratched CD's. Philip Jeck, “Untitled 2,” from Soaked (2002). Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany. Maria Chavez, “Jebus” from Tour Sampler (2004), recorded in Houston, Texas. Turntables and electronics by Maria Chavez. Marina Rosenfeld, “Three” from Joy of Fear (2005). Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn't exist without the small collection of one-off ‘acetate records' (dub plates) that I've been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.” Luc Ferrari and Otomo Yoshihide, Slow Landing” from ‎Les Archives Sauvées Des Eaux (2008). Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide. Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise. The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of modern experimental turntablism: Tsunoda Tsuguto, “Air Pocket” (1997) from Turntable Solos (1999). Merzbow, “Batztoutai—The Nightengale's Song” (1985) from Turntable Solos (1999). The incidental music heard while I'm speaking is from a damaged and skipping CD that I have of Sun Ra. The track is “Sound Spectra/ Spec Sket” from the album Other Planes of There (1964). For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020). Notes for this episode can be found on my blog: Noise and Notations.

Hannah Kendall is a composer whose work has been described as ‘…intricately and skillfully wrought’ by The Sunday Times. Her music has attracted the attentions of the London Philharmonic Orchestra, BBC Singers, Seattle Symphony Orchestra and Atlanta Symphony Orchestra, with performances at the Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House's Linbury Studio Theatre, Westminster, Canterbury, Gloucester and St Paul’s Cathedrals, Westminster Abbey and Cheltenham Music Festival. TAK was lucky enough to work with Hannah in early 2020 when we were in residence at Columbia University, where she is currently a Doctoral Fellow. On today’s episode, Hannah speaks with vocalist, movement artist and composer Elaine Mitchener, who has performed at venues including Aldeburgh Music, London Contemporary Music Festival, 56th Venice Biennale, ULTIMA Festival, and La Monnaie, and with musicians such as Moor Mother, Christian Marclay, Apartment House, George Lewis and Evan Parker. Hannah Kendall’s website: https://hannahkendall.co.uk/ Catch The Knife of Dawn / Royal Opera House performance on Oct. 24: https://www.roh.org.uk/tickets-and-events/new-dark-age-details Elaine Mitchener’s website: https://www.elainemitchener.com Watch SWEET TOOTH: https://www.elainemitchener.com/sweet-tooth Hear her recent performance at Donaueschinger Musiktage: https://www.swr.de/swr2/musik-klassik/-radiokonzert-elaine-mitchener-und-das-ensemble-mam-mit-auffuehrungen-zu-texten-der-jamaikanischen-schriftstellerin-sylvia-wynter-100.html Catch her Oct. 28 performance live on BBC radio3: https://londonsinfonietta.org.uk/whats-on/yet-unheard

De Kënschtler Christian Marclay ass spéitstens zanter senger Videoinstallatioun "The Clock", fir déi hien 2011 de gëllene Léif op der Biennale vu Venedeg kritt hat, international bekannt. Dobäi handelt et sech ëm e 24-Stonnen-Zesummeschnëtt mat Aueren an anere Chronometeren aus Filmsequenzen. D'Ekipp vum Mudam war schonn éischter op de Christian Marclay opmierksam ginn, esou datt de Kënschtler, am Optrag vum Pei-Musée, 2002 d'Videoinstallatioun "Video Quartet" kreéiert huet. D'Kerstin Thalau iwwer eist Musée-Collectiouns-Stéck vun der Woch.

In this episode we talk about Elaine Mitchener's many projects, improvisation, music education, Jeanne Lee and much more. Elaine Mitchener is an experimental vocalist, movement artist and composer, whose work encompasses improvisation, contemporary music theatre and performance art. Born in East London to Jamaican parents, Elaine studied voice at Trinity College of Music, London and currently studies with Jacqueline Bremar. She has performed at numerous UK and European festivals, venues and galleries including Aldeburgh Music, London Contemporary Music Festival (LCMF), 56th Venice Biennale, Wysing Arts, Café Oto (London), Bluecoat (Liverpool), SAVVY Contemporary (Berlin), Purcell Room (Southbank Centre, London), Huddersfield Contemporary Music Festival, ULTIMA Festival (Oslo), OCCUPY (St John’s Smith Square), SPILL Festival (Ipswich), La Monnaie (Brussels), Block Universe (London), White Cube (London), Whitechapel Gallery (London), Weserburg MOMA (Bremen), Wellcome Collection (London), and the Institute of Contemporary Arts (London). She has worked and performed in a wide variety of contexts with an array of leading musicians, composers, directors and visual artists including Moor Mother (Camae Ayewa), Mark Padmore, The Otolith Group, Deborah Warner, Christian Marclay, Apartment House, Steve Beresford, Pat Thomas, Irvine Arditti, Sonia Boyce, London Sinfonietta, John Butcher,Tansy Davies, George. E. Lewis, Attila Csihar, Rolf Hind, Dam Van Huynh, Lore Lixenberg, George Lewis, Alexander Hawkins, Sam Belinfante, Phil Minton, Evan Parker, Alasdair Roberts, Lucy Bailey, David Toop, Netia Jones, Matt Wright, and Jason Yarde. Elaine is co-founder of the experimental jazz quartet the Hawkins/Mitchener Quartet and a regular vocalist with the ensemble Apartment House. She created the role of Hannah/Voice singing with tenor Mark Padmore, in the opera CAVE, by composer Tansy Davies with libretto by Nick Drake, co-commissioned by the London Sinfonietta / Royal Opera House and directed by Lucy Bailey which premiered in June 2018. Her production company Elaine Mitchener Projects has researched, developed, produced and toured or staged a number of projects including Industrialising Intimacy (with choreographer Dam Van Huynh, David Toop, George Lewis); The Nude Voice (with Dam Van Huynh) commissioned for the Wellcome Collection London’s THIS IS A VOICE exhibition; ‘I back… I neck… I face… I chest’ commissioned by Sonia Boyce for her installation We Move In Her Way at London’s ICA; Of Leonardo da Vinci (with Dam Van Huynh, David Toop, Barry Lewis) for Oslo’s ULTIMA Festival; the three hour durational performance [NAMES] premiered at Ipswich’s SPILL Festival; a presentation of John Cage’s SongBooks for London’s Poetry In The City Festival; Vocal Classics of the Black Avantgarde for LCMF; and SWEET TOOTH in partnership with Bluecoat Liverpool, Stuart Hall Foundation and the International Slavery Museum. Premiered in Nov 2017, SWEET TOOTH has been described as ‘a vital black British addition to those seminal creative statements of resistance and defiance from the African Diaspora’, and was subsequently broadcast on BBC Radio 3’s Hear and Now programme (Dec 2017). Elaine has participated in residencies and symposiums including Aldeburgh Music (to develop SWEET TOOTH) and Fondazione Claudio Buziol, Venice (where she developed Of Leonardo Da Vinci supported by Muziektheater Transparant) and New Resonances organised by Theatrum Mundi. For more information about Elaine Mitchener please visit: http://www.elainemitchener.com/ © Let's Talk Off The Podium, 2020

David Moss evolved from a drummer in 1971 to percussionist/singer, solo performer and and vocalist in contemporary music theater/opera. After working with composers/musicians as varied as Luciano Berio, Carla Bley, Bill Dixon, Heiner Goebbels, Christian Marclay and Olga Neuwirth, he offers thoughts and experiences on a life in music. On April 10th 2018 I have started the podcast "neue music leben"!!!!!! Thank you so much for listening. All the best, Irene

Artist and producer Beatrice Dillon’s new piece for ASSEMBLY, infraordinary, combines installation and performance, in which specially composed sounds are triggered using the system’s Kinect camera, alongside a live controlled sound mix of the street. Inspired by writer Georges Perec’s concept of the ‘infra-ordinary’ - taking account of the micro events of the everyday - the performance attempts to examine and reframe the rhythmic patterns of the street outside. Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances.  Beatrice Dillon is an artist and music producer who has produced solo and collaborative releases across Boomkat Editions, Hessle Audio, The Trilogy Tapes, PAN, Timedance and Where To Now? Recent performances include Barbican Centre, Tokyo’s wwwX, MUTEK Montreal, Dekmantel, Documenta Athens, Cairo’s Masåfåt Festival, Norway’s Insomnia and Documenta Athens. With a background in fine art, Beatrice has produced sound and music commissions for Outlands Network, Lisson Gallery, Études Paris, AND Festival, Somerset House and has collaborated with visual artists and choreographers across ICA, TATE, Southbank Centre, York Mediale, Centre d’Art Contemporain Geneva, MACVAL Paris, Nasher Center Dallas and Mona Tasmania amongst others. She was the recipient of Wysing Arts Centre’s artist residency, is a resident at Somerset House Studios and presents a show on NTS Radio. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

For ASSEMBLY, Karen Gwyer approached the street noises as drums. Building over the course of the performance, Karen will use and process the ambient sounds to create a multilayer, polyrhythmic piece created from the more punchy and identifiable sounds as well as distorting the general hum. The mood and intensity will shift as the performance progresses. On top of the rhythmic street sounds, layers of synths will build to create a moving yet sobering composition that draws on Karen’s own emotions around her 12 years as a Londoner, both the pain and relief of leaving, and the conflict of looking at it now from afar. Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances. Karen Gwyer was born in the southern US and raised in the north. Now based in Berlin after more than a decade in London, she shifts between pumping, thickly melodic, just left-of-techno dancefloor vibes and diversionary acidic psychedelia in her expansive, largely analogue live electronic performances. To date, she has released a handful of acclaimed recordings on Don’t Be Afraid, Nous Disques, Opal Tapes and Kaleidoscope, among others. She has produced remixes for labels such as InFiné, Software, and Public Information, and has created a number of commissioned pieces for Berlin’s Pop-Kultur festival and Open Music Archive in London. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios. ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances. Studios resident Lawrence Lek is an artist, filmmaker and musician whose virtual worlds and animated films create alternate versions of real places. For ASSEMBLY he invited collaborators Seth Scott and Robin Simpson to present a site-specific simulation that acts as an uncanny virtual and sonic double of the performance space. Their performance, Doom, reflects the atmosphere during the Extinction Rebellion protests when Waterloo Bridge – which the Lancaster Rooms overlook – was closed to traffic and filled with warning signs of the coming apocalypse. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

