Avsnitt
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In this week’s episode, we welcome Kris Graves (and his associate Frank Francis) to our gallery and onto the podcast to discuss a multitude of topics including life with a baby, the charm and uniqueness of Queens, the origins of Hip Hop, Graves’ early commissioned work, museums’ and cultural institutions’ feelings about NFTs, Black Lives Matter, the role that race plays in art, history, and society, working day jobs, and how NFTs can be gate keeper resistant, and what is next for Graves. Originally recorded February 13, 2023
Kris Graves (b. 1982 New York, NY) is an artist and publisher based in New York and California. Graves creates artwork that deals with societal problems and aims to use art as a means to inform people about cultural issues. Using a mix of conceptual and documentary practices, Graves photographs the subtleties of societal power and its impact on the built environment. He explores how capitalism and power have shaped countries -- and how that can be seen and experienced in everyday life. Graves also works to elevate the representation of people of color in the fine art canon; and to create opportunities for conversation about race, representation, and urban life. He photographs to preserve memory.
Graves received his BFA in Visual Arts from S.U.N.Y. Purchase College and has been published and exhibited globally, including Museum of Modern Art, New York; Getty Institute, Los Angeles; and National Portrait Gallery in London, England; among others. Permanent collections include the Metropolitan Museum of Art, Getty Institute, Schomburg Center, Whitney Museum, Guggenheim Museum, Museum of Fine Arts, Houston; Brooklyn Museum; and The Wedge Collection, Toronto; amongst others.
Frank Frances (b.1983 Columbia, SC) is a NYC-based artist whose work challenges the everyday perceptions of memories and prejudice with close studies of photography’s materiality and dynamics; he is no stranger to being both voyeur and subject.
He has shown in solo and group exhibitions domestically and internationally at Sasha Wolf Gallery, The Studio Museum of Harlem, Glasshouse, Carriage Trade and Werkstadt Graz to name a few. Reviews and features of their work have appeared in publications such as The New York Times, The New Yorker, Vice, NPR, ArtInfo, Bomblog, and Bloomberg BusinessWeek among others. He received an MFA from the School of Visual Arts. His first book Remember The South is published by Monolith Editions
https://krisgraves.com/
https://www.instagram.com/krisgraves/
https://twitter.com/kgpnyc
https://www.instagram.com/kgpnyc/
http://www.frankfrances.com
https://www.instagram.com/frankfrancesstudio/
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In this episode, we talk with artists Matthew Porter and Carlo Van de Roer about how they first met, the acquisition of NFT works by institutions and museums, the ever-changing attitudes of art collectors, the challenges and strengths of working with traditional artists in the NFT space, the idea of hybridity, and what Matthew and Carlo have queued up for the future.
Episode recorded on February 21, 2023.
Mathew Porter and Carlo Van de Roer have formed a dynamic partnership known as Zome, an artist-run collective focused on collaborating with artists in the NFT space. Within this innovative venture, they have successfully launched two captivating projects: "22 Pigeons" in collaboration with renowned photographer Roe Ethridge and "154Ever" alongside the talented visual artist Mariah Robertson.
Matthew Porter has had solo and group shows in a number of international galleries and institutions, including M+B, Los Angeles, Invisible Exports, New York, Anonymous Gallery, Mexico City, Koenig & Clinton, New York, and the Foam Museum in Amsterdam. Porter's curatorial projects include "Seven Summits" at Mount Tremper Arts, "The Crystal Chain" at INVISIBLE-EXPORTS, and "Bedtime for Bonzo" at M+B. He is the co-editor of Blind Spot magazine Issue 45, and his writings and interviews have been featured in a number of publications including ARTFORUM. In 2012 Porter was included in the "After Photoshop" exhibition at the Metropolitan Museum Art, New York.
Carlo Van de Roer (b. 1975) received his BFA from Victoria University, Wellington, New Zealand. His work has been exhibited at venues such as M+B Gallery, Los Angeles; Suite Gallery, Wellington, New Zealand; the MUSAC Museum of Contemporary Art, Léon, Spain; Transformer Station Museum of Art, Cleveland, OH; the Haggerty Museum of Art, Marquette University, Milwaukee; the New Museum, NY; Hyères Photography Festival and the Paris Photo Prize — a number of these institutions hold the artists work in their permanent collections. Damiani published Van de Roer’s first monograph The Portrait Machine with text by Val Williams. Notable press includes The New York Times, The New Yorker and Wired magazine.
