Lisson ON AIR

Literature . Art . Science

Irisches Tagebuch - Heinrich Böll
Gelesen von Lutz Winkler

Als Gott die Zeit machte

Based on interviews given by Thomas Bernhard. Samples selected for specific topics, related to titles. All instruments Sibelius 6.

12. Zerfallen

Klockan 4 på morgonen (wislawa szymborska)

Part of the Künstliche Paradiese radio drama and hörbuch project 2011.

Anne Clark & Murat Parlak Be Drunk

Wislawa Szymborska "Himmel"

Horwitz was born in 1932 and died in 2013, and lived and worked in Los Angeles. She studied graphic design in the early 1950s at Art Center College of Design and Fine Art at California State University, Northridge, in the early 1960s. In 1972 Horwitz received a BFA from the California Institute of the Arts, studying alongside John Baldessari and Allan Kaprow, participating in some of Kaprow’s ‘Happenings’, as well as creating her own performances.

In 1968, Horwitz submitted a proposal called Suspension of Vertical Beams Moving in Space to LACMA's ‘Art and Technology’ exhibition. The proposal was for a sculpture with eight moving beams, suspended in the air by magnetism and lit at varying intensities. The sculpture was never realised – the project, in the end, included work by only 67 male artists. Yet the attempt to graphically describe the movement of the beams with the rules and systems of eight that Horwitz developed for the proposal became the foundation for numerous bodies of work, including the Sonakinatography series, comprised of drawings, performances and musical compositions. In a 1976 article published in Flash Art, Horwitz described the system by saying “I have created a visual philosophy by working with deductive logic, I had a need to control and compose time as I had controlled and composed two-dimensional drawings and paintings. To do this, I chose a graph as the basis for the visual description of time...Using this graph, I made compositions that depicted rhythm visually.”

Sonakinatography is discussed in detail in this episode that takes the form of a conversation between Channa Horwitz’s daughter Ellen Davis and Lisson Gallery’s Ossian Ward in advance of an exhibition of her work in London, titled 'Rules of the Game'.

Former Ford Foundation scholarship student at the School of American Ballet in NYC and dancer with the Stuttgart Ballet Company, Ellen Davis has been teaching classical ballet internationally for over 40 years. She has also been the artistic director of numerous ballet and performing arts academies. In 1977 Ellen founded “Yoga of Ballet”, classical ballet taught with a mindful, living yoga approach that can be extended to all of life.

Ellen is the daughter of the late conceptual artist Channa Horwitz, and is the archivist and manager of her estate. As a long time collaborator with Horwitz she continues to choreograph, direct and oversee performances in conjunction with her mother’s work. Ellen created the text and sound track of Horwitz’s seminal work “At the Tone," which Horwitz published. “At the tone the time will be .... one moment past the point of seeing anything other than now”.

Ellen offers living yoga coaching and is an avid photographer. She writes about the creative process, living the timeless in time and new paradigm teaching and learning approaches.

Lisson...ON AIR is written and presented by Hana Noorali

Channa Horwitz

In this episode, of Lisson ON AIR Art & Language (Michael Baldwin and Mel Ramsden) talk with Lisson Gallery’s Hana Noorali and Ossian Ward about its  40-year collaboration with the Red Krayola, a proto-punk band founded in Houston by Mayo Thompson. They discuss the largely improvised performances, the themes that went into these recordings – covering everything from conceptual art and activism to politics and philosophical thought – as well as how the first songs were written in residency at Robert Rauschenberg’s studio on Captiva Island, Florida, but only after Michael was detained by the CIA for carrying sensitive communist propaganda.

Combining text from these tracts, as well as from their Index 01, exhibited at Documenta 5 in Kassel in 1972, Art & Language provided the lyrics that were sung or chanted by, among others, Michael Baldwin, Ian Burn, Kathryn Bigelow, Charles Harrison, Pauline Harrison, Sandra Harrison, Christine Kozlov, Lynn Lemaster, Philip Pilkington, Mel Ramsden and Mayo Thompson. Having released many albums with Red Krayola since 1976, Art & Language continue to develop this extension of their practice in advance of a performance in New York this September.

Track List:

The Red Krayola with Art & Language, Gross and Conspicuous Error #8, 1976
Art & Language, Mayo Thompson, Jesse Chamberlain
Source: https://www.youtube.com/watch?v=gSJ7XwawZOc


The Red Crayola with Art & Language, Keep All Your Friends from Kangaroo?, 1981
Art & Language, Allen Ravenstine, Ben Annesley, Gina Birch, Lora Logic, Mayo Thompson, Epic Soundtracks
Source: https://www.youtube.com/watch?v=c_Ga7COGUn0

The Red Crayola with Art & Language, Portrait of V.I Lenin in the Style of Jackson Pollock, pt.1&2 from Kangaroo?, 1981
Art & Language, Allen Ravenstine, Ben Annesley, Gina Birch, Lora Logic, Mayo Thompson, Epic Soundtracks
Source: https://www.youtube.com/watch?v=PzlW3q1g9gY

The Red Crayola with Art & Language, Sighs Trapped by Liars, from Sighs Trapped by Liars, 2007 
Art & Language, Elisa Randazzo, Sandy Yang-singers, Tom Watson,  Mayo Thompson, Jim O'Rourke, Noel Kupersmith, John McEntire-drums
Source: https://www.youtube.com/watch?v=8JrbXylij9k