La abundancia de publicaciones relacionadas con el arte sonoro en los últimos tiempos -quizá una forma de compensar la ausencia de ellas durante demasiados años del pasado- nos anima a presentar de nuevo un monográfico de Ars Sonora dedicado a libros de reciente aparición. Comenzamos comentando dos exposiciones del MACBA (Museo de Arte Contemporáneo de Barcelona) relacionadas con la creación sonora experimental, cuyos respectivos catálogos representan importantes hitos bibliográficos. En primer lugar, la muestra titulada "Christian Marclay. Composiciones" -que se celebró entre abril y septiembre de 2019, y que comisarió Tanya Barson- examinó la obra del autor suizo-estadounidense "a través de su dedicación a la composición, entendida como un ordenamiento de sonidos en el tiempo y el espacio, pero también como composición visual". Por otra parte, la exposición "Takis", dedicada al escultor griego Panagiotis Vassilakis (1925-2019), comisariada por Guy Brett, Michael Wellen y Teresa Grandas, puede visitarse desde el 22 de noviembre de 2019 hasta el 19 de abril de 2020, y también ha propiciado un recomendable catálogo en el que se describen trabajos relacionados con el magnetismo, la luz y la electricidad en el dominio visual, pero también -y muy destacadamente- en el sonoro. A continuación nos centramos en varias publicaciones recientes de la editorial de la Universidad de Duke, cada vez más activa en el ámbito de los estudios sonoros. "Hush. Media and Sonic Self-Control", de Mack Hagood, destaca entre esas novedades procedentes de Duke University Press por su original aproximación a las tecnologías destinadas a crear espacios "protegidos" a través del sonido. No tan interesante resulta "Remapping Sound Studies", editado por Gavin Steingo y Jim Sykes, con aportaciones de Jessica A. Schwartz, Louise Meintjes, Tripta Chandola, Michele Friedner, Jairo Moreno, Ana María Ochoa Gautier, Michael Birenbaum Quintero, Jeff Roy, Shayna Silverstein, Ben Tausig y Hervé Tchumkam; si bien resulta indiscutible el valor de sus exploraciones de músicas procedentes de África, el sudeste asiático, latinoamérica o la Micronesia -entre otras áreas del mundo-, en realidad el mero hecho de que sean investigadores instalados en algunos de los más poderosos centros universitarios del planeta -a menudo radicados en los Estados Unidos- no solamente limita el alcance y el interés de esos estudios, sino que incurre en contradicciones relativas al propósito y la forma de empoderar o dar voz a colectividades tradicionalmente silenciadas o subalternadas. Por su parte, "Sound Objects", editado por James A. Steintrager y Rey Chow -que reúne contribuciones de Jairo Moreno, Georgina Born, Michael Bull, Michel Chion, John Dack, Veit Erlmann, Brian Kane, John Mowitt, Pooja Rangan, Gavin Steingo, Jonathan Sterne y David Toop- aporta nuevas y sugerentes perspectivas acerca de la noción de "objeto sonoro" inicialmente planteada por Pierre Schaeffer. Concluimos nuestro repaso de las últimas ediciones llevadas a cabo por Duke University Press con "Digital Sound Studies", editado por Mary Caton Lingold, Darren Mueller y Whitney Trettien, una aproximación al cruce entre dos campos académicamente emergentes: las humanidades digitales y los estudios sonoros. Nos detenemos, también, en "Metaphonics. The Field Works Listener's Guide", publicado por la editorial independiente Jap Sam Books, que propone un curioso recorrido a través de trabajos recientes vinculados a la fonografía y al paisajismo sonoro. Y no podía faltar, como en casi todos nuestros programas dedicados a lo libresco, la alusión a la deslumbrante labor editorial de Bloomsbury, en este caso a través de un pequeño volumen titulado "Podcasting. The Audio Media Revolution", firmado por Martin Spinelli y Lance Dann. Concluimos el programa con una breve recensión de "El giro notacional", de José Iges y Manuel Olveira, un texto dedicado a la exposición homónima que ambos comisariaron en 2019 para el MUSAC de León (y a la que nosotros dedicamos una edición monográfica de Ars Sonora hace ahora justamente un año). Tanto en aquella muestra como en este libro se contemplan las estrategias relacionadas con sistemas notacionales aplicados desde los años sesenta del pasado siglo por artistas de diversas disciplinas. El libro, que supera en su análisis los contornos de la citada exposición, ha sido editado por Fernando Castro Flórez, director de la Colección Infraleves del CENDEAC (Murcia). Las audiciones que complementan nuestros comentarios incluyen obras de Christian Marclay -la grabación de "Zoom Zoom", una de las performances que desarrolló en el MACBA, en este caso junto a la vocalista Shelley Hirsch-, Michel Chion -"Train De Pianos, Op. 1"-, y diversas muestras de los trabajos presentados en el libro "Metaphonics. The Field Works Listener's Guide". Escuchar audio

We hear from leading artists working with the moving image - Christian Marclay whose celebrated 24 hour film Clock, is a play on time. Tacita Dean, committed to the traditional medium of film, describes her roots in pictorial image making and her love of celluloid. Gillian Wearing discusses her ambivalence to narrative and acting in her new cinema film Self Made. We capture the spirit of artist filmmaking at a screening of films on the platform of Hackney Downs station, where the context of the screen is important to the films shown. Produced for BBC Radio 4

Katherine Pill is the Curator of Contemporary Art at the Museum of Fine Arts in downtown St. Petersburg. In this conversation with Barbara St. Clair, Katherine shares her duties as curator of the growing collection of contemporary art at this classic museum - from exploring cutting-edge new digital works to collaborating with public artists Carol Mickett and Robert Stackhouse on community engagement with their work. Find out more about the Museum of Fine Arts at mfastpete.org. . . . Images 1-2 are from Mickett-Stackhouse’s Irma Reflections at the MFA. Find out more about this participatory installation at mfastpete.org/event/mickett-stackhouse-irma-reflections/all. Image 3 is by Christian Marclay, a still from Telephones, 1995, video, running time 7:30 minutes. © Christian Marclay. Courtesy Paula Cooper Gallery, New York. Find out more about this pioneering artist at tate.org.uk/art/artists/christian-marclay.

Recorded in his London edit suite, filmmaker Charlie Lyne — director of Beyond Clueless, Fear Itself and the newly released Lasting Marks — breaks our format with The Clock, Christian Marclay’s 2010 gallery installation that uses the entirety of cinema and television to tell you the current time. Your genial host Norm Wilner wandered into it once at the Southbank Centre.

* This podcast was recorded on April 3, 2019 at Antiquite Midtown in Sacramento* We’re talking with some of Sacramento’s mightiest movers and shakers this year, people who are bringing changes, making waves and putting California’s capital on the map in bold font. This conversation is with two people who play big roles in shaping Sacramento’s arts scene, supporting and promoting local artists, and getting their efforts talked about in cultural circles around California and nationwide. Liv Moe, founding director of Verge Center for the Arts, and Estella Sanchez, founder and executive director of Sol Collective, do all this by providing vital resources to career and emerging artists, as well as offering arts education opportunities for youth and adults. They’re two major reasons why the Capitol City’s cultural scene is on fire, and why it has such a passionate community rooting it on. Join us as we talk with Moe and Sanchez about the state of the arts in Sacramento, what they’re working on now, and what they want to happen so that the city’s artists get the support they need and the recognition they deserve. PODCAST PLAY BY PLAY * O to 4:35 min - Intro to California Groundbreakers * 4:35 min - Sanchez and Moe introduce themselves, and describe the work of art that inspires them most (from Miguel Bounce Perez and Christian Marclay, respectively) * 8:05 min - From high school counselor and women's rights advocate to leaders in the arts: How each woman started down the path to the positions they hold today * 12:40 min - The specific things that make Sol Collective and Verge unique * 17:30 min - The blood, sweat and tears shed in buying the buildings these organizations are housed in -- and how that effort made both Sanchez and Moe stronger * 26 min - How strongly is Sacramento embracing its arts scene -- and its artists? * 33:20 min - The arts and gentrification: How they go together, for better and for worse * 41:50 min - Approaching art as activism, especially in these politically-charged times * 52 min - How Sacramento museums can better support the local arts scene * 1 hr - How Moe and Sanchez mentor their artists, and have helped them go on to bigger, better opportunities * 1 hr, 6:30 min - As a cultural leader in Sacramento, when do you know how loud to speak out, and how do you know when it's best to step back and stay silent? * 1 hr, 12:50 min - Next steps and future plans for Sol Collective and Verge

Jordan Peele talks about Us - his new film about a family terrorised by their doppelgängers. Having upturned the horror genre with his Oscar-winning racial satire Get Out, Jordan takes aim at the American dream in this follow up, starring Lupita Nyong'o.The artist Christian Marclay is best known for The Clock - a 24-hour long film composed of nearly 12 000 clips, taken from films depicting time references across a full day. Critic Sarah Crompton assesses his latest two 'collage' video works on show in a new exhibition about to open at the White Cube Gallery in London. The UK contemporary country music scene has grown rapidly over recent years, and this week Bauer Media announced that they will be launching a new radio station, Country Hits Radio. Next month also sees the release of new film Wild Rose where a Glaswegian singer dreams of becoming a Nashville star. The film writer, Nicole Taylor, and Gary Stein of Bauer Media discuss the rise in popularity of the genre here in the UK.Presenter: Samira Ahmed Producer: Hannah Robins

Crabb and Sales are back and refreshed from their summer break! Crabb has been indulging her love of prehistoric novelty-sized plants while Sales is now even more of a clock-watcher, after becoming obsessed with Christian Marclay’s The Clock.Crabb feels like the dog in that Larson Cartoon (via Flickr)Instragram:Chat 10 Looks 3: https://www.instagram.com/chat10looks3Annabel Crabb: https://www.instagram.com/annabelcrabbLeigh Sales: https://www.instagram.com/leigh_salesCrazy Rich Asians (2018) - based on the novel by Kevin KwanGarden’s By the Bay - SingaporeChristian Marclay: The Clock - Tate Modern, LondonThe Hours: How Christian Marclay created the ultimate digital mosaic by Daniel Zalewski (New Yorker, 12 March 2012)Christian Marclay: The Clock - ACMI, Melbourne; 23 Jan-10 Mar 2019Night on Earth (1991) - a film by Jim Jarmush featuring Winona RiderV&A - the world's leading museum of art and design, LondonV&A Photography CentrePeter Funch Sees the Patterns in the People on the Street by By Teju Cole (New York Times Magazine, March 20 2018) - See some Peter Funch acquisitions at the V&A.Same Shopping Centre, Same Baby - Annabel Crabb (SMH, 6 Nov 2007)Capturing history - Alex Ellinghausen explains his behind-the-scenes role in recording an extraordinary fortnight in Australian politics (SMH, 31 August 2018)'A comfortable work boot': Julie Bishop on her resignation red shoes by Stephanie Peatling (SMH, 27 Nov 2018Behind the lens of Parliament's prize photographer - Alex Ellinghausen (7.30, 20 Sep 2018)Kinetic Rain - Changi Airport, SingaporeReading Room, Wellcome Collection - London. (https://wellcomecollection.org/)The British Library - London. Cats on the Page exhibition (until 17 Mar 2019)Treasures from the World's Great Libraries - National Library Australia (2002) [Archived exhibition site]