As an inaugural participant in the New Museum’s New Inc program, Van de Roer founded a research and development lab in New York called Satellite Lab, with a focus on new technology for photography and film-making — this has led to the invention and patenting of several new camera and lighting technologies which the artist employs in his work.Matthew Porter
@_matthewporter_
@archipelagi
Carlo Van de Roer
@carlovanderoer
@Carlo_VandeRoer
zome.art
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Saknas det avsnitt?
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In this episode, we talk with artist Mitchell F Chan about his early NFT project titled Digital Zones of Immaterial Pictorial Sensibility, ideas of ownership and locating the source of value, techno utopianism, conceputalism within the NFT space and much much more.
Mitchell F Chan has created innovative works about technology since 2006. He creates large-scale public works, gallery installations, and digital artworks. He is best-known for creating one of the earliest non-fungible token artworks, which linked the immateriality of blockchain to the conceptual art practice of Yves Klein. In 2009, he was awarded the School of the Art Institute of Chicago’s Trustee Scholarship in Art and Technology Studies. His work has been covered and discussed in numerous media outlets including Artforum, Art In America, VICE, Canadian Art, Slate, the Toronto Star, and Gizmodo.
Mitchellfchan.com
@mitchellfchan
@mitchellfchan
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In our most recent installment, Mike Varley (one half of the artistic duo Highley Varlet) has (half of) us over to his very official podcast studio (in his apartment) to discuss his and their artistic endeavors including the “2020: Total Clarity” project where they walked a marathon a day, five days a week, for a full calendar year, the people they met, the podcast episodes they produced, the bagels they ate, the weed bags they picked up, the subsequent NFT collections they produced and how this all helped him to broaden his understanding of New York City, create community, and think about the definition of the word “artist.”
Mike Varley has recently returned to the craft of 'About-Me' writing after a number of years that will henceforth be known as "About-less."
He's become aware through querying his senses that writing a bio two days before the end of a calendar year will garishly color the contents to the tune of Auld Lang Syne. Nevertheless, he has opened a Cherry Coke for the occasion despite the fact it is neither the time of day nor the will of God.
18 months ago, Mike walked seven thousand and twenty four miles around the 5 boroughs of New York City - roughly four thousand, two hundred and sixteen of those with his now wife Jessi Highet. He has spent most days since reliving the experience via digital documentation, a testament to his dedication to never settle on an evident trajectory.
Recently he's learned that the act of entertaining, scheduling, performing, and supplementing radio, newsprint and television interviews is a surprisingly time consuming task but worth the effort if you get to meet Al Roker.
Please don't bite Mike Varley, he has no patience for doctors.
If you must know, Mike Varley has made feature films, novellas, music videos, Halloween masks, electrical cord paintings, Triple-A video games, podcasts, audio books, and, this one time, a tiny hut made out of no more than 20 cotton swabs.
He is pleased to have kept this brief.
Podcast Bonus Special: If you’d like to receive a free promo NFT from Highley Varlets “Weed Bags of New York” project, email us at [email protected], with your Ethereum wallet address and we will send you one.
Links
2020: Total Clarity
Highley Varlet on The Today Show
Everything is Everything
Weed Bags of New York
mikevarley.com
@highleyvarlet
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In this episode, we talk with Lau Wai about their practice and process with discussions around Chinese naming conventions, the use of (or reference to) mocap suits, the differences between consumer and commercial software, how avatars can represent or misrepresent us, deep fakes, the influence of Hong Kong cinema, hybridity, NFTs, virtual galleries, and what the future holds.
