Creative Commons
Deleted scenes
We dig up some unreleased fragments of the conversation with artist and researcher Eugènia Balcells, which we were unable to use the first time around. We share notes on her work Fuga—which she considers seminal to her practice and to her relationship with light—and on the educational project Veure la llum, which was carried out as part of her exhibition Seeing the Light at MACBA in 1996. To wrap up, we talk about her vison for the Eugènia Balcells Foundation: 400 hectares at Les Gavarres, where she can bring together her legacy and establish interdisciplinary dialogue in nature.
Maria José Arjona
Con una trayectoria de varias décadas de prácticas e intercambios entre pecho y espalda, Maria José Arjona explora a través de la performace de larga duración un cuerpo que pendula al borde del abismo de manera afirmativa. Su repertorio de gestos hace parte de un gran archivo en permanente tránsito y transformación, a menudo atravesado por la historia de la performance, aunque siempre vivo. En este podcast, Maria José Arjona mira hacia adelante y hacia atrás, para trazar un diagrama invisible de procesos, acciones y deseos, entre su hacer en solitario y su necesidad de desbordar una política del tiempo con otros artistas, mediante la subversión del tiempo institucional: ¿qué le pasa a la performance y al performer cuando su trabajo pasa por estar ocho horas en un museo?
Transcript
Transcript of PROBES #35, curated by Chris Cutler.
Martin Zeilinger
Researcher Martin Zeilinger’s work stems from a deep fascination with the grey area where blockchain-related technologies protocols and art intersect. Far from the naive triumphalism of Web3 evangelists, his approach focuses on the artists and projects that actually try to integrate some of the salient features and affordances of distributed, trustless ledgers into their practice. In this podcast, we talk to Martin Zeilinger about the poetic and political potential of the blockchain, while at the same time tracing a somewhat fuzzy timeline that connects 1960s conceptual art to smart contracts, decentralised autonomous organisations and a host of consensus mechanisms.
Deleted scenes
We dig up some unreleased fragments of our conversation with curator, artist and cultural producer Eva Rowson that we were unable to include the first time around. Eva expands on her proposition of being nice as an integral part of her curatorial and managing work, while taking into account the challenges of maintaining safe and welcoming spaces. The questions of quotas and infrastructure pop up in the conversation too.