These interviews took place on air, on the Eastside Radio 89.7FM (Sydney, Australia).

https://eastsidefm.org/

ARTemis Projects RADIO interviews

Deshice De Mi

Mi Eje

SONIDO GALLO NEGRO - EUROPEAN TOUR 2015

15.03.2015 – ES – Lleida – Mud. Festival Músiques Disperses
20.03.2015 – FR – Lyon – ElectroChoc Festival
21.03.2015 – BE – Dixmuda – AB-Clubcircuit – AB @ 4AD

Sonido Gallo Negro (Black Rooster Sound) is a stunning 9-piece, instrumental combo from east Mexico City (Aragon) that channels both the mystique and mysticism of 1960’s Peruvian cumbia. The band integrates styles like Amazonian cumbia, huayno, sonidero cumbia, boogaloo and chicha with electric guitars, Farfisa organ, Theremin, flute and of course fluid Latin percussion. Spaghetti western soundtracks, psychedelia and surf music also echo in their compositions.

The name of the song 'Chamula (métete)' comes from San Juan Chamula, a little town in Chiapas (a Mexican state in the South of the country). Most of the people there are Chamulas and Tzetzales (Mexican first nation) and their lives are full of traditional sounds and a unique way of seeing the Universe. The song documents a cruel battle between the Chamulas and Tzetzales and the state Goverment in 1869. 



Sonido Gallo Negro - Chamula (métete)

Colonna sonora dell'omonimo lavoro di video-danza della coreogra Laura Boato ispirato al pensiero di Michelangelo.
"Marmo" è stato prodotto da Nancy Allison e montato da Laura Cappellesso.

Marmo

ASTRID LORANGE is Sydney based poet, performer, researcher and academic whose book ‘How Reading is Written’ (2015) explores the legacy of Gertrude Stein and challenges the settled conventions of language. Astrid believes that language – both in writing and reading – should be open to experimentation; always kept fresh and innovative. Language, in other words, should be a constant discovery. On 27 February 2015, Ira Ferris interviewed Astrid on Eastside Radio 89.7FM. 

For more about this episode see: https://artiris.wordpress.com/2015/03/07/queering-the-language-with-astrid-lorange/

Interview with poet and researcher Astrid Lorange: QUEERING THE LANGUAGE (Feb 2015)

Interview with Australian contemporary dancer and choreographer JAMES WELSBY whose work HEX explores the legacy and impact of the 80s AIDS crisis through the lens of the generation that was born in its wake. Combining contemporary dance with queer club performance, HEX provides an experience of both celebration and reflection; it is a tribute to those who have been lost, but also a celebration of the community they shaped, and which continues to grow. 

HEX is an allegorical piece that acknowledges and unearths the inherited grief and fear of post-AIDS generation; a fear that has become a sort of subconscious oppressor – the one that takes control over the body and manifests itself in heavy, constrained, inhibited, silenced, subdued, passionless, even apathetic form. 

Almost ritualistically HEX brings this lifeless body and fear into the spotlight and onto the stage only to burn them into the ashes and allow for the new, liberated body to (re)emerge. 

With nostalgia HEX looks back onto the pre-AIDS era when joy, passion and exuberance took the stage (literally the stage of the late 70s Saturday Night Fever disco) and invites for their triumphant return.

Interview with dancer and choreographer James Walsby: HEX (Feb 2015)

Recorded on the occasion of DEAR SYLVIA exhibition, a group photomedia exhibition inspired by life of American poet Sylvia Plath.  

The Australian Centre for Photography (ACP)exhibition was curated by Claire Monneraye and featured works of nine female international artists who examine the representation of the female body and the female condition in contemporary society – whether this society is a developed, Western world (i.e. France, UK, Australia, Netherlands) or a country such as Romania, Ukraine, Palestine, South America, and Israel where not only female but human rights in general are under constant and extreme threat.

Through variety of photographic styles and genres, these nine female photomedia artist depict female body as both fragile and suffocated, as well as a powerful and vibrant agent of revolutionary change. In doing so they portray the complexity of Sylvia Plath’s own condition as unconventionally passionate women, a spirit eager to fly high and free in a society where freedom, joy and superfluous love was discouraged, perhaps even ridiculed.

On Thursday 5 February, Ira Ferris spoke to Claire Monneraye, the exhibition’s curator and Marlous van der Sloot, a Dutch photographer whose body of work features in the exhibition and examines the ways photography can be used to restore physicality to our overly rational minds; to encourage return to senses in what could be seen as a “touch starved” society. Marlous images re-establish connection between animal and human creating distortions that prompt us to re-learn to see.

“So we shall walk barefoot on walnut shells
of withered worlds, and stamp out puny hells
and heavens till the spirits squeak
surrender: to build our bed as high as jack’s
bold beanstalk; lie and love till sharp scythe hacks
away our rationed days and weeks.” ~ Sylvia Plath

Interview with curator Claire Monneraye & photographer Marlous van der Sloot (Feb 2015)

Sydney-based performance artist Frances Barrett discusses the long-durational performance art: the strategies employed in physical and mental preparation for the endurance pieces, potential ethical concerns involved, questions of time and altered state of consciousness this genre of performance art elicits, and much more. 

Is the intention behind the long-durational performance to put the audience in an uncomfortable position? Click play to find out. 

This show was inspired by the visit to Australia of the renowned New York based artist Tehching Hsieh, who is considered a “master” of the durational performance genre.

More info:
https://artiris.wordpress.com/2014/04/26/on-endurance-art-with-frances-barrett-2/

Interview with performance artist Frances Barrett: ENDURANCE ART (April 2014)

Macushla Robinson, assistant curator of contemporary international art at the Art Gallery of NSW, talks about Sol LeWitt, conceptual art pioneer whose 40 years of practice is currently showing at the Art Gallery of NSW. 