Lau Wai 劉 衛 is a multidisciplinary artist, former photographer, storyteller, teacher, gamer, cat companion and more. Born and raised in Hong Kong and currently based in New York, Lau utilizes photography, moving image, new media, sculptural objects, and installation to investigate how history, fiction, personal memory and virtuality collide in the process of identity formation. Their research and material sources range from personal and historical archives to cinematic imagery and popular culture. Their works are collected by The Museum of Fine Arts, Houston (United States); Alexander Tutsek – Stiftung Foundation (Germany) and M+ Museum (Hong Kong), among others. They have exhibited in Europe, Asia, and North America, including Brandts Museum of Art and Visual Culture, Denmark (2016); Power Station of Art, Shanghai (2018); Para Site, Hong Kong (2015, 2018); Tai Kwun Contemporary, Hong Kong (2019, 2021); Kuandu Biennale, Taiwan (2018); Echigo-Tsumari Art Triennale, Japan (2015); The Museum of Fine Arts, Houston, United States (2019) and Yokohama Triennale, Japan (2020). They are also a former resident at NARS Foundation, New York and Institute for Electronic Arts, Alfred University, New York.
Links;
Neither Here Nor There
Here & Album Extract I am invincible…on the screen / False motion tracking Feed 3.0 -
In this very special podcast, Alexandro and Joseph do their best infomercial impression to pitch our new gallery initiative, the Lydian Stater Collector Pass. The Lydian Stater Collector Pass is an annual pass issued in the form of an NFT that guarantees ownership of exclusive physical and digital artworks from every artist exhibited in our 2023 season in addition to bonus perks. Listen to learn more about the pass or click the link below.
Lydian Stater Collector Pass
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This week, we have Elisa Gutiérrez Eriksen on the show to talk about her curatorial practice including the current exhibition at Lydian Stater “Neither Here Nor There,” her experience working as a cultural specialist in Mexico, how she carved a path to the visual arts, NFTs as a medium rather than a container, her recent exhibitions in New York “Common Frequencies” and “Subversive Kin,” the merits of artists choosing a curator instead vice versa, her brief art practice, virtual reality as an expansion, and her collective approach to curation.
Elisa Gutiérrez Eriksen is a Mexican, Brooklyn based Curator and Arts and cultural producer who has collaborated with artists and institutions to produce and curate art pieces, exhibits, festivals and cultural events. As Cultural Specialist at the UNESCO Field Office in Mexico she developed projects and curated exhibitions concerning the relationship between culture and migration, audiovisual heritage, and the environment. Prior to that, she was Head of Exhibitions of the Alas y Raices program at the Ministry of Culture in Mexico. Elisa has also collaborated with the International Human Rights Art Festival in New York and the International Contemporary Animation Film Festival ANIMASIVO, among others. Most recently, she served as Programs Manager and Curator at the NARS Foundation while also developing independent projects; among them Subversive Kin: The Act of Turning Over, presented at The Clemente Soto Velez Cultural Center in NY, and Common Frequencies, at BioBAT Art Space in Brooklyn, NY. She currently pursues her graduate studies at Hunter College and works as an independent curator.
Links;
𝘕𝘦𝘪𝘵𝘩𝘦𝘳 𝘏𝘦𝘳𝘦 𝘕𝘰𝘳 𝘛𝘩𝘦𝘳𝘦 Panel Discussion with @huidixiang, @lau_wai_lau, and @egeriksen
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In this week’s episode, we sit down with Huidi Xiang to talk about her work in our current exhibition “Neither Here Nor There” at Lydian Stater in addition to how gaming influences her work, the overlaps between digital gaming assets and NFTs, the ethics of underpaying oneself, the problems of underpaying others, repetition as a metaphor for labor, the tragedy of The Villager’s Down Special Move in Super Smash Brothers, the importance of faux material in her sculptures, the impossibility of building the ideal IKEA product, and repetition as a metaphor for labor.
