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Zush
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In a country like Spain, where rural areas have historically been subject to dispossession and marginalisation, José’s work reveals the ravages of extractivism, from lithium mining to solar panel monocultures. He links these practices to historical processes of conquest, latifundism, and the privatisation of the countryside, while also exploring the ways in which communities resist and seek to build alternatives. In this podcast, José Iglesias García-Arenal invites us to imagine interstices of possibility where community resistance, historical memories, and art come together to redefine how we inhabit the world. We talk about invented traditions, olive trees, sheep, looms, and the complex interactions between past, present and future.
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Norwegian vocalist and interdisciplinary artist Stine Janvin works with the voice as a tool and as raw material. Janvin explores the potential of the voice, challenging conventions, traditions, and formats, in a sound universe that warps and bends musical genres from electronica to folk. In this podcast, we talk to Stine Janvin about needlework, about family memories and medieval stories, and about the pleasures of gossip, against the backdrop of Norway’s modern identity-building project. We also look at Janvin’s recent immersion in and updating of the liksong (sung funeral service, literally, “corpse song”) tradition from south-western Norway. In her practice, tradition, popular culture, and identity are reinterpreted, updated and stretched through multiple strategies.
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In this podcast, cultural mediator, educator, and collage artist Teresa Rubio fills us in on her way of understanding (and putting into practice) the third space that emerges in mediation. Much more than simply providing a few sofas, mediation entails being among and with others, which also opens up “other ways” of occupying and inhabiting the museum. For Teresa, mediation inherently contains performance, listening, and reproductive care work. Moreover, it is as much about individual authorship as it is about collective writing. And in order to realise its full potential, it often needs to be an internal process too.
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Mari Chordà was born on 14 May 1942 in Amposta, Tarragona, a land to which she is deeply attached. She is a painter, sculptor, writer, poet, and activist, whose painting and poetry speak of pleasure, motherhood, and the female body. She was also among the first of her generation to propose the idea of free sexuality. Mari Chordà developed her own pictorial style in formal and colour terms, without following trends but focusing on the direct depiction of her own body—the female body—and its cavities, sinuosity, fluids, and mutations.
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In FONS ÀUDIO #60, artist Helena Vinent takes us deep into her work "Hard Persistence". Her artistic practice resonates with a crip-queer and/or anti-ableist perspective: in short, a politics of life that advocates for those marginalised by a system that standardises and validates the body for the benefit of capitalism. In "Hard Persistence", subtitles, closed captions, displacements, hapticity and the cyborg body—via prostheses—come together in a fragmentary narrative that questions the essentialist idea of a fixed identity. The starting point is the premise that, in an ableist context such as ours, a body assigned as disabled is not read as a complete human body.
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In this podcast, Marxist historian, editor, and journalist Vijay Prashad emphasises the power of storytelling, expressing emotion as he critiques imperialism and raises awareness about war. While disagreeing with hyper-imperialism, he recognises the uncertain material conditions that underpin conservative ideologies. Reflecting on Palestinian oppression, he thoughtfully revisits the intertwined histories of European colonialism and antisemitism, with a particular focus on the German context. Though fatigued by dishonest discourse, he finds hope in the dissent of younger generations and the socially constructed courage they embody. And despite attempts at silencing, he embraces the defiant spirit of protest, rallying behind the cry: ¡No pasarán!
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We dig up some unreleased fragments from our conversation with the artist, art historian, researcher, and educator Teresa Lanceta. We delve into her research on Las cigarreras, which documents and focuses on the forms of organization, solidarity, and care among the women workers in the tobacco industry in Spain in the early 20th century. We also share her relationship with the collector Bert Flint, the (for her) impossible bridge to pre-Columbian textiles, and her way of understanding and carrying out co-authorships.
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Philip Rizk is a filmmaker and writer whose work explores themes of power, resistance, and memory, particularly in the context of social and political movements in Egypt, Syria, Palestine and beyond, in a process he describes as “putting struggles into conversation with each other”. In this podcast, we speak with Rizk about the past and present of his practice, about imagined scenarios, and about the impossibility of working with images in today’s world. We discuss autonomy, musha' or land commons, re-enactments, and improvisation as a form of response to imposed order.
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In this podcast, we talk to filmmaker and visual artist Wu Tsang about her way of understanding (and practicing) the ungraspable nature of the moving image through her concept of magic realism, as well as other reality-modification strategies. We talk about big and small stories, about myths and clichés, and about rewriting and unravelling timelines, part real and part fictional. We also look at the benefits of collaborative processes and at the need to challenge and dismantle the idea of individual authorship in the visual arts.
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In this podcast, Imani Jacqueline Brown tells us about her formative experience as an activist in New Orleans and in the crucible of Zuccotti Park during the Occupy Wall Street movement. We also talk about eugenics and about how Carl Linnaeus’s philosophy during the Enlightement divided existence into parcels of private property, about oil infrastructure networks and environmental racism in Death Alley, and about apocalypse as repeated events. Along the way, Imani imagines paths to ecological reparation, ways to steward and attend to the world. She finds that it is precisely the uncultivated land at the back of the plantation that is rich with life and possibility: the seed banks of new growth.
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