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Lines of Sight
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35 results
In this podcast, images are a device for weaving complex relationships, with agency and a host of constituent agents that modulate their meaning. Visual artist and researcher Ona Bros charts an almost chronological story of her life, in which babbling, impropriety and questioning sustain other imaginaries and other ways of being and relating. Direct action, images that stain, ethical porn, gestating bodies and communities of ice create space for the constant sense of not belonging and the need to sustain life.
In this podcast, we open up a glossary of concepts that affect and leave their mark on Kathrin Böhm's many constellations and collective projects. From the notion of compost—which triggered a radical shift in her way of working and interacting with her material archive in recent years—to a reassessment of the very idea of economy, which, as Katherine Gibson writes, helps us discern spaces of value production that are not immediately apparent. We talk about how these other strategies and ways of doing things lead us to qualify and problematise alternative ways of understanding social and/or participatory practices, and even to read the idea of community critically.
In this podcast, Françoise Vergès unpacks the social and environmental politics of cleaning and waste, charting and questioning temporal and spatial interactions that create a neutral site of deprivation, exhaustion and exploitation. She sheds light on the economy and politics of exhaustion, pointing out the role of racial capitalism in the climate crisis. Vergès suggests a political re-reading and understanding of vital needs and natural elements through notions of cleaning, hygiene and medicine, and raises revolutionary questions about the prefabricated assumptions of justice and social transformation through re-thinking the museum.
In this podcast, we talk to Chilean writer, editor and academic Macarena García about her working methods with children in schools and other shared educational spaces. We talk about challenging picture-books, about fascination and overflow as tools for collective transformation, and about what happens to bodies when they are together. We also explore the workings of censorship and how children’s literature approaches subjects such as death, sex, racism, dictatorship, feminism, gender identity and the climate crisis.
In this podcast, we talk to Cornelia Sollfrank about art, technology and gender, and about performance, bodies and networks. We go back to the very early days with collective projects such as Frauen und Technik and OBN—groundbreaking experiences in which the screen opened up to make way for this other enormous, virtual space to be inhabited. A wealth of practices, projects and experiences—which she now refers to as techno-feminism—in a career that has led her to explore the commons, organizational aesthetics, and the role of the law and of copyright in defining (or not defining) where an original work of art begins and ends in the digital realm.
Yaneth Valencia is a leader, activist mother and poet. She is also community organizer of Lila Mujer, a political space for support, collective creation and affirmation of the lives of black women with HIV, which was founded in 2003 in the working class neighbourhoods of Cali, Colombia. In this podcast, we talk with Yaneth Valencia about the overlapping vulnerabilities that affect black women with HIV in Colombia, linking racism to the lack of a public health system and analysing the relationship between the virus and patriarchal violence, which is exacerbated by war and the forced displacement of black and indigenous peoples from their lands.
Antye Greie (aka AGF or poemproducer) is a poet, activist, sound artist, sound sculptor, and curator, born in East Germany and based on the island of Hailuoto in northern Finland for over fifteen years. In this podcast, we talk to Antye Greie about language, sound, and the body. At their intersection, the voice emerges, with its multiple resonances and different ways of introducing the voice of others through her own practice and space of visibility. Along the way, we look at her work and methodology, from the deconstruction of texts to the implementation of what she calls “feminist sonic technologies”.
In this podcast we talk to the queer collective El Palomar about art, dissidence, and pedagogy. We dive deep into their strategies for self-care and resilience. We talk about the importance of producing disobedient, abject, situated genealogies, despite the obstacles to remembering the past in Spain. We share the experience and trauma of embodied research, and reread the pandemic experience through the lens of the lessons of the silenced AIDS crisis. Touch and queer parties emerge as political possibility and bastions of resistance where drives are liberated, limits are transgressed, and the hostilities of a hetero-centric world disappear, albeit temporarily.
Lucía Egaña is an artist, writer, teacher, and anti-racist transfeminist activist. Lucía is a misfit researcher who for years has been implementing protocols designed to self-institute practices and spaces underpinned by a collective approach. Her methodology is undisciplined (or, as she says, subnormal), championing the bizarre, dirty, and marginal as a fertile testing ground for various relational, educational, and/or artistic devices. In this podcast we talk to Lucía Egaña about pedagogical processes, bibliographic dissent, wild writing, and the generative and affirmative potential of rage. We discuss identity politics, single-sex spaces, friendship as an engine for research, and the power of processes organised around informality and affects.
