This track is so relaxing, I could listen to it for hours.

Talk – On Art Writing: Exploring an Interdisciplinary Practice – 26 April 2023

What is it — what is the material that we invest in / a garden where we learn to speak with another person’s words /

Traethawd o lais a sŵn yw TROI, TROSI, wedi ei gynhyrchu gan ⁠⁠Kit Edwards⁠⁠ fel rhan o brosiect ymchwil casglebol a drefnwyd gan ⁠Dylan Huw⁠. Ynddo mae pytiau o sgwennu a ddaeth allan o’r prosiect blwyddyn o hyd (bu yn y cyhoeddiad print o’r un enw) gan ⁠⁠Kandace Siobhan Walker⁠⁠, ⁠⁠Catrin Menai⁠⁠, Kit Edwards a Dylan Huw, ynghyd â recordiadau maes a sgyrsiau a recordiwyd ar breswylfa ym mis Ionawr 2023, a ddilynodd fisoedd o gyfathrebu arlein. Mae’r prosiect yn ymholiad i ffyrdd o arbrofi gyda chysylltiadau rhwng llafur artistig a dirywiad ecolegol, gan ganolbwyntio ar y ddelwedd o “losgi allan,” ar ffurf deialog, sgwennu casglebol, sain a phrint. Cefnogwyd y prosiect fel rhan o Gymrodoriaeth Cymru’r Dyfodol 2022-3 gan Gyngor Celfyddydau Cymru a Chyfoeth Naturiol Cymru.

TROI, TROSI is a sonic essay in fragments of voice and noise, produced by Kit Edwards as part of a collective research project organised by Dylan Huw. It presents extracts of writing which emerged from the year-long project (and appeared in the print publication of the same name) by Kandace Siobhan Walker, Catrin Menai, Kit Edwards and Dylan Huw, along with field recordings and conversations recorded during a residency undertaken in January 2023, following months of virtual correspondence. The project is an inquiry into ways of narrating associations between artistic labour and ecological depletion via the ubiquitous language of burning out, in the form of dialogue, experimental poetics, sound and print, and is supported by Arts Council of Wales and Natural Resources Wales as part of the Future Wales Fellowship 2022-3.

"Exhausted, I ask, can we stop now? It’s best when we’re quiet together. Without having to agree to this, we just decide to."

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dylanhuw.com/troitrosi
Mwy o wybodaeth am gyhoeddiad print TROI, TROSI, sydd hefyd yn cynnwys sgwennu newydd gan Nat Raha, Becca Voelcker ac Angharad Williams. / More information about the freely-distributed TROI, TROSI print publication, which features additional work by Nat Raha⁠, ⁠Becca Voelcker⁠ and ⁠Angharad Williams⁠.

TROI, TROSI

Larry Johnson: On Location - Bruce Hainley and Antony Hudek in conversation

On the occasion of her first solo exhibition in the United States, artist Banu Cennetoğlu is joined in conversation by writer and critic Kaelen Wilson-Goldie to discuss the major concerns of her wide-ranging, cross-disciplinary practice. Touching on projects on view in SculptureCenter’s exhibition – including a 128-hour, 22-minute moving image work completed in 2018 – as well as projects mounted within, adjacent to, and independent of art institutions, this program surveys the endeavors and ideas that have defined Cennetoğlu’s artistic engagement with the gathering, presentation, circulation, and residue of information, data, and images over the last decade.

Banu Cennetoğlu was born 1970 in Ankara, Turkey and lives and works in Istanbul. Previous solo exhibitions include: Chisenhale Gallery, London (2018); Bonner Kunstverein, Bonn (2015); Salonul de proiecte, Bucharest (2013); and Kunsthalle Basel, Basel (2011). Selected group exhibitions include: Stories of Almost Everyone, Hammer Museum, Los Angeles (2018); documenta (14), Athens and Kassel (2017); The Restless Earth, Fondazione Nicola Trussardi, Milan (2017); 10th Gwangju Biennale (2014); Manifesta 8, Murcia (2010); 53rd Venice Biennale/Pavilion of Turkey (2009); 3rd Berlin Biennale (2004); and 1st Athens Biennale and 10th Istanbul Biennial (both 2007).

