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WPS1 Art Radio is the Internet station of P.S.1 Contemporary Art Center, a MoMA affiliate, featuring an MP3 stream of music, talk, and historical recordings and a free on-demand archive of over 1200 programs.
One of P.S.1's dearest friends, the anti-trend, anti-hype queen of understated Parisian chic, Agnès B. sits down with Alanna Heiss in our floating broadcast lounge.
After her study at Versailles's Ecole des Beaux-Arts, Agnès Trouble became a junior editor at the French Elle magazine. She then continued her work by assisting Dorothée Bis, and freelancing for companies such as Limitex, Pierre d'Alby, V de V and Eversbin. In 1975, she established the first Agnès B. Boutique at Les Halles Paris. Agnès B. now has 118 stores in 10 countries. And no advertising.
Alanna Heiss at the table with Mr. Jose Raul Carrillo, who holds the position of Coordinator of Special Events at the University of the Virgin Islands.
Alanna Heiss hosts a spirited and fascinating bilingual discussion with artists and officials from the China Pavilion, which was organized and sponsored by the Chinese government.
From artist/curator Cai Guo-Qiang's statement: There is a 110-year gap between the induction of the China pavilion and the establishment of the first national pavilion in the Venice Biennale. Hence, this selection of artists is essentially an investigation into the nature of national pavilions and, in the context of a multinational arena, how to represent the inaugural China pavilion in 2005 or any national pavilion in the 21st century.
Guests:
Fan Di'an, Commissioner, China Pavilion
Cai Guo-Qiang, Curator, China Pavilion
Jennifer Ma, Exhibition Coordinator
Xu Zhen, artist
Liu Wei, artist
Yung Ho Chang, artist
Peng Yu, artist
Sun Yuan, artist
WPS1 conscripted the young multinational curator
Gea Politi (Prague Biennale) into our team of roving reporters. In this
interview she orders espresso on the boat with art historian and critic
RoseLee Goldberg.
In full regalia of course, nom de guerillas Frida Kahlo, Kathe Kollwitz and Rose O'Neill sat down with our Jen DeNike and Peter Coffin. They didn't sink us, but there was turbulence.
Since 1985 the Guerrilla Girls have been reinventing the "F" word--feminism--and exposing sexism and racism in politics, the art world, film and the culture at large. For the exhibition in Venice, Always a Little Further, curated by Rosa Martinez, they installed six 17-foot movie-style posters, taking on the Biennale itself, the museums of Venice, and other issues large, larger and largest...
The Joans hold a co-interview in the WPS1 broadcast barge lounge. Joan Jonas is a pioneer of video/performance art. Her experiments and productions in the late 1960s and early 1970s were essential to the development of contemporary art in many genres--from performance and video to conceptual art and theater. Her most recent work continues to explore the relationship of new digital media to performance.Jonas has taught at Massachusetts Institute of Technology since 2000. Joan Simon is a writer, curator, editor, and arts administrator based in Paris, France, who has worked independently for museums, foundations and publishers in the United States and in Europe.
Gea Politi interviews Helena Kontova in the WPS1 floating radio lounge. Kontova (born in Prague, works in Milan) has been an editor and later Editor in Chief of Flash Art International. In 2004 she founded and now heads a private art foundation in Prague, Nadace PragueBiennale. (10 minutes)
P.S.1 Director Alanna Heiss in a gentle and ever-spiraling conversation during the Biennale with British painter, sculptor, conceptual artist, performance artist, video and film maker John Latham (born 1921 in Rhodesia). Latham is represented in a collateral project for the 2005 Biennale by the installation, God is Great.
Since the 1940s, John Latham has initiated a wide range of art movements beginning with a least-mark approach to form. This led to a shift, from conventional spatial thinking to an event based frame of reference since called assemblage, performance, structural film and video, installation, and the idea of context as half the work -- from the Mattress Factory site.
