Specials
Lucía C. Pino
Artist Lucía C. Pino approaches her sculptural work as a conversation with the materials, the media and the surroundings—in relation to where they come from as well as the place they will occupy—, emphasising their performative aspect and their interdependence with her every move. It is a practice that is not easily defined, permeated by a wide range of interests, influences and concerns, among which Lucía includes the rituals of reading, writing, and doing-with-others. In FONS ÀUDIO #58, Lucía C. Pino presents Non-Slave Tenderness, 2018.
Edwin van der Heide
In this podcast, we talk with Edwin van der Heide about using radio as a way into the public, outside world, and about radio as a highly regulated space that sometimes resists experimentation. We discuss his early interest in short and medium wave radio and how it came to be expressed in these immersive, awe-inspiring installations, and we speculate about the production of meaning inherent in each of them.
Bernat Daviu
Bernat Daviu (b. Fonteta, Baix Empordà, 1985) is an artist who considers himself a painter first and foremost. A painter aware that the death of painting has long been anticipated but has not yet arrived. As such, he expands it and allows it to mutate into objects, costume design, dance, performance, video, music, and art installations. He activates painting, sets it in motion, and turns it into a mirror of our surroundings. Daviu is interested in the borderlands between art and non-art. In this podcast, he talks about his 2020 work Stanza, in which painted canvases break free from the frame and start to dance and interact with other artistic disciplines.
Fito Conesa
Fito Conesa inhabits many languages and disciplines, stretching the chewing gum of his practice to stick on different forms of knowledge, ways of doing, and conversations that are often found outside the white cube. In this podcast, Fito Conesa takes us behind the scenes of the visually and sonically imposing video Helicon (2019), in which a seven-member brass band invokes the end of the world in an almost apocalyptic landscape, in which geological time, human time, and personal time collapse into one.
Núria Güell
Núria Güell’s artistic practice always starts with a contradiction or social conflict that she feels directly challenged or affected by. These give rise to long collaborative processes in which listening, legal research, negotiation, and confrontation—as well as affinities and affects—become essential creative tools. Her practice is part of her life, and it often involves taking legal, physical, and emotional risks. In FONS AUDIO #55, Núria Güell talks to us about the processes, conversations, research, and formalisation behind the making of Ayuda humanitaria (Humanitarian aid) (2008-2013), a piece she began during the years she spent in in Cuba, which became part of the MACBA Collection in 2021.