Huidi Xiang (b. Chengdu, China) is an artist and researcher currently based in Brooklyn, New York, USA. She holds an MFA in Art from Carnegie Mellon University (2021) and a BA in Architecture and Studio Art from Rice University (2018). In her practice, Huidi makes sculptural objects, installations, and systems to examine the spatial and temporal effects of inhabiting both virtual and physical worlds in late capitalism. By reimagining and reconstructing elements from different contexts, including on- and off-line, she creates works to construct a realm situating in between, intending to articulate the emerging politics and critical issues associated with the ever-expansive merging between the physical and the virtual, the real and the simulated, and the fact and the fiction. Huidi’s works have been exhibited internationally, including OCAT Biennale at OCT Art & Design Gallery, Shenzhen, China, LATITUDE Gallery in New York, USA, Contemporary Calgary in Calgary, Canada, Hive Center for Contemporary Art in Beijing, China, Miller ICA in Pittsburgh, PA, USA, Center for Architecture and Design in New Orleans, LA, USA, and South London Gallery in London, UK. Huidi has also completed some artist residencies, including ACRE Residency Program(2021), the Millay Colony for the Arts (2020), and Project Row Houses Summer Studios (2016).
Links;
𝘕𝘦𝘪𝘵𝘩𝘦𝘳 𝘏𝘦𝘳𝘦 𝘕𝘰𝘳 𝘛𝘩𝘦𝘳𝘦 Panel Discussion with @huidixiang, @lau_wai_lau, and @egeriksen
see shovel saw NFT
elephant slide NFT
CHEESE COLUMN
10 yr old Huidi playing the Guzheng
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In this episode we speak with Nando Alvarez-Perez. We reflect on our previous exhibition, post industrial digital dysmorphya, and discuss the politics of being a triplet, when the right time to “retire” a body of work is, image selection and the flattening of history, the indirect impact Walter Benjamin has had on his practice, deskilling, doodles, and recent activities at Lightwork’s residency program, Cornelia Magazine, and the Buffalo Institute for Contemporary Art.
Nando Alvarez-Perez is a native of Buffalo, New York. In 2014 he graduated from SFAI, where he received the Master of Fine Arts Fellowship in Photography. He uses his work to investigate the boundaries between the personal and the political, the fitness of psychology for ideology, the discrepancies between history and biography, and the relationship between memory, meaning, and place. His practice extends to his work as a founding director of The Buffalo Institute for Contemporary Art, an art and education nonprofit that model how culture can sustain communities through focused, practical engagements with contemporary art, and as editor-in-chief of Cornelia, a visual art review published three times a year for the Western New York and Southern Ontario region. He is currently a visiting professor at Alfred University.
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In this week’s episode, we catch up with Christos Makridis, the CTO/COO and co-founder of the Web3 multimedia startup Living Opera, to discuss how writing can be an approach to understanding the world, human capital, how NFTs and music are such a natural fit, the way Living Opera is working to support emerging opera musicians, the Magic Mozart NFT project, AI’s potential role in the arts, and the possibility of Web3 becoming a space for the common good.
Christos Makridis is the CTO/COO and co-founder of Living Opera, a web3 multimedia startup that brings together classical music and blockchain technologies to produce transformative experiences. Christos holds academic appointments at Stanford University, Columbia Business School, and other academic and policy institutions, and has published over 60 peer-reviewed journal articles and over 150 news stories in the press. He holds doctorates in economics and management science & engineering from Stanford University. -
On this week’s episode, we are joined by artist Carlos Franco.
Carlos Franco Maldonado is an artist based in Brooklyn, New York. Maldonado holds a bachelor's degree in Philosophy and Visual Art from the University of Puerto Rico and a master’s in New Genres from the San Francisco Art Institute. His works and projects have been presented at the Lab, SOMArt’s Cultural Center, and The Thing Quarterly in San Francisco; at Lvl3 Gallery in Chicago; Nikolaj Kunshal, Copenhagen, DK; Quinta del Sordo, Madrid, SP; and Universidad de Medellín, Medellín, CO among others.
Links:
post industrial digital dysmorphya
InstaLive artist talk about the show
00:0_ “HUMOR IS A WAY TO COUNTERACT FEELING HELPLESS, NO?” -
On this week’s episode, we are joined by Ryan Tanaka, co-founder of Teia Surf, musician, and crypto-historian, to discuss the crypto space and it’s overlap with music and art, the promise Web3, Ethereum’s fallibility, diversity within the crypto ecosystem, the potential of Tezos as a blockchain for art, the challenges the Metaverse faces, and the importance of the intersection between the humanities and technology.