Kaelen Wilson-Goldie is a writer and critic who divides her time between Beirut and New York. A contributing editor for Bidoun, she writes regularly for Artforum, Aperture, and frieze. In 2007, she was a fellow in the USC Annenberg Getty Arts Journalism Program. She won a grant from the Creative Capital Andy Warhol Foundation Arts Writers Program in 2013. She has taught at the American University and the Académie Libanaise des Beaux-Arts. She currently teaches in the MFA Art Writing Program at the School of Visual Arts. Her first book, on the paintings of the poet and writer Etel Adnan, was published by Lund Humphries in 2018. Wilson-Goldie is now working on her second book, about the ways in which three very different contemporary artists have responded to periods of extreme political violence, for Columbia Global Reports. Her third book, on contemporary art practices in postwar, reconstruction-era Beirut, is forthcoming from Kaph Books in 2020.

SC Conversations: Banu Cennetoğlu and Kaelen Wilson-Goldie

To mark the opening of If UR Reading This It’s 2 Late: Vol. 1, Tony Cokes discusses his work with Kodwo Eshun (Lecturer in Contemporary Art Theory at Goldsmiths, University of London and co-founder of The Otolith Group). Eshun features directly in the exhibition as part of a new commission produced specifically for the CCA, which quotes his ‘Mark Fisher Memorial Lecture’ delivered at Goldsmiths in 2018.

Artist Talk With Tony Cokes And Kodwo Eshun

Black Box/White Cube: Viewing contexts for Artists’ Moving Image, audio recording of the event that took place at the CCA on 31 July 2019.

As galleries and museums equip for high quality ‘black box’ viewing spaces for artists moving image, the discussion looked to explore the viewing conditions of the ‘black box’ and the ‘white cube’ and what can come from the tensions between the two. With a series of short presentations from artists and moving image practitioners, different perspective on modes of presentation and contexts for viewing were shared in tandem with creative processes. Elaborating on the social functions of the cinema and the gallery, the experiences of the viewer as well as the intentions of the artist were explored in relation to the architecture of these respective spaces and the important social value of shared viewing spaces and experiences through discussion with the guest speakers and event audience.

Speakers included artists Emanuel Almborg, Jamie Crewe and academic Sarah Smith, chaired by Steven Cairns, Curator of Artists Film and Moving Image, Institute of Contemporary Arts, London. Presented by LUX Scotland in association with the Institute of Contemporary Arts, London and the Art & Screen Network. With Art Fund support.

Image: A screenshot of Jamie's Crewe's presentation, 31 July 2019

Black Box/White Cube: Viewing contexts for Artists’ Moving Image at the CCA in July 2019

When I was growing up, everything I heard or read about THE BOYS IN THE BAND was terrible. Recently, after the Broadway revival, it was meant to be ´period´and wonderful. I´d never seen the film until now and found it a difficult and unpleasant watch. When I had the opportunity to talk to Gary Needham about CRUISING, I also took the opportunity to ask him about THE BOYS IN THE BAND. His is the voice of reason; thoughtful and considered on the initial reception of the film, its relation to the play and its subsequent afterlife. I come across as quite brattish. It makes for a lively conversation.

In Conversation with Gary Needham on The Boys in the Band

I can think of no one who knows more about  (William Friedkin, USA, 1980) than Gary Needham. He's already written extensively on Warhol, Queer TV, Brokeback Mountain (Ang Lee, 2005)and many aspects of Queer Histories from various historical perspectives. The talk ranges from the film's production history to New York S&M clubs to Disco Music to Queer Representation and Queer Politics, to its effect on 'Blind Bidding distribution practices, to 'New' American Cinema of the period to the film as a text characterised by incoherence, doubt and ambiguity. The kind of commentary a 30th anniversary re-issue of this still alluring film deserves.

TROI, TROSI

DH

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