:: Interviews

Fearless Perseverance published 21/10/2018

The constant movement and adaptation has made me a nomadically inclined artist and human. I have become easily adjustable to my circumstances, both in art and life and can be quite inventive in my ability to make something out of nothing. Both accumulative and ephemeral nature of my practice stem from that too, as I know what it’s like to begin anew, owning only your body, memories, and courage and will, as well as found materials and places. My boundaries and personal limits have been pushed and pulled many times throughout my life and I learned to understand fragility of life, broaden my worlds, live large, believe in the present moment, as it could all be gone in a mere instant. On the flip side of it all, I am quite aware of the feeling of not belonging to any one place or culture and alienation is painfully familiar and insistent, transience is palpable.

Continuing the States of Anxiety series, Jana Astanov interviews Katya Grokhovsky.

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Neodomesticity – performance home of Lital Dotan published 07/10/2018

Glasshouse took over my apartment and became this domestic museum of performance. We started showing rotating exhibitions that were spread throughout the house, in the kitchen, on the bed, in the bath, and hosting live performances on a monthly basis. We started with a handful of audience, our peak was hosting thousands of visitors on a single day.

Continuing the States of Anxiety series, Jana Astanov interviews Lital Dotan.

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Sound of the Suburbs published 04/10/2018

Somebody once told me a uni-seco was used as a background in a 70s Godard film! About the ones we mention, they are very large audience, which shows that prefabs are part of a popular heritage. Especially Foyles War, as it’s the heroine home and she represents a post-war sort of liberated woman work wise – she is Folyes’ chauffeur! – and the wife of a Labour politician. It really goes with the Spirit of 1945, the creation of the NHS etc.

Andrew Stevens interviews Prefabs author and “one of Britain’s dullest women” Elisabeth Blanchet.

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Anonymous Sessions – Chamber IV: Interview with Vast Abrupt published 02/10/2018

Vast Abrupt

Fragmentation and dissolution seem to be the emergent points on which the texts of VA ironically converge. There is no ideology, but perhaps a processual methodology of experimentation can be said to unify the project. VA knows nothing, so why should it pretend to enunciate a path for others to follow?

Cergat Boş & Elytron Frass interview Vast Abrupt.

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Anonymous Sessions – Chamber III: Interview with Maure Coise published 25/09/2018

Maure Coise

My writings grow out of researching metadata and access structures, analyzing user’s impressions, search and social media histories, and environment. Each copy of my books has embedded in it a smart sensor, applying my declarative frame system. I define surrogates as vessels that can be mounted.

Cergat Boş & Elytron Frass interview Maure Coise.

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Anonymous Sessions – Chamber II: Interview with The Syndicate published 18/09/2018

Interview with The Swarm

The Symposium came to us from an atmosphere of loss in, at the time, contemporary vibrant scene of the hybridization of theory. What was left was this helpless booklet. We looked at ourselves, a few speechless voices nourished by theories and fictions, and we dove into sentient silence, the overgrown intimation to zero. Zero is—in dB—the level of a perfectly mastered sound, and we found it, in our silence, though distorted by a restless redshift of the VU signal, a noise formula that infected all of our production, whereas we can no longer see differential qualities or differential individualities.

Elytron Frass and Cergat interview The Swarm.

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Anonymous Sessions – Chamber I: Interview with [x] published 04/09/2018

Interview with [x]

There’s a fragile line between being seen and being witnessed; the former is sold to us as sufficient, where we exist so long as we reduce ourselves to content. I want something terrible and intimate, I want to know that you’re afflicted, that you’re caught in this. When something touches us it’s terrifying. To soothe the discomfort of feeling in response to Other, even if it’s joy or wonder, we try to possess, as if ownership can mitigate that helplessness. To witness is to take that fear on the tongue, a little body to go with the blood.

Cergat Boş & Elytron Frass interview [x].

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Baggini: Melody Thinker published 19/08/2018

Music can take us to somewhere removed from the contingencies of each day. Through art, we’re reminded of another important dimension of life which can get lost. Humans are odd animals. We’re rooted in the present and we’re culturally and historically located, but through imagination and intellect we can grasp and appreciate things which aren’t specific to our times. It’s quite remarkable capacity really.

Hugh D. Reynolds interviews Julian Baggini.

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Scorpio Rising: Gothic Hybridity and the Occult – A Discussion Between Laura Joyce and James Pate published 17/07/2018

My favourite Noir writers also suggest a greater mystery out there, something that can’t be solved, that maybe can’t even be articulated. Everyday experiences, everyday things – doors, windows, lakes, hotel rooms, corridors, beaches – become invested with a kind of unnervingly unknowable quality. To a certain extent, I like Noir for the same reasons I like the Gothic. I’m much more interested in what I don’t know than what I do know.

A Discussion Between Laura Joyce and James Pate.

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Low cost, big aims: An interview with Dostoyevsky Wannabe published 10/07/2018

What we publish has to be very good, very bad in a good way, or very cool — and that stands as our criteria. I suppose it’s similar to the “publishing” in inverted commas thing. A way not only of not setting ourselves up as appointed gatekeepers but also of not offering wholly fabricated standards to writers that nobody could live up to because they don’t genuinely exist.

Fernando Sdrigotti interviews Richard Brammer.

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