Something a little different for us today, as we visit the Tate Modern to view Christian Marclay's 24 hour long video art installation, The Clock. It's a looping supercut of clips from film and television that involve clocks, watches, and people telling each other the time, synchronised to the real world. If you watch it at 8:10pm, it's 8:10pm in the film too. Supported by London's White Cube gallery, some 12,000 clips were assiduously located and assembled over three years by Marclay and his team of six researchers to create The Clock, and since its first exhibition in 2010 it's been popping up every now and again. We jumped at the chance to see it. The Clock's scarcity, ambition, and strength of concept have arguably been partially responsible for its uniformly positive reception since 2010. We, however, find plenty to criticise, including a certain imperial flavour to the overwhelmingly Anglo-American choices of source films, not to mention the whiteness that pervades the entire project and lack of imagination displayed by its reluctance to explore outside the canon. If one of the ideas behind the piece is to draw commonalities between cultures and eras, as Mike suggests, then this is a failure not just to please our sensibilities but to achieve its own purpose. The few non-English language clips that do intermittently show up serve only to highlight their own absence. There's also a discussion to be had about the piece's presentation. On the one hand, with the film housed in a vast, purpose-built room, entirely darkened, with sofas lined up in perfect geometric alignment, it's an unadulterated joy to let the time fly by, even when you know full well that you've been stood up for two hours because no seat is available and the artwork itself has been counting the minutes, mocking you. José decries the dismissive, contemptuous treatment cinema receives in art galleries, on which he has also recently written - https://notesonfilm1.com/2018/12/22/the-museums-disdain-for-cinema/ - but finds The Clock's presentation in this respect faultless. On the other, likely for the sake of a smooth viewing experience, the source clips have all been cropped (and in a few cases, stretched) to fit the same aspect ratio, a decision that we feel shows disrespect for the images and people behind them that far outweighs any benefit it has as to unifying them. There are, though, ways in which Marclay manipulates the source material that we find valuable. Indeed, the entire piece assembles clips from thousands of films, and editing is what it's all about. When The Clock edits clips together along thematic lines, such as when we see people in different films, places, and eras all taking their seats for concerts and plays at the same time, and when it indulges in formal exercises, cutting together car doors slamming or people smoking, it qualitatively changes its source footage into something different, achieving interesting and sometimes simply swoony effects. At other times, a character in one film will pick up the phone and speak to a character in a different film (often in a different era), the piece using humorous juxtaposition to connect them. And the piece constantly edits and mixes its own soundtrack, using the source films as a basis and typically fading between them, again smoothing the viewing experience, and occasionally building a soundtrack that sits behind an entire section of clips, binding them and creating something new, such as the anticipation generated by Run Lola Run's soundtrack as the film chases down noon. It's at these times that Mike is most impressed, seeing a marked difference between when The Clock is a film and when it's a film project, finding that too often is it the latter. But those moments of filmmaking are quite fantastic. The Clock is a singular work and one we'd urge anybody to see given the chance, but with room for significant and fair criticism. Keep an eye out for it. Recorded on 16th January 2019.

Michael Petry, author, artist and Director of the Museum of Contemporary Art in London talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about his new book “The Word Is Art” that addresses how contemporary global artists incorporate text and language into their works that speaks to some of the most pressing issues of the 21st century. In the digital and online age words have become more important than ever with text becoming information and information striving to become a free form of expression. “The Word Is Art” looks at the work of a diverse range of artists including Annette Messager, Barbara Kruger, Cerith Wyn Evans, Christian Marclay, Christopher Wool, Chun Kwang Young, eL Seed, Fiona Banner, Ghada Amer, Glenn Ligon, Harland Miller, Jenny Holzer, Kay Rosen, Laure Prouvost, Martin Creed, Rachel Whiteread, Raymond Pettibon, Roni Horn, Tania Bruguera, Zhang Huan and many more interpreting how the digital and online age have made words more important than ever. “The Word Is Art” takes us on a fascinating and richly illustrated tour interpreting these trending global art forms. We talked to Michael about his inspiration for creating this book and his spin on our LGBTQ issues. When asked what his personal commitment is to LGBTQ civil rights Petry stated, “I’m one of the ancients who’s been around fighting for LGBTQ rights since the early eighties and I’ve been involved in so many different ways over the years. I consider myself queer because I think that is a broader term that for me represents who I am and what I think and part of that commitment as a queer who is an artist and who also is an author and a curator is to try and bring queer artists to the foreground of the art world. We only have to think back a few years to realize that LGBTQ artists were very marginalized and that’s still the case for many people. In the LGBTQ movement every year I curate a Pride Exhibition in London which I really hope to introduce LGBTQ artists not only to that community but to the straight community and I work within all the structures that are available whether that’s museums or the corporate structure to get that recognition for LGBTQ people because I think what is at issue in the broader political sphere is this notion of fear. Fear of others and of course that fear is not limited to the general public. It’s also in the art world.” Michael Petry has written a number of books, including “Installation Art”, “The Art of Not Making: the new artist/artisan relationship”, “Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition” and his most recent work “The Word Is Art” all published by Thames & Hudson. In 2019 he will be speaking and exhibiting his work worldwide.For More Info: michaelpetry.com Hear 450+ LGBT Interviews @OUTTAKE VOICES

It's summer! The gang bring you all summer related goods including how to be a Badass by Tash York at The Butterfly Club and Suddenly Last Summer by Little Ones Theatre at Red Stitch. During intermission we discuss the mini-series Waco and King Lear via National Theatre Live. Coming soon heralds Midsumma - top picks include Merciless Gods, The Legend of Queen Kong Ep II + The Homosapiens. Also there is Christian Marclay's 24 hour video piece The Clock at ACMI and MON FOMA, Sydney Festival.

Es una obra transcendental por su perfecta simpleza y magistral ejecución. Igualmente es una meditación sobre esa cualidad única del ser humano: nuestra obsesión de medir el tiempo. The Clock de Christian Marclay es una obra maestra y seductora que todos deberían ver. También hablamos con Mario Flecha, Director de La Bienal de Jafra y ex editor de Untitled, sobre cómo crear y mantener una bienal sin dinero y con amigos en un pueblo medieval español. Con Jorge Ramírez y Juan Toledo Documental de Territori Contemporani sobre La Bienal de Jafra

Rifa and Christopher's weekly misadventures in the arts, culture, tech and diversity. Episode #14 – our penultimate episode of Season One. This week we went to the cinema to check out Steve McQueen's intense new heist thriller Widows, starring Viola Davis. We also took another trip up to Tate Modern to look at Christian Marclay's wonderful 2010 piece Clock, built from cut up clips from throughout cinema history. Rifa watched John Leguizamo's acclaimed one-man Broadway show Latin History For Moron's, which is now up on Netflix. In What You Reading For? Rifa highlights Ayoola Solarin's Dazed Digital article 'Frida Kahlo Is Not Your Symbol' about the commercial commodification of a communist art icon. http://www.dazeddigital.com/art-photography/article/40259/1/frida-kahlo-is-not-your-symbol Chris also read a magazine article this week; April Ryan's essay in the Washington Post, 'I'm A Black Woman, Trump loves insulting people like me.' https://www.washingtonpost.com/outlook/2018/11/10/im-black-woman-white-house-reporter-trump-loves-insulting-people-like-me/?utm_term=.80a0d6c4dcd2 Thank you for listening. Please 'like', subscribe, leave a nice rating and review – and best of all tell your friends about us. We'd love to hear your favourite arts of 2018 for our end of year review – visit the Facebook page to contribute. http://facebook.com/refigurepod and you can also follow us on Instagram @refigureuk. Cheerio.

Bill Morrison's most recent feature film, 'Dawson City: Frozen Time' (2016) is an astonishing look at the history of early cinema, and of North America in the early 20th century, told almost entirely with footage found buried in the former gold-mining town. But it is the product of a 25-year film career in which Morrison has built a distinctive way of telling stories using archive film, often in states of decay, and contemporary music. This week, Juliet talks to Morrison about his practice, from his time at film school to the present. SELECTED REFERENCES WORKS BY BILL MORRISON Full filmography: http://billmorrisonfilm.com/bio-filmography The Film of Her (1996) - http://sensesofcinema.com/2006/the-films-of-bill-morrison/morrison-film-of-her/ Decasia (2002) - https://bombmagazine.org/articles/bill-morrisons-decasia-the-state-of-decay/ Who by Water (2007) - https://vimeo.com/48669901 Spark of Being (2010) - https://variety.com/2011/film/reviews/spark-of-being-1117946734/ The Miners' Hymns (2011) - https://www.theguardian.com/music/2014/mar/16/the-miners-hymns-barbican-review-morrison-johansson The Great Flood (2013) - https://www.bfi.org.uk/news-opinion/sight-sound-magazine/features/american-refugees-bill-morrison-s-great-flood Beyond Zero: 1914-1918 (2014) - https://vimeo.com/125601994 Dawson City: Frozen Time (2016) - https://www.nybooks.com/articles/2018/08/16/dawson-city-after-gold-rush/ Robert Breer - https://lightcone.org/en/filmmaker-37-robert-breer The Clock (dir. Christian Marclay, 2010) - https://frieze.com/article/about-time-christian-marclays-clock-receives-its-tate-modern-premiere Gustav Deutsch & Peter Tscherkassky - https://www.closeupfilmcentre.com/library/essay/24-frames-a-second Fantasia (dir. Various, 1940) Flesh for Frankenstein (dir. Paul Morrissey, 1973) Frankenstein (dir. J. Searle Dawley, 1910) - https://www.youtube.com/watch?v=w-fM9meqfQ4 Frankenstein (dir. James Whale, 1931) Michael Gordon (Bang on a Can) The Green Fog (dir. Guy Maddin, 2017) - https://www.bfi.org.uk/news-opinion/sight-sound-magazine/reviews-recommendations/green-fog-guy-maddin-giddy-san-francisco-vertigo-remake La Jetée (dir. Chris Marker, 1962) - https://www.youtube.com/watch?v=aLfXCkFQtXw Jóhann Jóhansson Peter Kubelka - https://www.filmcomment.com/article/peter-kubelka-frame-by-frame-antiphon-adebar-arnulf-rainer/ Saved from the Titanic (dir. Étienne Arnaud, 1912, lost) MARY SHELLEY, Frankenstein (1818) Tom, Tom, the Piper's Son (dir. Ken Jacobs, 1969) - https://www.youtube.com/watch?v=hDYzi_qIYdc You Will Be Free (dir. Juliet Jacques, 2017) - https://www.youtube.com/watch?v=288L2CRNfZU Young Frankenstein (dir. Mel Brooks, 1974) Toute la mémoire du monde (dir. Alain Resnais, 1956) - https://www.youtube.com/watch?v=i0RVSZ_yDjs