Alanna Heiss in a discussion with the artist. Born in Dublin in 1941, Michael Craig-Martin studied at Yale University School of Art and Architecture in the early 1960s, but has spent most of his working life in Great Britain. (7 minutes)
WPS1's Jen DeNike and Peter Coffin interview two men who assisted WPS1 in Italy, our experts on the ground: Massimo Ongaro, Artistic Director, Risonanze performance series at the Teatro Fondamenta Nuove in Venice and Massimo Simonini, composer and Artistic Director of Angelica, a new music festival and record label in Bologna. Simonini also provided a faux radio show mix made special for our Biennale broadcast, Venice Love Boat Venice.
Alanna Heiss sits down with artist Annette Messager in WPS1's booth onboard the Fusina. Messager's Casino at the French Pavilion won the Golden Lion award.
One of the most important contemporary artists working in Europe, Annette Messager fragments images and language to explore the concept of fiction, the dialogue between individual and collective identity, and the social issues of normalcy, morality, and the role of women. In her work she forcefully illustrates the idea that all things -- a child's beloved toy, a photograph, a piece of embroidery, a word with seemingly unambiguous meaning -- can be transformed into objects of potent expression. - from the-artists.org.
Historian Linda Nochlin is welcomed to the table by WPS1's Alanna Heiss and Jen DeNike for a discussion.
Linda Nochlin teaches art history at New York University. Her book, Woman as Sex Object: Studies in Erotic Art (1730-1970), is considered a significant contribution to the field of art history and criticism. Nochlin is a fellow of the American Academy of Arts & Sciences and of New York University's Institute for the Humanities. She has served as a professor of art at Yale University, City University in New York (CUNY), and Vassar College.
P.S.1 Executive Director Alanna Heiss with her "dear enemy" Achille Bonito Oliva, one of the world's most highly regarded critics of contemporary art. He is the promoter of a new creative model for art criticism and has authored definitive works on Mannerism, the classic avant garde and neo-avant garde art movements. He directed the 45th Venice Biennale.
Alanna Heiss and Klaus Biesenbach of P.S.1 talk to the Serpentine Gallery's Director, Julia Peyton-Jones. The London gallery explores different ways of working with architects and exhibiting architecture through the commissioning and construction each year of the Serpentine Gallery Pavilions. (7 minutes)
Peter Coffin and Jen DeNike in a conversation with the fascinating sound and installation artist Susan Philipsz. Much of her work has consisted of smuggling her disembodied and unaccompanied singing voice into various public and municipal locations where it's restrained melancholia might insinuate itself most effectively into the consciousness of an unexpectant public, to an unpredictable variety of effects.-from a very good description of a hard to describe work at sparwasser hq. (10 minutes)
Artist Michelangelo Pistoletto, who had a whole island in Venice for his installation, in an onboard discussion with P.S.1 Directors Alanna Heiss and Tony Guerrero.
Artist Ed Ruscha (The American Pavilion) and curator Gary Garrels (MoMA, the Hammer Museum) in the WPS1 lower deck lounge with Alanna Heiss and our roving artist/reporters Jen DeNike, Peter Coffin and Justin Lowe.
WPS1's Althea Viafora-Kress moves her Collector's Forum to Venice and invites curator Robert Storr onboard. Storr is the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts of New York University, where he teaches the history of Modern Art. Prior to this appointment, Storr was senior curator in the department of painting and sculpture at the Museum of Modern Art in New York. Storr was curator of many notable MoMA exhibitions, including Gerhard Richter: Forty Years of Painting in the Spring of 2002, and Projects, a series of exhibitions from 1991-2000 devoted to the work of contemporary artists.
Peter Coffin talks about public art at the Biennale with Irish, British, and Scottish artists:
Mel Jordan and Andy Hewitt (artists from Sheffield)
Gavin Wade (artist/curator from Birmingham)
Christina Kennedy (Dublin City Gallery the Hugh Lane, Head of Exhibitions)
Susan Philipsz (artist from Glasgow, Berlin)
Heather Anderson, Jerome Grand, and Julia Maiear -- The Commons Service Group representatives -- discussed and displayed their views and strategies for a GATS Free Zone (international tariffs on art and culture) with WPS1's Tony Guerrero. (15 minutes)
Finally, we found someone willing to dish! Tony Guerrero lets these women loose on the lower deck and they wind up dancing on the table...or something... With Jessica Craig-Martin (British artist whose photographs document parties of the rich and famous) and Yvonne Force (Mother Inc. and Fischerspooner)
C'est le murmure de l'eau qui chante: In these recordings, produced by Brigitte Cornand, the artist Louise Bourgeois sings 22 short melodies and children's songs. Then, in a remix by Frederic Sanchez, the material is transformed into an electronic fantasy.
