Download PDF Version Revolt Magazine, Volume 1 Issue No.4

More documents

Recommendations

Info

of “performative queerness.” Do you see any relationship between your work and hers? How do you situate yourself as a female architect/ artist in relationship to the larger structures and institutions in which your work intervenes? aesthetic that you’re working with in a different context too, you weren’t trying to build the next Guggenheim. in Iceland for almost 5 years before moving to New York. Now I am working between these two places. There’s something about the dynamics of changing TH: I don’t really know that I relate to her, although she’s someone that I respect immensely. I know little of her relationship with Le Corbusier but there’s definitely a whole issue around the female architect. The contemporary landscape of superstar architects is predominantly male. But then again that might not be the most interesting place to be. I recently heard an interview with a Danish modernist architect Knud Holscher. He spent a big part of his career doing public projects and some product design for example toilet seats of which he spoke with dignity and pride. When he was asked which project he would have loved to do during his career, he answered that he had always wanted to design public housing. That I respect deeply. Much of the contemporary architecture we see in glossy magazines is so much about ego and capital. Obviously there are amazing female architects and practitioners, but in the dominant media, they tend to still stand in the background. Perhaps except Zaha Hadid and Kazuyo Sejima. When I tell people that I am also trained as an architect, often I am met with “Oh so do you do interiors?” as if it is difficult to imagine a woman being a building designer and easier to connect her to the realm of the (domestic) interior. I think it’s super problematic that there’s these gendered relationships in practices, but I don’t know that my work relates to this whole aspect directly. I think that in certain ways a queer / feminist reading of some of my work has occurred mostly in terms of the three installations in Iceland. One reading has been that it’s a feminist gesture or insertion of a feminine presence in urban space. Someone has also made a queer drag reading, saying it was like a building in drag. I think that’s super interesting and I really enjoy these readings and how they can expand the project. I’m interested in thinking along the lines of - is the project within the boundary of this physical object or does the boundary extend to where the readings start and end? Meanwhile these ideas are not something that, at least on a conscious level, I have charged the work with. KC: What stands out to me about your work is that you marry what I’d term a hard-edged European conceptualism with healthy doses of imagination and whimsy, where does this come from? What artists are you looking at? TH: This is a really old school and male reference but I’m definitely looking at Dan Graham and Gordon Matta-Clark. Obviously if you come out of architecture then it’s really hard to not look at Matta-Clark with great respect. I think his work is really about taking architecture out of the boundaries of functionality and all these kind of modernist tropes that architecture proper has to deal with. More viewing architecture as a kind of semiotic system, which is very much at the basis of my practice. Others I look to with admiration are for example Matthew Buckingham, Chantal Ackerman and Rachel Whiteread. KC: One thing that you said earlier was that you originally wanted to do set design which puts the REVOLT <strong>Magazine</strong> Number 4, 2013 Parallel Memories (2013), installation view, "There's No Place LIke Home", Westfälischer Kunstverein, Münster, Germany. Photo credit T. Arendt. TH: I think that’s interesting in terms of the relationship between art and architecture. My relationship to temporality is very different, a different relationship to monumental permanence. The whole process of drawing an architectural work and then building it is an incredibly long process. I’m interested in a kind of temporariness. The first of the installations in Reykjavík has lasted now since 2006. In the wake of the last winter, the hurricane recently on the east coast came by Iceland as well, the very last sequins blew off two of the pieces. Now they’re these naked structures left in the urban space, which sparked a whole consideration about what to do with them and could they be restored. After a long process I have decided to take them down. It seems like a very right and natural thing to do because they were so much born out of a certain moment in Icelandic time, the years leading up to and following the big global economic crash that was specifically violent in Iceland and the several years of excess that led up to it. Also the sort of commodification of everything that could be commodified in nature, which was what these projects were about. Because they’re so specific to this moment in a sort of a geographic time of Iceland as a culture and also a specific time in my personal development it just feels that it’s right to take them down. Even the material has a natural time. So, great that the last sequins are gone, it’s fine. Not everything has to last forever. KC: I understand you’re quite the nomad these days. What is your relationship to notions of the local, homeplace, nation and territory and how do these shape your work? TH: These aspects of place and belonging and relating to a place are really at the basis of my practice. I have very strong relationships to 4 very different places, of course they are all western cultures so they are not so radically different but each has its own specific logic. I’m half Czech and half Danish so I have very special relationships to both these places. I grew up going back and forth over the iron curtain traveling to Czechoslovakia as it was called formerly and Denmark where I’m born. Then I lived place and changing the situation from being inside and part of a situation to looking at the same place from the outside, which I think opens a possibility for a more a critical distance. I just finished a new video work called Parallel Memories, that is partially about that. It’s about returning to the site of an inherited trauma, tracing