Closing Track:
The Third Web - Chapter V (Interlude/Transition) by Ryan Tanaka -
In a special episode for us this week, we sit down with Brian Alfred, artist and host of the SOUND & VISION podcast, who is a big inspiration on what we do here at Arranging Tangerines. In our discussion, we touch on the curatorial process, the importance of soccer, the gravitas that comes with age and experience, the overlap between music and visual art, Brian’s painting process and trajectory, diving into the world of animation, how collaboration happens within his work, the importance of mentorship, and his thoughts on the now cooling-off NFT craze.
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In this week’s episode, we welcome back Anika Todd, our inaugural guest on the podcast. As we talk about what Anika has been up to for the last year, we discuss teaching, the ethical concerns of sunlight access, the transferable nature of air rights in NYC, how a nomadic lifestyle helps emphasize incongruities, balloonery, space travel with a lower case ’s’, and the pros and cons of documentation when it comes to conceptual artwork.
Anika Todd (b.1992, Boston, MA) received her BFA from Massachusetts College of Art and Design, and her MFA from The University of Texas at Austin. Todd is a sculptor/media artist investigating landscape and ownership; Todd’s work functions through acts of trespass -- simultaneously enacting and challenging systems that oppress, compartmentalize, and own in order to control. She has created site-specific installations in the US and abroad. Her work has been presented in solo exhibitions at VisArts Center, Richmond, VA and Co-Lab Gallery, Austin, TX featured in the Washington Post (2018) and Glasstire (2019) respectively. She was the recipient of a City of Austin Cultural Art Council Award (2019) and the Godine Travel Award (2017). She has been selected to participate in numerous residencies including Salem Art Works (2017), Haystack School of Craft and Design (2018), and Skowhegan School of Painting and Sculpture (2019).
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In this weeks episode, artist Maria Gabler walks us through her solo exhibition titled 'TRAMA' at PROXYCO Gallery located in Manhattan's Lower East Side. The show runs through July 20th - go see it!
María Gabler (b. 1989) earned her BFA from the Catholic University of Chile and MFA in Visual Arts from the University of Chile. Gabler has exhibited extensively in Chile, including the solo shows “La Ventana” (2022) at Galería Gabriela Mistral, “Anfibia” (2021) at MAM Chiloé, “La Galería” (2017) at Sala de Arte CCU, and “Mirador” (2015) at Galería Tajamar. She has also participated in several group exhibitions in spaces such as Matucana 100, Galería D21, Galería Macchina, Galería Local, and Museo de la Solidaridad, among others. Her work has been recognized with the Sustainable Pavilion Award from the National Council for Culture and the Arts of Chile at ChACO Fair 2011; FONDART 2015, 2017, and 2020; Third Place in 2015 and First Place in 2021 in the CCU Art Fellowship and the Ca.Sa Foundation/Collection Award 2021, among others. In addition, since 2020, she has been part of the National Collection of Contemporary Art of Chile at the NationalCenter of Contemporary Art in Cerrillos.
PROXYCO presents the works of emerging and mid-career artists from Latin America.
Through exhibitions with artists that we represent as well as collaborations with galleries from Latin America and beyond, we aim to advance the understanding of work by artists of Latin American descent in an international art context. For PROXYCO, the term “Latin American” is not an essentializing classifier, but rather a fluid framework to value and engage with art that is informed by both a distinct cultural heritage and an ever-widening global perspective.
Located in Manhattan’s Lower East Side, PROXYCO was founded by Alexandra Morris (b. Mexico City) and Laura Saenz (b. Bogota).
Links:
Maria Gabler
PROXYCO Gallery
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In our second episode with the amazing Laura Splan, we talk about the rewards of providing exhibition opportunities for others, the promise of the NFT as a viable distribution model for long format video art, transfiguration!, the roll of magic in art, how our relationship to science, technology and medicine emerges in our daily lives, the beauty industry’s deliberate misuse of the language of spirituality & science in the service of marketing, the enchanted language of spam email and the use of blood as a medium and a metaphor.
Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory engagement. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Triënnale Brugge. Her work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU’s Langone Art Collection, and the Berkeley Art Museum.