After winning the Golden Lion at the Venice Biennale, international artist Christian Marclay is taking over Tate Modern with his ground breaking work installation the Clock. The 24-hour video installation was made using thousands of film clips depicting clocks or referencing time... in real time. Interview with Tate Modern Curator, Clara Kim. More info www.culturealt.com

After winning the Golden Lion at the Venice Biennale, international artist Christian Marclay is taking over Tate Modern with his ground breaking work installation the Clock. The 24-hour video installation was made using thousands of film clips depicting clocks or referencing time... in real time. More info www.culturealt.com

We’ve got films, art about films and a Shakespeare play that has been adapted into film numerous times. Chloe Grace Moretz stars in The Miseducation of Cameron Post and the temporary, cinematic treat of The Clock by Christian Marclay is set up at the Tate Modern until January 2019. We’ve seen them both and can […]

Christian Marclay's acclaimed 24 hour video installation The Clock at Tate Modern is a montage of thousands of film and television clips that depict clocks or reference time and operates as a journey both through cinematic history as well as a functioning timepiece. The installation is synchronised to local time wherever it is on display, transforming artificial cinematic time into a sensation of real time inside the gallery. John Carroll Lynch's debut feature Lucky stars Harry Dean Stanton in his last major screen role in a career which included films such as Repo Man, Wild at Heart, Paris, Texas and Wise Blood. Lucky co-stars David Lynch, Stanton's long time friend and collaborator. The Letters of Sylvia Plath Volume II: 1956 - 1963 edited by Peter K Steinberg and Karen V Kukil document - unabridged and without revision - Plath's literary development and private life. It includes 14 letters Plath wrote to her psychiatrist, Dr Ruth Beuscher, between 1960 and 1963. Trust is a ten part series starring Donald Sutherland as J Paul Getty and Hilary Swank as Gail Getty, the mother of John Paul Getty III, heir to the Getty oil fortune who was kidnapped in 1973 by the Italian mafia in Rome. It was written by Simon Beaufoy and directed (first three episodes) by Danny Boyle who previously worked together on Oscar winning Slumdog Millionaire. An Adventure by Vinay Patel at the Bush Theatre in London follows young couple Jyoti and Rasik as they leave India for Kenya in hope of a better life, only to find themselves entangled in the Mau Mau rebellion, from which they leave for England. It is based on the life story of Vinay Patel's grandparents and is directed by Madani Younis, the Artistic Director of the Bush Theatre.

We speak to our long-standing correspondent and expert on Van Gogh Martin Bailey on his new book, which tells the story of the artist’s life at the asylum at Saint-Paul-de-Mausole in Provence, southern France. He is joined by the art historian Martin Gayford, author of the Yellow House, a book on Van Gogh’s time in Arles. Later, Christian Marclay tells us about his ground-breaking work The Clock returns to London where it was created eight years ago. Produced in association with Bonhams, auctioneers since 1793. See acast.com/privacy for privacy and opt-out information.

Au menu de l'épisode du jour, une vidéo de Christian Marclay intitulée "The Clock", qui a la particularité de durer 24h. C'est long, très long, et pourtant j'y accolle le mot "badass". Pourquoi ? Réponse dans cet épisode ! 

This week, Christopher Fowler discusses with Ivan six things which he thinks should be better known. Spanish films http://www.tasteofcinema.com/2016/the-30-best-spanish-language-movies-of-all-time/ Brigid Brophy www.independent.co.uk/news/people/obituary-brigid-brophy-1595286.html?cmp=ilc-n The lost Russian base at Pyramiden www.smithsonianmag.com/travel/soviet-ghost-town-arctic-circle-pyramiden-stands-alone-180951429 Christian Marclay’s ‘The Clock’ http://www.tate.org.uk/whats-on/tate-modern/exhibition/christian-marclay-clock How Freud got American women to smoke www.youtube.com/watch?v=DnPmg0R1M04 Screwball Comedies http://cinecollage.net/screwball-comedy.html This podcast is powered by ZenCast.fm

Hoje vamos continuar o que faltou dizer na primeira parte das indicações de melhores do ano de 2017: Nesse programa #39 retomamos as listas feitas por funcionários da editora, com suas indicações de leituras, filmes, séries, álbuns, e muito mais. Vamos lá? Quezia Cleto, editorial Melhores pratos: Frittata, a omelete espanhola com batatas; Pão no vapor com barriga de porco; Sanduíche de lagosta. Livros: “O gene”, de Siddhartha Mukherjee; “Americanah”, de Chimamanda Ngozi Adichie; “Uma breve história da bebedeira”, de Mark Forsyth (que será lançado em 2018 pelo selo da Paralela). Melhores livros infantis: “Barrigão no chão”, Coleção Hora do bebê; “Bárbaro”, de Renato Moriconi; “Quem soltou o pum?”, Blandina Franco. Julia Bussius, editorial Melhores leituras para fazer junto com crianças: “Coisa de menina”, de Pri Ferrari; “Nós agora somos quatro”, Lilli L'Arronge; “Muito cansado e bem acordado”, de Susanne Straßer. Podcasts: Where should we begin?, da autora de “Sexo no cativeiro”; The Longest Shortest Time; Dear Sugars, da autora de “Livre”. Séries: “Big little lies”; “Handmaid’s tale”; “Girls”. Livros que deseja ler em 2018: “Manual da faxineira”, de Lucia Berlin; “Noite da espera”, de Milton Hatoum; “Guerra e paz”, de Liev Tolstói. Luara França, editorial Releituras de clássicos: “Anna Kariênina”, de Liév Tolstói; “Sempre vivemos no castelo”, de Shirley Jackson; “Frankenstein”, de Mary Shelley. Filmes: “Eu, Daniel Blake”; “Moana: Um Mar de Aventuras”; “Star Wars: Episódio VIII - Os Últimos Jedi”. Álbuns: “I see you”, de The XX; “Turn out the lights”, de Julien Baker; “Out in the Storm”, de Waxahatchee; “Ctrl”, de Sza. Marina Pastore, e-books Podcasts: - No such thing as a fish; - Scienceish; - My dad wrote a porno. Começos de livros: - “Middlesex”, de Jeffrey Eugenides; - “As intermitências da morte”, de José Saramago; “Enclausurado”, de Ian McEwan; Enrico Weg Sera, divulgação Séries: “Big little lies”; “American Crime Story The People vs. O. J. Simpson”; “The good fight”. Shows: Dua lipa, na Audio Club; Daughter, no Memorial da América Latina; Carne doce, no Memorial da América Latina. Livros: “First love, last rites”, livro de contos de Ian McEwan; “Elsewhere, Perhaps”, de Amós Oz; “A noite da espera”, de Milton Hatoum. Fabio Uehara, novos negócios Podcasts "On taking pictures"; "99% invisibles"; "Projeto humanos". Livros “Manual da faxineira”, de Lucia Berlin; "A noite da espera”, de Milton Hatoum; "Nossas noites", de Kent Haruf. Documentários “Empire of the Tsars”; “Minimalism: A Documentary About the Important Things”; “The mask you live in”. Indicação de show: Sigur Rós Indicação de exposição: Os americanos, de Robert Frank Laura Bing, produtora do podcast Exposições “Nada levarei quando morrer”, de Miguel Rio Branco, no MASP; “The Clock”, de Christian Marclay, no Instituto Moreira Salles; “Guerrilla Girls”, no MASP. Documentários “The mask you live in”; “The Internet's Own Boy: The Story of Aaron Swartz”; “Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligated Mention of Tony Clifton”. Indicação de podcast: Conversations with people who hate me Helen Garcia Claro, marketing Livros "Como se estivéssemos em palimpsesto de putas", de Elvira Vigna "Antes de nascer do mundo", de Mia Couto "O homem sem doença", de Arnon Grunberg Protagonistas de séries Kimmy Schmidt, de “Unbreakable Kimmy Schmidt” Nola, de “Ela quer tudo” Olivia Pope, de “Scandal” Músicas mais ouvidas Qualquer uma de Simone e Simaria “Massarandupió”, de Chico Buarque “Tu”, de Tulipa Ruiz E já temos nosso compromisso para o final de janeiro, certo? O Clube Rádio Companhia, dessa vez com o livro Anna Kariênina, de Liev Tolstói. É só escrever lá no evento do clube de leitura no Facebook, que nós leremos os comentários durante a gravação do podcast, lembrando que as melhores participações ganham livros da Companhia das Letras!