In late 60s Sol LeWitt wrote famous Paragraphs and Sentences on Conceptual Art and forged a new way of thinking about art practice, where idea or concept is the most important aspect of the work and the execution is only a perfunctory affair. 

More info: https://artiris.wordpress.com/2014/03/21/talking-sol-lewitt/#more-574

Interview with curator Macushla Robinson: TALKING CONCEPTUAL ART PIONEER SOL LEWITT (March 2014)

When we think of Pop Art we usually think of it as being a male dominated movement. Names such as Warhol, Lichtenstein, or Hamilton immediately spring to mind while it is almost impossible to recall a single female artist. But back in the days (1960s) pop art was not all about the blokes; female shared the art scene and the success with their male peers grappling with sexuality and consumer culture as much as their male counterparts. What has happened since and why have they fallen off the art historical map?

We speak to curator Maura Reilly and art historian Catriona Moore to shine the light back on them and expand the preconditioned understanding of what falls into the pop art movement.

Maura Reilly is a New York and Sydney-based curator, arts writer, and educator. In 2007, together with Linda Nochlin, she co-curated critically acclaimed Global Feminisms exhibition, a major international exhibition of feminist contemporary art. Maura is also a Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, the very first exhibition and public programing space in a U.S. museum devoted exclusively to feminist art. Her most recent publication Curatorial Activism: Toward an Ethics of Curating will be available in 2015.

Catriona Moore is art historian and the University of Sydney lecturer specialised in modern, postmodern and contemporary art with particular interest in feminist art and writing. In 2013, Catriona co-founded Contemporary Art & Feminism project steered by academics and curators with a long-standing commitment to the making, documentation, analysis and promotion of art practice and art writing informed by feminism.

Interview art historians Maura Reilly & Catriona Moore: DESTABILIZING THE POP ART CANON (Dec '14)

Untangle the Roots

New Eyes (Daisuke Tanabe Remix)

What does a gut feeling sound like?

Eleanor Zurowski, this year’s columnist, is producing sonic responses in response to each issue of Framework in 2019. Each piece will be an accumulation of field recordings, samples, lecture snippets, spoken word and contemporary music. For this issue, Eleanor is exploring the fugitive eruptions of, and leaks from, the body. Breathing in, crying out, rumbling, whistling, swallowing spit, belching, erupting into tears; extra-linguistic moments when our bodies speak for – or to – us. 

Read Framework: https://www.arc.unsw.edu.au/art-design/framework

Tracklist:
ASMR Ear Tease Mouth Sounds and Light Breathing - Stephanie7Whispers
Trumps Border Wall Speech But Just The Breathing - Destiny Leaks
Prologue - a.rawlings
ב I│0 א (Our Whispers Are an Ocean) -  Leah Caroline and Jeremy S-Horseman
Can I Hold the Mic (interlude) - Solange
Plate of Order 秩序之灾 - Pan Daijing
Pain - Hannah Silva
Like Right Now - Stine Janvin
Cyclicality - Odeya Nini
Dear Myself (VOCAL EXPERIMENTAL) - Abiyya Ladangku
Refrigerator Defrosting - Anne Tardos and Jackson Mac Low
Sublingual - Dave Jackson
Bald Mountain Zaum Poems - Dada Group
iinnnn mm m my y yy ww wwaa y yyy - LOFT
The Pitch Sisters (stereo edit) - Ain Bailey
Improvisation 1 - Viv Corringham
If a Voice Like, Then What? - Gregory Whitehead

Image: Hannah Black (2016), ‘Dark Pool Party’, Dominica/Arcadia Missa, p. 43.

What does a gut feeling sound like? - Eleanor Zurowski - Framework #25

Conversation with Swedish artist Fanny Hellgren whose works explore the properties and agencies of materials - be it paper, concrete, cloth, or water - and the way they transform when exposed to the elements such as sun or time. 

In this podcast recorded in Belgrade, Serbia where Fanny was on an artist residency, we delve deeper into Fanny’s interest in materiality and in-between spaces, the process and methodology of making works, her preferred ways of exhibiting them, and what role patience plays in both making and viewing art.

Fanny's website: http://www.fannyhellgren.se/

Jingle designed by @trevorbrownmusic

Conversation with artist Fanny Hellgren (May 2019, Belgrade)

Recorded in the garage of Artemis Residency, Zagreb
sounds featured are:-
air conditioning
garage door slam
garage door lock
drain pipe
garage door springs
percussive hits on garage door

Artemis Garage

Houses II

The house that was growing, 
while you were cooking,
had too much concrete,
too many doors  and 
too many crevices
to become a home.

It had too many walls,
against which anger and sadness were banging,
without being flushed through the drain.

The silence of long afternoons,
needles knitting by themselves,
chamber pots motionless under the beds. 

There were no blankets woollen enough
to cover the winter evenings
and mornings that followed.

The switched on lights were signals falling through.
Slides of words were bouncing off big heavy carpets
like dust
on the floor.

Words: Manca Klun
Sounds: Alessandro De Oliveira Bastos

Houses II

PODCAST-CONVERSATIONS with artists and art theorists, from visual to performing arts, discussing conceptual frameworks and philosophical outlooks. Also some SOUND-COLLAGES, assembled together on variety of themes, such as: sleep, silence, intuition, collaboration, failure, and more. 

Available via iTunes: https://podcasts.apple.com/us/podcast/artemis-projects/id1462300886

PRODUCER & HOST: Ira Ferris (https://www.artemisprojects.com.au/projects-ira-ferris)

Interview with dancer and choreographer James Walsby: HEX (Feb 2015)

Artemis Projects

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