The Red Krayola with Art & Language from Gross & Conspicuous Errors, 1976
Art & Language, Kathryn Bigelow, Mayo Thompson, Jesse Chamberlain
Source: https://www.youtube.com/watch?v=v6cnevh5bPc

The Red Krayola with Art & Language from Gross & Conspicuous Errors, 1976
Art & Language, Kathryn Bigelow, Mayo Thompson, Jesse Chamberlain
Source: https://www.youtube.com/watch?v=nwT892J7STs

Art & Language, Postscript To SDS' Infiltration, Music-Language: Corrected Slogans, 176
Art & Language, Jesse Chamberlain, Mayo Thompson, Colin Bateman, Thomas Duffy, Wieslaw Woszczyk, Sandra Harrison, Pauline Harrison, and Lynn Lemaster.
Source: https://www.youtube.com/watch?v=dH0_WE_kkp0

The Red Krayola with Art & Language from Gross & Conspicuous Errors, 1976
Art & Language, Mayo Thompson, Jesse Chamberlain
Source: https://www.youtube.com/watch?v=nwT892J7STs

Lisson...ON AIR is written and presented by Hana Noorali

Art & Language and The Red Krayola

Brooklyn-based Spencer Finch recreates or approximates many different phenomena, both manmade and natural, visual and physical. Poetry is a great influence on his work and even a model for creating forms, experiences and installations that are as succinct and evocative as a string of words seemingly effortlessly stitched together, but to great effect. In this conversation with Mackie Healy, recorded in his studio in Gowanus, New York, Finch discusses his discovery and love of Dickinson’s work alongside that of WH Auden and James Schuyler among others.

In addition to being an artist-in-residence at Emily Dickinson's home in Amherst, Massachusetts, Finch has in the past made many homages to  her poetry including the short verse, Before I got my eye put out, for which he measured the sunlight in her garden and recreated the effect of a passing cloud by means of fluorescent tubes covered in gel and suspended theatre filters. The resulting work is entitled Sunlight in an Empty Room (Passing Cloud for Emily Dickinson, Amherst, MA, August 28, 2004) (2004). He also created a monumental public work of coloured glass panels for the Morgan Library and Museum’s Gilbert Court, titled 366 (Emily Dickinson’s Miraculous Year) commemorating the year 1862, in which Dickinson completed 366 poems in 365 days. Although all of her 1,800 poems were published posthumously, Finch still consider Dickinson a rich archive of ideas, as well as an important moral guide: “Almost all of my titles of the past five years come from Emily Dickinson, it is an endless source.”


Poem excerpts: 

WH Auden, The Shield of Achilles (1953); The Cave of Making (1965)

Emily Dickinson (1830-1886), There's a certain slant of light; She sweeps with many coloured brooms; This is the land the sunset washes; The grass so little has to do; The outer from the inner; The brain is wider than the sky; A bird came down the walk; If I can stop one heart from breaking

Spencer Finch on Emily Dickinson

This special edition of the Lisson podcast ON AIR, entitled ‘Voices’, is dedicated to the artist Susan Hiller, who died earlier this year, aged 78. Hiller’s was a unique voice in contemporary art over the last five decades and succeeded in distilling many important truths and posing enduring questions about belief and humanity, often using the speech or the impressions of others, many of which were seldom heard.

While a memorial is being held at Tate Modern in the same week as this podcast is being released – as is a presentation of important early pieces, staged in a solo booth at the Frieze Masters art fair – this episode calls on many of her friends, colleagues and admirers from all over the art world to share their memories and interpretations of her life and work.

Among these recordings are interjections from Susan Hiller herself, taped at many live panels and conversations held over the last few years, including at Tate Liverpool, Frieze Art Fair, Art Basel, Lisson Gallery, the Jewish Museum in New York, the Model in Sligo, Ireland, as well as for Resonance FM, Slade School of Art, and Hiller's alma mater of Smith College in Massachusetts.

Our thanks go to the full list of contributors who contributed to this hour of discussion: Robin Klassnik, founder and director of Matt’s Gallery; Ann Gallagher, the director of Collections for British Art at Tate; Lynne Tillman, novelist, author and art critic; James Lingwood, the co-director of Artangel; the psychoanalyst Darian Leader; art historian and critic Jörg Heiser; John C Welchmann, the Professor of Modern Art History at the University of California, San Diego; Hans Ulrich Obrist, the Artistic Director of the Serpentine Galleries and the British artist Mike Nelson.

Susan Hiller: 'Voices'

British artist Ryan Gander discusses a new body of work related to culture, time, mortality and the inability of language to describe the full range and despair of our current human condition. In each work in this trilogy of sculptural installations, an animatronic mouse appears from the debris of a hole in the wall to philosophise, commanding the room with its tiny voice and inviting the visitor to kneel down to hear what it has to say.

Ryan Gander discusses 'The End' and his trilogy of animatronic mice

Lisson...  ON AIR, is a series of podcasts that will mostly be recorded from the gallery's London location. Episodes will include readings, music and engagement with the gallery's extensive archive, as well as contributions from Lisson Gallery artists. 

www.lissongallery.com