No Bilheteria #150 contamos com a presença de Matheus Leston, mais conhecido por alguns como Tetheu, para falarmos sobre relógios em filmes, o cheiro da cera de ouvido, a irreverência de Marisa Orth e a humanidade de Jerry Seinfeld.Participantes:Matheus Leston Henrique Sampaio (https://twitter.com/RiqueSampaio) Heitor De Paola (https://twitter.com/zitosilva)Assuntos abordados:3 min - Ouvidos 7 min - Por onde anda Tetheu? 18 min - The Clock, de Christian Marclay 39 min - Show do Gongo 50 min - Girl Unbound 58 min - Bastidores da Comédia 1h15 min - Kimi no na wa 1h23 min - EmailsMúsica do final: Matheus Leston - Orquestra VermelhaAgradecimentos:* André da Luz Daher* Vanilo AlexandreEnvie emails com perguntas e sugestões para: bilheteria@overloadr.com.br ou através de nossa página do Facebook (https://www.facebook.com/overloadr/).(http://overloadr.com.br/wp-content/uploads/2017/05/apoiase.png)

Slow Writing: Thom Andersen on Cinema (Visible Press) Slow Writing is a collection of articles by Thom Andersen that reflect on the avant-garde, Hollywood feature films, and contemporary cinema. His critiques of artists and filmmakers as diverse as Yasujirō Ozu, Nicholas Ray, Andy Warhol, and Christian Marclay locate their work within the broader spheres of popular culture, politics, history, architecture, and the urban landscape. The city of Los Angeles and its relationship to film is a recurrent theme. These writings, which span a period of five decades, demonstrate Andersen’s social consciousness, humour and his genuine appreciation of cinema in its many forms. Thom Andersen’s films include the celebrated documentary essays Eadweard Muybridge, Zoopraxographer (1975), Red Hollywood (1996), Los Angeles Plays Itself (2003), and The Thoughts That Once We Had (2015). Of the thirty-four texts included in the book, six are hitherto unpublished; others have been revised or appear in different versions to those previously available. Praise for Slow Writing “There are few writers and few filmmakers who make me rethink what cinema is more than Thom Andersen. Sometimes this is a matter of introducing fresh perspectives, such as making cinema and architecture more mutually interactive. It’s always a political matter of figuring out just who and where we are, and why.”----- Jonathan Rosenbaum “In his disarmingly plainspoken introduction, Thom Andersen more or less apologizes for not becoming a film critic, and for not delivering a manifesto. Slow Writing shows us just how terrific a critic he hasn’t (mostly) bothered to be. This book belongs on a very small and special shelf of the most incisive and ungrandiose books by artists.”----- Jonathan Lethem Thom Andersen has lived in Los Angeles for most of his life. His knowledge of and enthusiasm for the city has deeply informed his work, not least his widely praised study of its representation in movies, Los Angeles Plays Itself (2003), which was voted one of the 50 Best Documentaries of All Time in a Sight & Sound critics’ poll. Andersen made his first short films and entered into the city’s film scene as a student of USC and UCLA in the 1960s. His hour-long documentary Eadweard Muybridge, Zoopraxographer (1974) was realised under an AFI scholarship and has lately been restored by the UCLA Film and Television Archive. His research into the victims of the Hollywood Blacklist, done in collaboration with film theorist Noël Burch, produced the video essay Red Hollywood (1996) and book Les Communistes de Hollywood: Autre chose que des martyrs (1994). Andersen’s recent films include Reconversão (2012) on the work of Portuguese architect Eduardo Souto de Moura, and The Thoughts That Once We Had (2015), a personal history of cinema loosely inspired by Gilles Deleuze. A published writer since 1966, Andersen has contributed to journals such as Film Comment, Artforum, Sight and Sound and Cinema Scope. He has taught at the California Institute of the Arts since 1987, and was previously on faculty at SUNY Buffalo and Ohio State University. Also a respected film curator, he has acted as programmer for Los Angeles Filmforum and curated thematic retrospectives for the Viennale. Slow Writing: Thom Andersen on Cinema is the first collection of his essays.  Tosh Berman is a writer and poet.  His two books are Sparks-Tastic (Rare Bird) and a book of poems, The Plum in Mr. Blum's Pudding (Penny-Ante Editions).  He is also the publisher and editor of his press, TamTam Books, which published the works of Boris Vian, Serge Gainsbourg, Guy Debord, Jacques Mesrine, Ron Mael & Russell Mael (Sparks) Gilles Verlant, and Lun*na Menoh. 

This week we talk aesthetics, Rafael coins the term Klingoncoco and Jeremy declares anti-social aesthetics impossible. Explain Me, Paddy Johnson and William Powhida’s new art podcast https://itunes.apple.com/us/podcast/explain-me/id1292346467?mt=2 Kickstarter PWL camp https://storify.com/GloryEdim/pwlcamp2016 Relational Aesthetics https://www.amazon.com/Relational-Aesthetics-Nicolas-Bourriaud/dp/2840660601/ref=sr_1_1?ie=UTF8&qid=1297140777&sr=8-1 A Happening https://en.wikipedia.org/wiki/Happening Jeremy’s accelerator for artists, Lean Artist http://www.leanartistchicago.com/ A Vernacular Web http://art.teleportacia.org/observation/vernacular/ Nam June Paik https://theculturetrip.com/asia/south-korea/articles/nam-june-paik-the-father-of-contemporary-video-art/ Theaster Gates https://art21.org/artist/theaster-gates/ Bad Troemel taco http://gawker.com/5922870/taco-locks-and-other-delights-from-the-internets-weirdest-etsy-store Roy Lichtenstein http://www.tate.org.uk/art/artists/roy-lichtenstein-1508 Bootstrap http://getbootstrap.com/ The Aesthetics of Failure https://www.guggenheim.org/arts-curriculum/topic/aesthetics-of-failure The New Aesthetic http://jamesbridle.com/works/the-new-aesthetic Ugly LA coffee shop Christian Marclay, The Clock (Yes it’s just a 24 hour video synced to the exact time) https://www.theguardian.com/film/filmblog/2011/apr/07/christian-marclay-the-clock Original Blade Runner https://www.youtube.com/watch?v=eogpIG53Cis Blade Runner 2049 https://www.youtube.com/watch?v=gCcx85zbxz4 Mad Max (1979) https://www.youtube.com/watch?v=caHnaRq8Qlg Star Trek Discovery https://www.youtube.com/watch?v=JsYu9jsmlHc Geiger https://en.wikipedia.org/wiki/H._R._Giger Rococo https://en.wikipedia.org/wiki/Rococo Generative design https://www.autodesk.com/solutions/generative-design Rirkrit Tiravanija https://en.wikipedia.org/wiki/Rirkrit_Tiravanija ** Comercial Break ** The Wrong Biennial http://thewrong.org/ 'Ode To Spot' Star Trek: The Next Generation https://www.youtube.com/watch?v=SySZdvsFYt4 Autodesk airplane design https://www.autodesk.com/redshift/bionic-design/ Bauhaus https://www.metmuseum.org/toah/hd/bauh/hd_bauh.htm Jan Robert Leegte http://www.leegte.org/ John Baldessari http://www.baldessari.org/ Made with ARKit https://twitter.com/madewitharkit?lang=en K Hole’s Youth Mode (lead to norm core) http://khole.net/issues/youth-mode/ Normcore http://www.dazeddigital.com/tag/normcore Chuck Close http://chuckclose.com/