A CD compilation out of Koln, Germany, Because Tomorrow Comes with works by Lary 7, Carl Michael Von Hausswolff, Bernard Gal, Maria De Alvear, Miki Yui, and Alvin Lucier.
This forum and magazine for sound-art in the form of an audio CD. It compiles contributions from artists who have chosen for the acoustics as working field, starting from the visual aspect and going to the musical one, then trying to promote the reachings of their soundart. The final purpose is to present it as a listenable exhibition. --from the Forced Exposure review of the series.
From the CD (Cramps, CRSCD 097, out of print) created by P.S.1 for the 1993 Venice Biennale, in conjunction with Il Suono rapido delle cose, an exhibition of and tribute to the work of John Cage. The CD was produced by John Cale and curated by Lokke Highstein, with production in Italy organized by Fondazione Mudima. Il Suono Rapido delle Cose was presented at the XLV Venice Biennale from June 9 - October 10, 1993, Achille Bonito Oliva, General Curator. The exhibition was organized by Alanna Heiss, with Carolyn Christov-Bakargiev, Angela Vettese and Ludovico Pratesi. (54 minutes)
Playlist
01 Cage and The Long Island Expressway and Enlightened Whistler - David Byrne
02 John Cage Excerpt #1 - John Cage
03 In Just-Spring - Debbie Harry
04 John Cage Excerpt #2 - John Cage
05 Proust - Arto Lindsay
06 John Cage Excerpt #3 - John Cage
07 John Cage Descending - Ars Hell and Mutt
08 John Cage Excerpt #4 - John Cage
09 Verlaine: Part 2 La Bleue - John Zorn
10 John Cage Excerpt #5 - John Cage
11 Right in the Head - Chris Stein
12 John Cage Excerpt #6 - John Cage
13 Dishwasher - Amy Denio
14 John Cage Excerpt #7 - John Cage
15 Cheap Imitation - David Weinstein and Shelley Hirsch
16 329 Overtones for John Cage - Lee Ranaldo
17 Helmut Newton Told Me, Wish You Were Here, Oh! To Be Invited to the Venice
18 Biennale - Ann Magnuson and John Cale
19 John Cage Excerpt #8 - John Cage
20 Overpopulation and Art - Jello Biafra and Eugene Chadbourne
21John Cage Excerpt #9 - John cage
22 An excerpt from Metal Machine Music - Lou Reed
23 inDET - Elliott Sharp
24 John Cage Excerpt #10 - John Cage
25 The Wonderful Widow of Eighteen Springs - Joey Ramone
26 John Cage Excerpt #11 - John Cage
John Medeski and MMW producer Scott Harding composed and recorded music for a complex video/art installation by Stan Douglas called Suspiria, based on the classic 1977 Italian horror film by Dario Argento. All music written, arranged, and produced by the duo with the collaboration of Douglas.
Selections from two Arnold Dreyblatt CDs, The Adding Machine and Animal Magnetism. From a review in Dusted:
A composer of stature, Dreyblatt has charted his own unique course in modern classical music. Often characterized as the most rock-oriented of American minimalists, his work with the Orchestra of Excited Strings does justice to the moniker, in as much as the paradox is even feasible. There is a driving force to The Adding Machine, with nods to blues and rock traditions, and melodic progression is evident throughout, if heavily syncopated. Still, tempo changes and stubborn breakbeats are primarily responsible for the shifting pace within the pieces, which could only sufficiently be described as joltingly ambient. The tone is militant but never abrasive, the seemingly rigid instrumental elements of the ensemble quickly giving way to the slipstream of their own ephemera in the manner of a lulling kaleidoscopic vision. (59 minutes)
