Son[i]a #436
Kate Rich
Kate Rich is an artist and feral economist, trading in and outside formal institutions for over thirty years. Trained in the tactical media movement of the 1990s, she was part of Bureau of Inverse Technology (B.I.T.), an international agency that anonymously redesigned guerrilla information products. In 2003, she started Feral Trade, an import-export business and economic experiment (which she sustained for two decades) using the spare carrying capacity of travellers and existing movements to transport coffee, olive oil, and other vital goods. Around the same time, she joined the Cube Microplex, a volunteer-run arts cooperative in Bristol, UK, and was part of the team that established a Community Land Trust to hold the Cube building and land in service of the arts community, in perpetuity. She also co-organised RADMIN, Britain’s first festival of Administration. Shortly afterwards she established the Feral MBA, an annual training course in business especially designed for artists and other interested parties. Kate approaches administration as an environment in which practical experiments can flourish. Its apparent greyness is fertile ground in which to cultivate radically creative ways of interacting with elements that are already embedded in our lives, such as money, contracts, and private property.
In this podcast, we talk to Kate Rich about administration, entrepreneurship and feral vocabularies. We consider the cycles of learning and unlearning required to open up the imaginary of cooperation and business, and access their enduring emotional content. We recap experiences of shared bank accounts, economic abstractions as temporary hiding places, greyness as camouflage or cover, and acknowledge administrative practice as the inevitable soundtrack of our lives that is waiting to be reimagined.
Sound sources:
01 Walthamstow_walker, ‘Parakeets in Springfield Park London’
02 Garuda1982, ‘Wild boar squeak field recording with tascam dr-70d & Rode NTG4+’
03 DaniloSFX, ‘Dog Growling Playing With Tennis Ball’
04 TheVeoMammoth11, ‘Wild Boar / Grunting Growling’
05 WIM, ‘frogs01’
06 kevp888, ‘LS_33978_SP_PublicGarden’
07 TRAVELcandies, ‘Howler Monkeys, Massive Voice, Costa Rica’
08 KevinSonger, ‘Crickets and Southern Leopard Frogs 9pm SMNWR Feb 2023’
09 Bruno.auzet, ‘scary fox at night’
10 TheVeoMammoth11, ‘Wild Boar / Grunting / Squealing’
11 Romancito, ‘Coyotes with night ambiance’
With the support of:
Coproduced by:
Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do not necessarily reflect those of the European Union or the European Education and Culture Executive Agency (EACEA). Neither the European Union nor EACEA can be held responsible for them.
Conversation: Antonio Gagliano, Anna Manubens and Roc Jiménez de Cisneros. Script: Antonio Gagliano. Sound production and sounds: Roc Jiménez de Cisneros. Voice over: Javiera Cádiz. Sound sources from https://freesound.org/
ATTRIBUTION/NON-COMMERCIAL/SHARE-ALIKE 4.0 INTERNATIONAL (CC BY-NC-SA 4.0)
related episodes
Kathrin Böhm
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.
Zarina Muhammad/The White Pube
In this podcast, we speak with Zarina Muhammad, who walks us through The White Pube’s collaborative process and projects to date. We delve into Zarina’s diasporic identity and the politics of assimilation, as well as polyvocal narratives and fiction as critique. We explore the embodied experience of writing their first book, Poor Artists, and ask why a bingo card can sometimes say more than a press release