For this episode of The Future Is A Mixtape, Jesse & Matt explore the paranoid dread and narcotic pull of Adam Curtis' most recent documentary of political-noir, HyperNormalisation. In 2 hours and 40 minutes, it charts the globe-hopping travails of terrorists, bankers, politicians and America's digital aristocracy--all of whom use humanity as pawns by promising simple stories to explain complex problems which can't be solved with “perception management” and pastel fairy-tales about “good vs. evil.” Considered by many to be the most talented and remarkable documentarian in Britain, Adam Curtis has weaved suspicion and suspense into a BBC career that stretches from 40 Minutes: Bombay Motel in 1987 (which explores the have and have-nots of the city) to his most recent film HyperNormalisation in 2016 (which explores how an entirely Russian condition has now passed into the wider-world). Curtis' documentary was released less than a month prior to the mind-gagging upset of Hillary Clinton's loss to Donald Trump, and the film increasingly speaks to a disenchanted, rat-fucked future of no-returns. Jesse & Matt will discuss what makes this “dank” film so compelling and deeply-felt, as well as what makes it, almost equally so, such an evasive work of art. Mentioned In This Episode: The Original Trailer for Adam Curtis' HyperNormalisation Vice: Watch Adam Curtis' Short Film,  Living in an Unreal World, Which Is Effectively a Non-Traditional Film Teaser for His Recently Released Documentary Watch Adam Curtis' HyperNormalisation at This Youtube Link (While It Lasts) Adam Curtis' Official Blog on BBC Adam Curtis' Biography on Wikipedia Internet Movie Database (IMDB) on Adam Curtis Radiohead Does Some ‘Cosmic Shit' with Supercollider--A Tribute to LHC NPR: “It's Locals vs. ‘PIBS' at the Sundance Film Festival” Bondage Power Structures: From BDSM and Spanking to Latex and Body Odors The Sun: “Japan's Weird Sex Hotels -- Offering Everything From Prison Cell Bondage to Vibrator Vending Machines” A Satire of Adam Curtis, The Documentarian: The Loving Trap The Hydra-Headed Tropes of Adam Curtis Films: Chris Applegate on Twitter: “Forget ‘HypernorNormalisation,' Here's Adam Curtis Bingo!” Why Is It That Matthew & Jesse Lack Real Whuffie: Tara Hunt's “The Whuffie Factor: Using the Power of Social Networks to Build Your Business” About New York's Most Legendary New Wave Band: The Talking Heads James Verini in The New Yorker: “The Talking Heads Song That Explains Talking Heads” Christian Marclay's The Clock at The LACMA Museum An Excerpt from Marclay's Film-Collage, The Clock Wired Magazine: “Film Clips of Clocks Round Out 24-Hour Video” A Youtube Excerpt of BBC News Coverage of Christian Marclay's The Clock Ken Hollings in BBC News: “What Is the Cut-Up Method?” William Burrough's “The Cut Up Method” in Leroi Jones' (Baraka) The Moderns: An Anthology of New Writing in America William Burrough's The Naked Lunch A YouTube Clip of Taking Down the Financial District: The Ending of Fight Club Chuck Palahniuk's Fight Club: A Novel Little Known X-Files' Spin-Off Pilot Episode of The Lone Gunmen Eerily Imagined A Plane Crashing Into The World Trade Center A Portrait by Gerard Malanga: “William Burroughs Takes Aim at NY's Twin Towers, from Brooklyn Bridge, 1978” Adam Curtis Documentaries Currently Found on YouTube: Pandora's Box (1992) The Living Dead (1995) Modern Times: The Way of All Flesh (1997) The Mayfair Set (1999) His Finest Achievement & Magnum Opus: The Century of the Self (2002) The Power of Nightmares (2004) The Trap: What Happened to Our Dream of Freedom (2007) All Watched Over By the Machines of Loving Grace (2011) Bitter Lake (2015) HyperNormalisation (2016) Talkhouse: “Tim Heidecker [from Tim & Eric Show] with Adam Curtis” Naomi Klein's Shock Doctrine Matthew Snyder's Syllabus & Course Theme for Fall of 2016: “Presidential Material” Jim Rutenberg in The New York Times: “Can the Media Recover From This Election?” Nate Cohn in The New York Times: “What I Got Wrong About Donald Trump” Nate Silver in FiveThirtyEight: “Why FiveThirtyEight Gave Trump A Better Chance Than Almost Anyone Else” People Pretended to Vote for Kennedy in Larger and Larger Numbers After His Assassination: Peter Foster in The Telegraph: “JFK: The Myth That Will Never Die” YouTube Clip of Alex Jones Getting Coffee Thrown onto to Him While in Seattle Fredrick Jameson on the True Nature of Conspiracy Theories in His Famous Work, Postmodernism, Or, The Cultural Logic of Late Capitalism (1992):The technology of contemporary society is therefore mesmerizing and fascinating not so much in its own right but because it seems to offer some privileged representational shorthand for grasping a network of power and control even more difficult for our minds and imaginations to grasp: the whole new de-centered global network of the third stage of capital itself. This is a figural process presently best observed in a whole mode of contemporary entertainment literature -- one is tempted to characterize it as "high-tech paranoia" -- in which the circuits and networks of some putative global computer hookup are narratively mobilized by labyrinthine conspiracies of autonomous but deadly interlocking and competing information agencies in a complexity often beyond the capacity of the normal reading mind. Yet conspiracy theory (and its garish narrative manifestations) must be seen as a degraded attempt -- through the figuration of advanced technology -- to think the impossible totality of the contemporary world system. It is in terms of that enormous and threatening, yet only dimly perceivable, other reality of economic and social institutions that, in my opinion, the postmodern sublime can alone be theorized. Perception Management: A Working Definition Adam Curtis' Remarkable Analysis of Neoconservatives and The Taliban in The Power of Nightmares (2004) The BBC Director's Finest Achievement & Magnum Opus: The Century of the Self (2002) Edward Bernays' Propaganda (Published in 1928) Haskell Wexler's Medium Cool (1968; Released on Criterion in 2013) Jaime Weinman in Maclean's: “The Problem With ‘Problematic'” Gore Vidal: A Working Biography James Kirkchick in The Daily Beast: “Why Did Gore Vidal and William Buckley Hate Each Other?” Morgan Neville's Best of Enemies: Gore Vidal vs. William F. Buckley Christopher Hitchens: A Working Biography The Future Is A Mixtape: Episode 004: “TDS: Terminal Dystopia Syndrome” Dave Eggers' Half-Burnt Satire & Confused Omelette: The Circle Strange Horizons: Estrangement and Cognition by Darko Suvin Takayuki Tatsumi in Science Fiction Studies (V:11; PII): “An Interview with Darko Suvin” David Graeber in The Guardian: “Why Is the World Ignoring the Revolutionary Kurds in Syria?” David Graeber on Real Media: “Syria, Anarchism and Visiting Rojava” InfoWar: “David Graeber: From Occupy Wall Street to the Revolution in Rojava” ROAR Magazine: “Murray Bookchin and The Kurdish Resistance” About PissPigGranddad in Rolling Stone: “American Anarchists Join YPG in Syria Fighting ISIS, Islamic State” The New York Magazine: “The DirtBag Left's Man in Syria: PissPigGranddad Is Coming Home from Syria” IMPORTANT CORRECTION: Matt's claim that HyperNormalisation--the term--came from two Russian brothers, Arkady and Boris Strugatsky, who were both Science Fiction authors, is DEAD wrong. The term "hypernormalisation" is taken from Alexei Yurchak's 2006 book Everything Was Forever, Until It Was No More: The Last Soviet Generation. Arkady and Boris Strugatsky: A Working Biography Guy Debord's Society Of The Spectacle (The Original 1967 Book) Guy Debord's Society Of The Spectacle (The 1973 Film on YouTube) Harold Bloom's The Anxiety of Influence: A Theory of Poetry Mike Davis' “Not a Revolution--Yet” {His Brilliant Multi-Causal Analysis of Why Donald Trump Won the Election} Jodi Dean on Why Facebook Crushes Complexity of Thought: “Communicative Capitalism and the Challenges of the Left” China Mieville in Socialist Review: “Tolkien - Middle Earth Meets Middle England” Thought Catalog: “14 Unexpected Ways Your Relationship With Your Parents Changes As You Get Older” The Atlantic: “12 Ways to Mess Up Your Kids” Tim Lott in the Guardian About Children's Ruthless Engagement with Irony: “Are Sarcasm and Irony Good for Family Life?” George W. Bush Telling Americans to Still Go Shopping with Their Families and Travel to Disneyland Ranker: “11 Ways Dying in Real Life Is Way Different Than Movie Deaths” David Graeber in Baffler: “Of Flying Cars and the Declining Rate of Profit” Jules Verne's Around the World in Eighty Days Steven Soderbergh's Ocean's Eleven & Twelve John A. Farrell in The New York Times: “Nixon's Vietnam Treachery” Peter Baker in The New York Times: “Nixon Tried to Spoil Johnson's Vietnam Peace Talks in ‘68, Notes Show” Brick Underground: “Stop Blaming the Hipsters: Here's How Gentrification Really Happens (And What You Can Do About It)” Matt Le Blanc's Episodes Chris Renaud's Dr. Suess' The Lorax (The Fucking Godawful Movie-Travesty) Dr. Suess' Brilliant Book on Ecology and Capitalism: The Lorax A Historical Guide in How Women's Rights Have Been Used in War as Seen in Katharine Viner's Essay in The Guardian: “Feminism as Imperialism” Zillah Eisenstein in Al Jazeera: “‘Leaning In' in Iraq: Women's Rights and War?” David Cortright in The Nation: “A Hard Look at Iraq Sanctions” Ricky Gervais' Extras: The Complete Series (On DVD) Annie Jacobsen's Area 51: An Uncensored History of America's Top Secret Military Base Salon Magazine: “The Area 51 Truthers Were Right” Christopher Guest's For Your Consideration How Adam Curtis Misunderstands Arab Spring, Occupy and Weirdly Ignores Bernie Sanders in Jonathan Cook's Essay in Counterpunch: “Adam Curtis: Another Manager of Perceptions” The Los Angeles Review of Books: Mike Davis on Occupy Wall Street in His Essay: “No More Bubblegum” Whuffie: A Working Definition Cory Doctorow Excoriates His Naive Idea of Whuffie in His Essay in Locus Magazine: “Wealth Inequality Is Even Worse in Reputation Economies” Dear Adam Curtis: Here's Some Actual, Real-Life Examples of Organizations Offering Alternatives to Our TDS World: The Next System Project Transition Town: United States IE2030 Open Source Ecology Democracy at Work Community Land Trust Network Democratic Socialists of America Corbyn's Labour Party Momentum: A New Kind of Politics The World Transformed Novara Media Marshal Ganz's Why David Sometimes Wins: Leadership, Organization, and Strategy in the California Farm Worker Movement Malcolm Gladwell's David and Goliath: Underdogs, Misfits, and the Art of Battling Giants John Lynch in Business Insider: “The Average American Watches So Much TV It's Almost a Full-Time Job” Kathryn Cramer in The Huffington Post: “Enough With Dystopia: It's Time For Sci-Fi Writers To Start Imagining Better Futures” Jeet Heer in New Republic: “The New Utopians” (an Overview of Kim Stanley Robinson's Works & Other Authors Using SF to Imagine a Better Future) Radiohead's Music Video for “Daydreaming” The New Yorker: “The Science of Daydreams” The Australian: “The Benefits of Lucid Dreaming” Anna Moore in The Guardian Explores Our Twenty-Year Relationship with Prozac: “Eternal Sunshine” Larry O'Connor in The Washington Free Beacon: “Ending the Starbucks ‘Pay-It-Forward' Cult, for America” Mimi Leder's Pay It Forward (Featuring Haley Joel Osment, Helen Hunt and Kevin Spacey) The Economist on BlackRock's Aladdin: “The Monolith and the Markets” Foundational Articles & Interviews With Adam Curtis: The Wire Magazine: “An Interview With Adam Curtis” Vice: “Jon Ronson in Conversation with Adam Curtis” Paste Magazine: “Adam Curtis Knows The Score: A List of Five Films”   Feel Free to Contact Jesse & Matt on the Following Spaces & Places: Email Us: thefutureisamixtape@gmail.com Find Us Via Our Website: The Future Is A Mixtape Or Lollygagging on Social Networks: Facebook Twitter Instagram

The inaugural episode of Explain Me, an art podcast with critic Paddy Johnson and artist William Powhida! A round of woos and hoos please! Explain Me looks at politics, money and the moral of responsibility of artists working in the art world. In this episode, we discuss Documenta's massive overspending and near bankrupcy, the closure of Bruce High Quality Foundation University, and a new development along the 7 line describing itself as New York's best installation. We also talk about a few shows we've seen recently in Chelsea, Kara Walker at Sikkema Jenkins, Christian Marclay at Paula Cooper, Tom Friedman at Lurhing Augustine, Franklin Evans at Ameringer | McEnery | Yohe,  Maya Lin at Pace, Robert Motherwell at Paul Kasmin, and Celeste Dupuy Spencer at Marlborough Gallery. Expect opinions. 

In advance of next year’s season of Twin Peaks, we open with Julee Cruise’s collaboration with Angelo Badamelenti in “Falling”, plus some piano features, including live solo John Cale in Brussels, Allan Macmillan (Lou Reed’s “Berlin”), Mike Garson (David Bowie’s “Aladdin Sane”), and sound artist Christian Marclay’s cut-up Chopin preludes. Original air date: September 23, 2016

Kristen Hoskins, Curator of Lectures, Courses, and Concerts at the Museum of Fine Arts Boston, stops by to talk about the fall season of exhibitions, including Frances Stark and Christian Marclay’s 24-hour film The Clock. Air date: September 9, 2016

The 194th of a series of weekly radio programmes created by :zoviet*france: First broadcast 26 March 2016 by Resonance 104.4 FM Thanks to the artists and sound recordists included here for their fine work. track list 1 Four Hands - Mountain Dub (:zoviet*france: Woodshed Remix 1) 2 Bruno Maderna - Invenzione su una voce (Dimensioni II) 3 TheOxfordAmbientCollectiv - Spirit IV 4 Stéphane Marin - Virevoltes 5 Marc Kate - No, Nothing Is Ever Haunted 6 Birds of Tin - Ships 7 PS - 353c_080319 8 Barbara Bloom and Christian Marclay - [untitled – 'The French Diplomat's Office Soundtrack' track 8] 9 Sevenism - Recursion 1 (Enough)

In this discussion, artists Christian Marclay and Cornelia Parker RA – with historians Professor Dario Gamboni and Dr Ros Holmes – discuss the impact of the “readymade” and the destructive process in art, as seen in the work of Ai Weiwei. Many of the strategies that Ai Weiwei employs as an artist can be easily aligned within the legacy of iconoclasm and the notion of art under attack. Works such as Dropping a Han-Dynasty Urn (pictured below), Han Dynasty Urn with Coca-Cola Logo and Kippe all possess an action or process by the artist which subverts the original visual representation and meaning of an object.