Cabello/Carceller is the artist duo Helena Cabello and Ana Carceller. Since the early nineties, they have been questioning the arbitrariness and restrictions imposed by gender divisions on our bodies, spaces, representations and behaviour. In this podcast Cabello/Carceller infiltrate the arts institution and show how queer voices are systematically excluded from spaces of power, as well as museums and collections. Through their work, they invite us to reconsider the spaces we live in and leave, in order to queer them and turn them into transitional, unproductive places – sometimes melancholy, sometimes liberating – from which to imagine and activate new kinds of existence. Together, we activate the political potentiality of bodies, affects, festivity and collectivity. But we also acknowledge the solitary revolt of discordant bodies who, by their mere presence, are already doing politics
In the 1990s, twenty minutes was all it took for local authorities in the Austrian city of Graz to detect and neutralise any illegal radio transmitter. Back then, Reni Hofmüller was part of a group of activists who took over the airwaves with pirate broadcasts every Sunday from the mountains surrounding the city. After short 18-minute sessions, the Radio Dauerwelle team would pack up its equipment and clear out, moments before the authorities arrived. In this podcast, Hofmüller shares her early commitment with radio, as well as her obsession with dismantling the invisible in order to understand and question it. A trip through time that takes us from the 1980s to the present, through her personal involvement in feminist discussions from the perspective of new media. Our conversation is riddled with references to her commitment to open source, to doing things together, to the uninhibited mixing of disciplines, and to her passion for the electromagnetic sphere and bicycles.
New York artist Susan Bee defends the political and subversive potential that develops when art and pleasure unite. Which is why imagination, poetry, humour, subjectivity, textures, colours, lines, and matter play an essential role in her work, both in her collages and paintings and her artist’s books. As an art student in the late sixties, she first came in contact with feminist activism and other social movements such as black power, gay rights, and protests against the Vietnam War. In 1986, she embarked on the project M/E/A/N/I/N/G, a self-managed art magazine that she co-edited with fellow artist Mira Schor for thirty years. In this podcast, Susan also shares the particularities of being a woman and an artist who has passed the age threshold of 65 in New York’s artistic ecosystem today.
Fefa Vila Nuñez is a queer feminist ‘artivist’, sociologist, mother, essayist, teacher, and many other things. Fefa was one of the founders of the lesbian collective LSD (1993-1998), which was, together with La Radical Gai, one of the touchstones of queer artivism in Spain in the 1990s. Through their political-artistic actions, LSD and La Radi defended new ways of understanding the body, sex, life, death, desire, friendship, family and work relationships, and political action. In this podcast, Fefa Vila reflects aloud on queerness as a state of radical estrangement, which is constantly being redefined. She also talks about the need to experience other forms of sociability, about other affective-relational models and about motherhood.
Belgian artist and musician Céline Gillain split her time between working as a high school art teacher and the solitary practice of painting in her Brussels studio, until one day she had enough and organised a residency for six female artists at her grandmother’s house. Five years of collective experimentation with other women paved the way for the creation of hybrid, solo performances combining artistic research, the staging of her speculative writing, and catchy pop songs, carefully woven through complex and seemingly sooth and seamless narratives. We talk with Céline about her incursion into the music industry, stage fright, the power of fragility and depression as a form of resistance today. Paradoxically, her current media of choice are a mix of pop songs, motivational speeches, and updated fictions from the entertainment world, which run through everyday life in a darkly humorous, inimitable way.
Professor Oyèrónké Oyèwùmi examines the ways in which universalism in academia distorts our understanding of African cultures, especially in relation to race and gender. In this podcast, Professor Oyèwùmi talks about age, seniority, and respect, about unscrupulousness and academia, dispossession and spirituality. She considers the oxymoron of the notion of “single mother” from the point of view of Yoruba culture, and she also notes how observance of community practices from non-Western cultures may be a necessary step as we face the planetary challenges to come.
Artist and researcher Olivia Plender talks about productivity and care, about suffragettes and museums, and about adolescence and schools. She looks at groups without charismatic leaders, embodied education, and the possibility of transforming errors in honest discussions.
María Ruido talks about the political power of images and the subversive potential of cinematic strategies such as off-screen, voice over, and editing, which help us understand and imagine the world in new ways. She also reflects on the always contradictory relations between the critical and experimental power of culture on one hand, and its institutionalisation on the other
Teal Triggs talks about the historical background of zines and their key role in generating communities outside of the mainstream. She discusses in particular the Riot Grrrl movement and the language and visual universe that opened up as a result of the cross between music, DIY, activisim, femininity, and feminism in the self-publishing world.
Griselda Pollock talks about her involvement in the Women’s Movement in England in the seventies, and about the points of convergence between feminism and art history. Pollock advocates the need to decentralise and diversify knowledge, and to design resistance strategies specific to each socio-political context. And, last but not least, also reflects on memory technologies, trauma, Oedipal and mother-child relationships, narratives of progress, and Bracha Ettinger’s matrixial ethics.
Martha Rosler analyses and questions the proliferation of surveillance systems and self-representations in contemporary society, while telling us about artistic circles in the seventies, the seminal video art scene, and the need to keep chasing utopias.