the structures of real places with the psychological structures of the memory of a place. This is a project that I started at the Whitney Program and it is currently on view at a group exhibition in Germany at the Westfälischer Kunstverein. The exhibition is actually called “There’s No Place like Home.” When I was doing the project in Russia I accidentally met a Russian guy around my age who had grown up in Czechoslovakia as the son of a Russian soldier who was part of the occupying forces. My history is informed by my mother immigrating to Denmark in 1968 before the borders closed. There was something about the tension between these two subject positions – this became the framework of the project. They seemed as if they couldn’t be further apart but at the same time these two stories overlap within a kind of common space of childhood and a common experience of a geographic and cultural place embedded in a specific time. The video is becoming quite structural in that sense. I’m filming through an architectural maquette and trying to see if the structure of shared space and memory is aligned with or just framing the reality of now. - So there’s always both an exterior and an interior, - always this kind of parallactic dynamics of spectatorship. KC: Is he a subject in the video? TH: There’s not a dialogue but there’s a voiceover which is two voices, his voice and mine. The video is a documentation of me going back to some of the places I remember myself and also retracing some of the places that he is talking about. There are sites that I have never been to within this former Russian base that is outside of Prague. I tried to put myself into another subject position. There’s a blending of the boundaries of subjectivity. 38
REVOLT takes BOSTON artSEEN COLUMN Deadbeat BY SUZANNE SCHULTZ <strong>Revolt</strong> took Boston to see what the city had to offer . ALERNATIVE ART SPACE, (450 Harrison Avenue, 3rd floor), is presenting a group show COLOR, with artists Gloria Bernstein, Amy Kaufman, Randi Siu, Garry Harley and Fernando De Olivera 6-9 p.m. 1st Friday. Gallery 601, (433 Harrison, Loft 306), Photographer Cariappa Annaiah will be presenting his eclectic body of work July 7th, 6-8 p.m. The Liberty Hotel, (Charles Street), presenting Gloria Bernstein July 9th, 6-8 p.m. in the main salon Axelle Gallery, (91 Newbury Street), presenting the work of Eric Roux-Fontaine September 21-October 20. Opening reception September 21th, 6-8 p.m. All Asia, (334 Mass Ave Cambridge), Grateful Dead night with Crazy Fingers and Deadbeat, June 28th, 7-1 a.m. WALLYS, (427 Mass Avenue), every Thursday night is Latin Jazz night! Check out the Art & Music programming on BNN TV. Live stream BNN TV.org watch what’s happening now. Monday nights 6 -7 p.m. July 8th, Erin McNeil July 29th, Paula Tognarelli from the Griffin Photography Museum For more listings go to www.itsallaboutarts.com Suzanne Schultz is founder/CEO of Canvas Fine arts in Boston, and co-host of BNN TV's ITS ALL ABOUT ARTS Show, suzanne@canvasfinearts.com Photo courtsey of Deadbeat. BY DAN FORDE Deadbeat, a Grateful Dead cover band from Boston, keeps tradition alive with their own interpretations of Jerry Garcia and the Dead's most popular work. Merging each decade, style and reincarnation of the Grateful Dead's music with their own thirst for fun, Deadbeat has been fortunate to find a combination of members each bringing their own dynamic of the Dead to the band. Since the band originated in 2005 with drummer Joe Pulitano's answer to another Craigslist post, after several dead-ends trying to find the right musicians, Joe met two guitarists Brian Stormwind and Gary Barth who were seeking out a new drummer. Deadbeat has grown to absorb an amazing albeit somewhat motley group of musicians. One of the most recent additions to Deadbeat includes singer Jen Markard, former member of New York's own most popular, decades-strong Grateful Dead cover band, the Zen Tricksters. Other members include bassist Mike Bailey, and keyboardist Rich Cesarini. While most of the members are full-time professional musicians and music teachers, it's somewhat surprising to hear that perhaps the biggest hippy of the bunch is also the president and founder of a national insurance marketing company. Deadbeat comments on the wide appeal of the Grateful Dead "It's not just aging hippies re-living Woodstock... although there are a few of those too. There is an incredible number of young fans following the Dead's music." Whether reliving the past, or discovering the past and keeping it alive for the future, those who have gone to see Deadbeat perform notice most of all that this group of six are not, will not, and have never been tired of bringing us the best of the Dead. But not just the Grateful Dead. Following in Jerry's footsteps, Deadbeat includes plenty of other covers in their set-lists similar to those the Dead themselves may have played, from old-school R&B and Motown, to Bob Dylan and Jimmy Cliff. Simply said, Deadbeat has lots of fun playing the more dance-able side of the Dead's repetoire, and while they're playing, its fairly obvious there is nothing they would rather be doing.
Page 2 and 3: m a g a z i n e TM volume 1 no. 4
Page 4: THE R LIST Social Activism in fancy
Page 7 and 8: JEAN-MICHEL BASQUIAT, Untitled (Two
Page 9 and 10: artist, “Father of MTV,” concep
Page 12 and 13: TOP 10 NYC !#$%12456!@# ARTISTS NOW
Page 14 and 15: FASHION Today The Cult of the First
Page 16 and 17: absurd and misogynistic claims leve
Page 18 and 19: the Black Power Movement on the att
Page 20 and 21: Westbeth Artists' Housing, New York
Page 22 and 23: Westbeth PHOTOS BY SCOTTO MYCKLEBUS
Page 26 and 27: Art & Politics:Fracking Drawingthel
Page 28 and 29: Christy Rupp, Cut & Run, detail, cu
Page 30 and 31: THE LITERARY VIEW Skyscraper Blues:
Page 32 and 33: THEATREVIEW Theatre for the Person:
Page 34 and 35: to you, telling you, ‘This is how
Page 36 and 37: ARCHITECTURE VIEW On Being Post-Seq
Page 40 and 41: 2 Tha Beat Y’all When Hip Hop Ped
Page 42 and 43: hip hop, I’m equally seduced by t
Page 44 and 45: SWAGILISH Salomon and THEillUZiON B
Page 46 and 47: narrative, like party at the end of
Page 48: Dominique Claire models Revolt Wear

Download PDF Version Revolt Magazine, Volume 1 Issue No.4

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?