Brad Wilke is the screenwriter of Camel Spiders and Piranhaconda. Brad holds an MBA from the University of Washington's Foster School of Business as well as a Master of Communication in Digital Media from the University of Washington's Department of Communication.  He's the Co-Founder of Smarthouse Creative, a company that designs and executes digital and social media strategies for films and filmmakersWe talk about how to build an audience for your project, how to network (hint it's not spamming people), and working with the legendary Roger Corman. Pre Show Notes-- Join the Blab with Madalyn Sklar and I on Thursday Dec 10th at 8 PM EDT as we talk film marketing-- Dave Bullis Podcast T-Shirt Contest - To enter just give the iTunes a rating and send me the review.-- December 2015 Filmmaker Gear Giveaway cheat sheet-- How to Podcast 2015 - KindleShow Notes-- West Point Military Academy-- Amira and Sam via Drafthouse Films-- Ranger Up - Military Attire-- Ranger 15's crowdfunding campaign (ended June 25th, 2015)-- Camel Spiders-- Death Stalker 2-- Chopping Mall-- Not of this Earth-- Fast Times at Ridgemont High-- Jim Wynorski - Film Director -- Tagboard - A social media tool to track hashtags-- The Clock by Christian Marclay-- 13 Chambers - 13 Female Directors to make Site-Specific Horror Films-- Chatty Catties - Feature film-- Why Soulja Boy's 2.5 Million Twitter Followers Didn't Make a Hit Album-- The Obstacle is the Way by Ryan Holiday Social Media Tips & Tricks(These are supplementary links to help you build your social media)Crowdfinding-- What is the cost of Social Media? via Social Media Today-- The 5 Best Ways to Use Social Media to Build an Audience For Your Movie via IndieWire-- How to Build an Audience for Your Film Using YouTube (the Right Way) via No Film School-- Tips and Tricks for Getting Your Film The Audience It Deserves via VideomakerCrowdfunding-- How to Plan a Kickstarter for Your Film — The Ultimate Guide --  Don't Hire Someone to Run Your Kickstarter Campaign: Or, Why Attitude is More Important than Aptitude by Ryan Koo-- Crowdfunding 101: Ten Things You Must DoContactBrad Wilke-- Official Site-- Twitter-- InstagramSmarthouse Creative-- Official Site-- Twitter-- InstagramDave Bullis-- Official Site-- Instagram-- Twitter-- Facebook-- YoutubeSupport the Podcast!1. Sign Up for Dave's email list2. Rate the Podcast on iTunes3. Buy on Amazon.com using my affiliate link4. Buy Final Draft screenwriting software using my affiliate link5. Buy Jason Brubaker's, 'How to Sell Your Movie' course via my affiliate link6. Buy Jason's Brubaker, '101 Short Film Ideas' book for only $7!7. My Podcast Amazon wish list 8. Buy a shirt in the Zazzle storeSubscribe to the Podcast-- Podbean -- iTunes -- Stitcher

Christian Wolff is widely acknowledged as one of the most important American composers of the 20th century. He was born in 1934 in Nice, France, and has lived in the U.S. since 1941. He studied piano with Grete Sultan and, briefly, composition with John Cage. His association and friendship with Cage and with Morton Feldman, Earle Brown, and David Tudor helped set the direction of his work, as did later association with Frederic Rzewski and Cornelius Cardew. Since 1952 he has been musically connected to Merce Cunningham and his dance company. In addition to his composing (over 200 works to date) he has been a sometime performer and improviser with, among others, AMM, Larry Polansky, Kui Dong, Keith Rowe, Christian Marclay, Takehisa Kosugi, and Steve Lacy. His music is published by C.F. Peters and much of it as been recorded. Academically trained as a classicist, he taught at Harvard from 1963 to 1970, and at Dartmouth College from 1971 to 1999, in the music and classics departments. He is currently a full-time independent musician.

Brian and Alex survey new music from Belle and Sebastian, plus Ennio Morricone’s score for the 1977 film Il Gatto, Christian Marclay’s take on Louis Armstrong, and more.

Tom Stoppard's play The Hard Problem is his first new work for the National Theatre in 13 years; is it worth the wait? Paul Thomas Anderson has adapted a Thomas Pynchon novel Inherent Vice - the first time a cinema director has wrestled this famously difficult author onto the screen. How well does it work? Documentary maker Adam Curtis's Bitter Lake attempts to explain the complicated political situation in Afghanistan. It's only available on iPlayer; might this be a new way for the BBC to 'broadcast' material? If so, what might the consequences be? Joyce Carol Oates has published more than 40 novels in her five decade long career. Her latest 'Sacrifice' is based around a notorious alleged rape case in the US Christian Marclay's exhibition at White Cube in Bermondsey includes a post-pub-crawl soundscape and paintings of sound effects - turning representations of audio experiences into fine art Tom Sutcliffe's guests are Rowan Pelling, Julia Peyton Jones and Robert Hanks. The producer is Oliver Jones.

MOVIE HIGHJACKING REMIX EXTRAVAGANZA ou l'art délicat du détournement cinématographique. Le 7ème s’intéresse au phénomène du remix-cinéma, ces œuvres où des créateurs font le détournement d'un ou plusieurs films pour remonter un tout autre genre de patente. REBIRTH OF A NATION de DJ Spooky! THE CLOCK de Christian Marclay ! LA CLASSE AMÉRICAINE de Michel Hazanavicius and Dominique Mézerette et FINAL CUT:LADIES AND GENTLEMEN de György Pálfi! La dialectique peut-elle casser des briques? 

MOVIE HIGHJACKING REMIX EXTRAVAGANZA ou l'art délicat du détournement cinématographique. Le 7ème s'intéresse au phénomène du remix-cinéma, ces œuvres où des créateurs font le détournement d'un ou plusieurs films pour remonter un tout autre genre de patente. REBIRTH OF A NATION de DJ Spooky! THE CLOCK de Christian Marclay ! LA CLASSE AMÉRICAINE de Michel Hazanavicius and Dominique Mézerette et FINAL CUT:LADIES AND GENTLEMEN de György Pálfi! La dialectique peut-elle casser des briques? 

In her new book, Thornton, best-selling author of Seven Days in the Art World, uses a structure of richly linked, cinematic scenes that allow us access to understanding a dazzling range of artists—including Cindy Sherman, Gabriel Orozco, Marina Abramović, Ai Weiwei, and Christian Marclay, among many others. In this conversation with the Hammer’s Allison Agsten, Thornton discusses her research—how she rummaged through artists’ bank accounts, bedrooms, and studios and witnessed their crises and triumphs-- as well as the wildly different answers—and non-answers—she received to the question, “What is an artist?”*Click HERE to see photos from the event!

Henry Saint Clair Fredericks, who goes by the stage name Taj Mahal, is an internationally recognized blues musician who folds various forms of world music into his offerings. A self-taught singer-songwriter who plays the guitar, banjo and harmonica (among many other instruments), Mahal has done much to reshape the definition and scope of blues music during his 40+ year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa and the South Pacific. You may recall one of Todd's many epic appearances on television when he performed with Taj Mahal and Michele Gray in 1989 on the show Night Music hosted by David Sanborn?  The song was "Never Mind the Why and Wherefore" from the Gilbert and Sullivan operetta, H.M.S. Pinafore and they were accompanied by other musicians including Pat Metheny (guitar), Philippe Saisse (keyboards), Christian Marclay (turntables), and host David Sanborn (saxophone).   http://www.youtube.com/watch?v=5m33BXNHIHM Todd also joined Taj onstage on the same show for a rendition of Mahal's "She Caught The Katy". http://www.youtube.com/watch?v=gC1a5UAWIus

Intro to the course: philosophical issues of representation, therefore of space and time, thence of will, and therefore of self.  Viewing and discussion of Christian Marclay's Telephones (1995) (https://www.youtube.com/watch?v=yH5HTPjPvyE).