Her recent exhibitions featuring molecular animations and material artifacts of laboratory animals include her large-scale immersive installation in the Brooklyn Army Terminal at BioBAT Art Space. She is currently developing a new series of collaborative artworks with theoretical biophysicist Adam Lamson for a project supported by the Simons Foundation. Her research as a member of the New Museum’s NEW INC Creative Science incubator included collaborations with scientists to interrogate interspecies entanglements in the contemporary biotechnological landscape. She is now a NEW INC Artist-in-Residence at EY where she is collaborating with the Cognitive Human Enterprise at EY on projects and research exploring the implications of virtual technologies. Splan often creates public engagement with her projects to make concepts and techniques behind her work accessible to audiences with programming including everything from all ages bacterial transformation workshops to remote textiles collaborations.
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In our first episode with Laura Splan, we talk about her Syndemic Sublime project, coopting scientific tools and processes in the service of art making, driving dynamic visualizations with unexpected data sets, utilizing software in unintended ways, NFTs as just another outlet or platform to explore, the possibilities of custom smart contracts and how they are the most material aspect of the NFT, the conventions of metadata and how exhibition opportunities and access to spaces influences her work.
Laura Splan is a transdisciplinary artist working at the intersections of science, technology, and culture. Her research-driven projects connect hidden artifacts of biotechnology to everyday lives through embodied interactions and sensory engagement. Her artworks exploring biomedical imaginaries have been commissioned by the Centers for Disease Control Foundation and the Triënnale Brugge. Her work has been exhibited at the Museum of Arts & Design, Pioneer Works, and New York Hall of Science and is represented in the collections of the Thoma Art Foundation, the Chan Zuckerberg Initiative, NYU’s Langone Art Collection, and the Berkeley Art Museum.
Her recent exhibitions featuring molecular animations and material artifacts of laboratory animals include her large-scale immersive installation in the Brooklyn Army Terminal at BioBAT Art Space. She is currently developing a new series of collaborative artworks with theoretical biophysicist Adam Lamson for a project supported by the Simons Foundation. Her research as a member of the New Museum’s NEW INC Creative Science incubator included collaborations with scientists to interrogate interspecies entanglements in the contemporary biotechnological landscape. She is now a NEW INC Artist-in-Residence at EY where she is collaborating with the Cognitive Human Enterprise at EY on projects and research exploring the implications of virtual technologies. Splan often creates public engagement with her projects to make concepts and techniques behind her work accessible to audiences with programming including everything from all ages bacterial transformation workshops to remote textiles collaborations.
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Peter Rostovsky joins us this week to talk shop including discussions around his role in the NFT project The Inside World, the promising aspects of the blockchain for artists, his transition into working digitally, how the Occupy Wall Street movement affected his practice, the magic of books, the comparison of NFT technology to the advent of photography, his new graphic novel, and the way that painting is foundational to his work.
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This week, we have Matthew Cronin over to the gallery to talk about the intersection of photography, technology, and culture, how he uses found imagery in his work, the way that scale can literally change an artwork, the influence of some folks from Düsseldorf on his practice, hate watching Youtube, an algorithmically driven existence, abstraction as it relates to art and economics, and the spectre of the past over the present.
Links:
Technics
Trinity/Primer
Dwelling
The Unbearable Closure of Being
Bernd and Hilla Becher
The Big Lebowski's Rug
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In this weeks episode, we take the show on the road to the Frieze New York, one of the most popular art fairs in NYC. We check in with artists, gallerists, collectors, and advisors about the current art market sentiment, whether folks are “totally over” NFTs yet, and which works were stealing the show.
Links:
Sarah Diver
Jordan Schnitzer
Mungo Thomson
Matheus Yehudi
Alaia De Santis
Kevin and Jennifer McCoy
Micha Safron
Elizabeth Fiore
Tania Candiani
Beatriz López
Leo Filipe
Stefan Benchoam
Sarah Tortorich
Ann Buckwalter
Bianca Beck
Maureen Connor
https://www.frieze.com/article/air-gallery-looks-reproduction-rights-usa
Lizania Cruz
https://www.frieze.com/article/what-we-learned-air-gallery-frieze-new-york
- Visa fler
