Podcast appearances and mentions of Kade L Twist

Kade L. Twist, is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist's work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination.   Twist is one of the co-founders of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally including the: Arizona State University Art Museum, Tempe, Arizona; Scottsdale Museum of Contemporary Art, Scottsdale, Arizona; National Museum of the American Indian, Gustav Heye Center, Smithsonian Institution, New York; Museum of Contemporary Native Arts, Santa Fe; SITE Santa Fe; Pennsylvania Academy of Fine Arts Museum; Art Gallery of Ontario, Toronto; Nuit Blanche, Toronto; Contour: 5th Biennial of the Moving Image, Mechelen, Belgium; Adelaide International, Adelaide, Australia; National Museum of of Art, Architecture and Design, Oslo; and the 18th Beinnale of Sydney.

riginally from the Navajo Nation, Raven Chacon is a composer of chamber music, a performer of experimental noise music, and an installation artist. He performs regularly as a solo artist as well as with numerous ensembles in the Southwest and beyond. He is also a member of the Indigenous art collective Postcommodity, with who he recently premiered the 2-mile long land art/border intervention, Repellent Fence. Just one week after the election results in the United States, I had the honor to sit down with composer and artist Raven Chacon and talk about his practice. In this episode Raven speaks about the origins of his work and how he came to experience making sound. We hear about his involvement with Postcommodity, an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist and we also hear about his work teaching youth through the Native American Composer Apprentice Project. Raven shares his varying experiences in creating chamber music and experimental noise and reflects on the ‘dues' that must be paid by artists along the way. He also addresses ideas around identity and the Indigenous artist, what the role of the artist is, and the opportunity the artist has to remain mysterious. Raven reminds us to think critically and to take time to seek the truth.

In this episode, we talk with PostCommodity (Raven Chacon, Cristóbal Martínez, and Kade L. Twist) about creating narratives that foster indigenous self-determination, refiguring ceremony, and preparing for indigenous futures. We also discuss the impact of their 2015 project, Repellent Fence / Valla Repelente and get insight into their new projects launching at Documenta 14 and this year’s Whitney Biennial. You can follow their work on Twitter and Facebook at @postcommodity and online at www.postcommodity.com.

riginally from the Navajo Nation, Raven Chacon is a composer of chamber music, a performer of experimental noise music, and an installation artist. He performs regularly as a solo artist as well as with numerous ensembles in the Southwest and beyond. He is also a member of the Indigenous art collective Postcommodity, with who he recently premiered the 2-mile long land art/border intervention, Repellent Fence. Just one week after the election results in the United States, I had the honor to sit down with composer and artist Raven Chacon and talk about his practice. In this episode Raven speaks about the origins of his work and how he came to experience making sound. We hear about his involvement with Postcommodity, an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist and we also hear about his work teaching youth through the Native American Composer Apprentice Project. Raven shares his varying experiences in creating chamber music and experimental noise and reflects on the ‘dues' that must be paid by artists along the way. He also addresses ideas around identity and the Indigenous artist, what the role of the artist is, and the opportunity the artist has to remain mysterious. Raven reminds us to think critically and to take time to seek the truth.

Postcommodity is Raven Chacon, Cristóbal Martínez, and Kade L. Twist. On today’s episode, we discuss at length their work Repellent Fence. A project almost ten years in the making, Repellent Fence will appear floating over the towns of Agua Prieta, Mexico and Douglas, AZ, USA this October – bisecting the US/Mexico border. The work consists of oversized “scare-eye” balloons – an ineffective bird repellent product which functions for the artists as an indigenous readymade and semiotic vehicle. We discuss this work, land art, borders, and keeping one’s eyes open to the politics of place. Time Codes: 11:40 Land Art’s positioning 13:12 Designing work to implicate audiences 16:35 Asking questions of one’s audience 17:05 Layers of noise as fertile ground 19:00 Pointing an indigenous lens and offering a view through it 24:00 Seeing and Looking back 25:00 Open eye iconography and indigenous readymades 26:20 Scare-eye balloons: Powerful semiotic vehicles of Indigeneity 28:00 Having eyes open to what is going on 36:00 Borders as microcosms 38:00 The potential politics of aesthetic choices Music: Four Tet – Parallel Jalebi