Son[i]a #329 Violeta Ospina
- 00:01 Intro: models and miniatures
- 05:55 One possible explanation of Radio Cava-ret
- 08:40 The futurist radia
- 09:10 Translation-digestion
- 12:03 Really slow dancing: bittersweet enjoyment
- 13:52 Another possible explanation: failing with one's own voice
- 14:55 Perry Medea: listening reconsidered
- 18:11 Perry Medea: the devil and she-devil’s carnival
- 20:49 Migrant karaoke, sheer subliminal message
- 27:06 Shamanic concrete sculptures
- 31:52 One last possible explanation: John Cage at El Molino
- 39:07 Recycling temporalities and a "community" economy
Violeta Ospina is an artist, an educator, and a facilitator of collaborative projects that pay special attention to sound and the body. Using typical expressions and imaginaries of popular celebrations as raw materials, her work unfolds through multiform devices that seek to intensify the present. Piñatas, scale models, processions, karaoke, carnival, and cabaret all make an appearance in her practice as catalysts for violence and tenderness, which can also awaken the parodic potential that is always latent in everyday situations. Violeta is co-founder of Radio Cava-ret, a project linked to listening and theatricality, which, taking up the baton from the Futurists, calls itself a “radia”: the experimental and erotic flip side of traditional radio.
In this podcast, Violeta Ospina explains how to dance an ambulance strobe light, takes us through the process of inserting subliminal messages in karaoke, and imagines John Cage’s coffees at El Molino as fragments of a minor history of sound art. The conversation includes the thoughts of fellow member of Radio Cava-ret Samuel Céspedes, aka Perry Medea, on the problem of speaking out on someone else’s behalf, the representation of others, the relationship between voice and democracy, and the need for a radical overhaul of the political practice of listening.