This week: San Francisco checks in with dance legend Anna Halprin!!! Anna Halprin (b. 1920) is a pioneering dancer and choreographer of the post-modern dance movement. She founded the San Francisco Dancer's Workshop in 1955 as a center for movement training, artistic experimentation, and public participatory events open to the local community. Halprin has created 150 full-length dance theater works and is the recipient of numerous awards including the 1997 Samuel H. Scripps Award for Lifetime Achievement in Modern Dance from the American Dance Festival. Her students include Meredith Monk, Trisha Brown, Yvonne Rainer, Simone Forti, Ruth Emmerson, Sally Gross, and many others. Printed Matter Live Benefit Auction Event: March 9, 6-8:30 pm Robert Rauschenberg Project Space 455 West 19th St, New York www.paddle8.com/auctions/printedmatter Printed Matter, Inc, the New York-based non-profit organization committed to the dissemination and appreciation of publications made by artists, will host a Benefit Auction and Selling Exhibition at the Rauschenberg Foundation Project Space to help mitigate damage caused by Hurricane Sandy. As a result of the storm, Printed Matter experienced six feet of flooding to its basement storage and lost upwards of 9,000 books, hundreds of artworks and equipment. Printed Matter's Archive, which has been collected since the organization's founding in 1976 and serves as an important record of its history and the field of artists books as a whole, was also severely damaged. Moreover, the damage sustained by Sandy has made it clear that Printed Matter needs to undertake an urgent capacity-building effort to establish a durable foundation for its mission and services into the future. This is the first fundraising initiative of this scale to be undertaken by the organization in many years, and will feature more than 120 works generously donated from artists and supporters of Printed Matter. The Sandy Relief Benefit for Printed Matter will be held at the Rauschenberg Project Space in Chelsea and will run from February 28 through March 9th. The Benefit has two components: a selling exhibition of rare historical publications and other donated works and an Auction of donated artworks. A special preview and reception will be held February 28th, 6-8 pm, to mark the unveiling of all 120 works and to thank the participating artists and donors. The opening will feature a solo performance by cellist Julia Kent (Antony and the Johnsons), followed by a shared DJ set from Lizzi Bougatsos (Gang Gang Dance) & Kyp Malone (TV on the Radio). The event is free and open to the public. All works will then be available for viewing at the Rauschenberg Project Space March 1 – March 9, gallery hours. All Selling Exhibition works may be purchased during this period and Auction works will be available for bidding online. Bids can be made at www.paddle8.com/auctions/printedmatter. A live Benefit Auction Event will take place March 9, 6-8:30 pm with approximately 20 selected works to be auctioned in a live format. Bidding on these works will commence at 7pm sharp, while silent bids can be made on all other Auction works. Note, highest online bids will be transferred to the room. For absentee bidding of works, please contact Keith Gray (Printed Matter) at 212 925 0325 or keith@printedmatter.org. The evening will feature a performance by Alex Waterman on solo cello with electronics. Admission is $150 and tickets may be pre-purchased here. There will be only limited capacity. Highlighted auction works include an oversize ektacolor photograph from Richard Prince, a woven canvas piece from Tauba Auerbach, an acrylic and newsprint work from Rirkrit Tiravanija, a large-scale Canopy painting from Fredrik Værslev, a rare dye transfer print from Zoe Leonard, a light box by Alfredo Jaar, a book painting by Paul Chan, a carbon on paper work from Frances Stark, a seven-panel plexi-work with spraypainted newsprint from Kerstin Brätsch, a C-print from Hans Haacke, a firefly drawing from Philippe Parreno, a mixed-media NASA wall-piece from Tom Sachs, a unique print from Rachel Harrison, a vintage xerox poem from Carl Andre, an encyclopedia set of hand-made books from Josh Smith, a photograph from Klara Liden, a table-top sculpture from Carol Bove, Ed Ruscha’s Rooftops Portfolio, as well as original works on canvas and linen by Cecily Brown, Cheyney Thompson, Dan Colen, Adam McEwen, RH Quaytman, and many others. These Auction works can be previewed at: www.paddle8.com/auctions/printedmatter In addition to auction works, a vitrine-based exhibition of rare books, artworks and ephemera are available for viewing and purchase. This material includes some truly remarkable items from the personal collection of Robert Rauschenberg, donated by the Robert Rauschenberg Foundation in memory of the late Printed Matter Board Member, bookseller and publisher, John McWhinnie. Among the works available are books and artworks from Marcel Duchamp, Willem de Kooning, Alfred Steiglitz, Joseph Beuys, Brigid Berlin (Polk), as well as a Claes Oldenburg sculpture, a rare William Burroughs manuscript, and the Anthology Film Archive Portfolio (1982). Additional artists’ books have been generously donated by the Sol LeWitt Estate. Works include pristine copies of Autobiography (1980), Four Basic Kinds of Straight Lines (1969), Incomplete Open Cubes (1974), and others. Three Star Books have kindly donated a deluxe set of their Maurizio Cattelan book edition. These works can be viewed and purchased at the space. For inquiries about available works please contact Printed Matter’s Associate Director Max Schumann at 212 925 0325 or mschumann@printedmatter.org. Co-chairs Ethan Wagner & Thea Westreich Wagner and Phil Aarons & Shelley Fox Aarons have guided the event, and Thea Westreich Art Advisory Services has generously lent its expertise and assisted in the production of the auction. In anticipation of the event Printed Matter Executive Director James Jenkin said: “Not only are we hopeful that this event will help us to put Sandy firmly behind us, it is incredibly special for us. To have so many artists and friends associated with our organization over its 36 years come forward and support us in this effort has been truly humbling.“ Auction includes work by: Michele Abeles, Ricci Albenda, Carl Andre, Cory Arcangel, Assume Vivid Astro Focus, Tauba Auerbach, Trisha Baga, John Baldessari, Sebastian Black, Mark Borthwick, Carol Bove, Kerstin Brätsch, Sascha Braunig, Olaf Breuning, Cecily Brown, Sophie Calle, Robin Cameron, Sean Joseph Patrick Carney, Nathan Carter, Paul Chan, Dan Colen, David Kennedy Cutler, Liz Deschenes, Mark Dion, Shannon Ebner, Edie Fake, Matias Faldbakken, Dan Graham, Robert Greene, Hans Haacke, Marc Handelman, Rachel Harrison, Jesse Hlebo, Carsten Höller, David Horvitz, Marc Hundley, Alfredo Jaar, Chris Johanson, Terence Koh, Joseph Kosuth, Louise Lawler, Pierre Le Hors, Leigh Ledare, Zoe Leonard, Sam Lewitt, Klara Liden, Peter Liversidge, Charles Long, Mary Lum, Noah Lyon, McDermott & McGough, Adam McEwen, Ryan McNamara, Christian Marclay, Ari Marcopoulos, Gordon Matta-Clark, Wes Mills, Jonathan Monk, Rick Myers, Laurel Nakadate, Olaf Nicolai, Adam O'Reilly, Philippe Parreno, Jack Pierson, Richard Prince, RH Quaytman, Eileen Quinlan, Sara Greenberger Rafferty, Ed Ruscha, Tom Sachs, David Sandlin, Paul Mpagi Sepuya, Cindy Sherman, Josh Smith, Keith Smith, Buzz Spector, Frances Stark, Emily Sundblad, Andrew Sutherland, Peter Sutherland, Sarah Sze, Panayiotis Terzis, Cheyney Thompson, Rirkrit Tiravanija, Nicola Tyson, Penelope Umbrico, Fredrik Værslev, Visitor, Danh Vo, Dan Walsh and Ofer Wolberger.

Inspired by Christian Marclay’s cinechronological video installation The Clock, Gaming Hut examines time and pacing in roleplaying. The Schaudenfreude Institute initiates a new PhD course and Ken plots a bold path forward for his beloved Republican party as we enter the ballot booth-like confines of the Politics Hut to mull the 2012 Presidential Election. In […]

Programme de SYLVIA MONNIER pour webSYNradio : Mix for webSYNradio with Giusto Pio, Christian Marclay, ArThur Russell, John Cage, Nascita Della Sfera, Luciano Berio, Rhys Chatham, Pierre Henry, Tod Dockstader, Andy Stott , Andrew Pekler, Jason Lescalleet, Arrow Kleeman, Carter Tutti Void, Eleh , Bellows , Sylvia Monnier, Harry Bertoia, Eli Keszler, Patten.

Dave's shocking revelations about his childhood flirtation with showtunes shock Alonso, and they eventually talk about the week's new movies after a long digression involving Christian Marclay's 24-hour film "The Clock."

Alonso would rather watch nine hours of Christian Marclay's conceptual art than 86 minutes of Smurfs, and Dave loves Miranda July and Captain America and doesn't care who knows it.

On this week's show, we enter the space of a meticulous 24-hour-long video documentation of one entire day in Christian Marclay’s new work, The Clock, we consider the expanded day of June 16th, 1904, as Bloomsday and James Joyce's Ulysses are recognized by readers around the world, and we start the show with news of the early release of convicted Bay Area Transit cop Johannes Mehserle, less than one year after his sentencing for the killing of a young, unarmed black man on a train platform in Oakland, 22-year-old Oscar Grant.

Playliste de Bruno Letort pour webSYNradio : Un voyage immobile sur les rives de l Hudson, avec Christian Marclay, Elliott Sharp, Rhys Chatham, Fred Frith, Zeena Parkins, Mark Feldman, DJ Spooky, Michael Gordon …

Episode 85, Some Assembly Required (featuring our 2004 interview with Christian Marclay) 01 Christian Marclay/Gunter Muller – “Love gasoline†02 Christian Marclay – “Jimi Hendrix†03 Christian Marclay – “Detroit, 12/21/02†04 C. Marclay/G. Muller – “Je Ne Vous Oublierai Jamais†05 Christian Marclay/Gunter Muller – “pfiff†06 Christian Marclay – “Don’t stop now†07 Christian Marclay – “Johann Strauss†08 Christian Marclay/Gunter Muller – “Vitalium†09 Christian Marclay – “Annandale-on-Hudson, 11/19/03†10 Christian Marclay – “New York, 9/17/00†11 Christian Marclay – “One thousand cycles†Use this address, for your pod software: http://feeds.feedburner.com/some-assembly-required/JSpD

Private art funding. An interview with John Zeppetelli, curator of the DHC Art Foundation in Montreal.

Private art funding. An interview with John Zeppetelli, curator of the DHC Art Foundation in Montreal.

Live Performance by Christian Marclay, Sounds of Christmas at Tate Modern

The latest instalment of Adrian Searle's weekly audio series on major contemporary artworks. This week: Christian Marclay's The Watch (2008)

The fourth interview in the Tate/Art Monthly Talking Art series is between acclaimed artist Christian Marclay, renowned for his collages of music, sculpture, film and image, and art historian, Gilda Williams.

  There is a lot of scratchy vinyl and much to enjoy on this latest program, which is the first non-special edition podcast in quite some time. Enjoy! Note: In the podcast, I neglect to mention that "Sunny-Side Up" is a duo between Christian Marclay and Gunter Muller. Very bad form. Consider yourself fully informed now. Rare Frequency Podcast 12: Untitled #12 1 Stephan Mathieu & Janek Schaefer, "Maori Love Song" Hidden Name (Cronica) CD 2006 2 Philip Samartzis & Lawrence English, "Goin' Back Home" One Plus One (Room 40) CD 2006 3 Alva.Noto, "Gulf Night" For (Line) CD 2006 4 Lithops, "Cephlapod" Mound Magnet (Thrill Jockey) CD 2006 5 Alvars Orkester, "Track 3 (untitled)" Organic Woodtrip (1991-1992) (Kning Disk) CD 2006 6 COH, "Path #3 " Patherns E.P. (Raster Noton) CD 2006 7 Kuniharu Akiyama, "Noh-Miso (1962), Part 6 " Music For Puppet Theatre of HITOMI-ZA (Edition Omega Point) CD 2006 8 Christian Marclay & Gunter Muller, "Sunny-Side Up " Live Improvisations (For4Ears) CD 1994 8 Blind Roosevelt Graves & Uaroy Graves, "I Shall Not Be Moved " The Stuff That Dreams Are Made Of (Yazoo Records) CD 2006 9 Satoru Wono, "Nice Trip" Sauvage (Kaeru Cafe) CD 1998 Photo: Shaun Gummere

This second RF podcast, titled simply "Some Toys Never Lern," features music by Blutsiphon, Satanicpornocultshop, Christian Marclay & Gunter Müller, Felix Kubin, Douglas Lilburn, Don't Dolby 05, and Lasse Marhaug & Kevin Drumm. What happened to the first? You may never know... Oh wait, it's here. Rare Frequency Podcast 2