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Interview

Censoring the Voice Tunnel: 5 Questions with Rafael Lozano-Hemmer

by Clara Olshansky on July 31, 2013
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In a remarkable case of irony, the NYPD has attempted to censor an art installation about free speech. Rafael Lozano-Hemmer’s upcoming Park Avenue tunnel installation, Voice Tunnel is an open platform, allowing anyone to say whatever they want through an intercom that will translate the noise into waves of light and sound. The NYPD, however, wanted to include a 6-second delay, in case they needed to censor anything dangerous. They compromised: a monitor will stand by as people speak, and, in case of anything really incendiary, there is a button to delete the recording.

This is a uniquely appropriate issue for Lozano-Hemmer, whose work often concerns free speech and monitoring the public.

The artist talks with us about how he feels about the intervention, and what the censorship will look like.

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Concerns from The Second Economy: Daria Dorosh on the Baby Boomer’s Relationship to Technology and Art

by Paddy Johnson on November 14, 2011
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Perhaps due to my parents nearing retirement age, I’ve recently started wondering how the concerns of artists of that generation might differ from my own. How will artists care for their work as they age? Are their assets significantly different from younger generations? Can a strong knowledge of digital technology be helpful? I got in touch with seasoned activist and A.I.R. co-founder Daria Dorosh to discuss a few these concerns. We talk about her history at A.I.R., digital technology, and means of preserving art that does not make its way into a museum or a collector’s home.

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Creature: An Interview With Haim Steinbach

by Paddy Johnson on November 3, 2011
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What do you say to a guy who’s most frequently described as the artist who “radically redefined the status of the object in art”? I don’t usually get nervous about biography points like this, but I made an exception for Haim Steinbach. Unlike a lot of art, there’s no answer key to his angular shelves and arrangement of objects – and that can make a viewer nervous. Certainly, it affected me; it took two anxiety-filled weeks just produce a 700-word review on his show at Tanya Bonakdar Gallery last month, and I still worry about whether I got it right.

Steinbach himself, though, isn’t quite so intimidating. Now 67, the New York-based artist seems just as interested in the door hinge next to him as he might be about any given conversation. He’s obsessed with objects in the world around him. Recently, we talked about how that intense focus informs his work and thinking.

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RYAN TRECARTIN – Vice Magazine

by Paddy Johnson on August 10, 2011

RYAN TRECARTIN – Vice Magazine – A great Ryan Trecartin interview from back in November. 

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Sir Sampleton: An Interview with Paul Slocum and John Michael Boling

by Paddy Johnson on August 3, 2011
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Not only is this iPhone app the most fun invention since Super Nintendo, but the commercial is equally entertaining! Here’s an exclusive, behind-the-scenes look at Sir Sampleton and his web video.

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Belt Tightened, Prospect.2 Releases Pared-Down Artist List for Second New Orleans Biennial – ARTINFO.com

by Paddy Johnson on June 23, 2011

Belt Tightened, Prospect.2 Releases Pared-Down Artist List for Second New Orleans Biennial – ARTINFO.com – AFC Alumn Julia Halperin talks to Dan Cameron about Prospect 2 in New Orleans. Paired back from its original incarnation, the biennial will launch October 22. 

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Assembly Line at The Gulbenkian: An Interview With Miguel Palma

by Paddy Johnson on June 21, 2011
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If awards were doled out for exhibition size, the Gulbenkian in Lisbon Portugal, would land one for their latest Miguel Palma show. On view through July 3rd, “Assembly Line” isn’t billed as a mid-career retrospective, even though what’s on display is already far more than the average artist produces in a life time. If Palma wasn’t already known for his prolific studio practice his now. The show also achieves much the same result as a mid-career retrospective, the arranged objects illuminating the artist’s process and enduring concerns; his tendency to work on many piece at once (it would appear one idea has never sparked less than ten others); his interest in the artificial and the real as represented by nature and technology; and yes, an unwavering interest in play.

As Palma is a good friend of the blog, I’m likely biased, but “Assembly Line” is also the best solo museum show I’ve seen Lisbon. As such, I thought I’d chat with Palma about his exhibition. We talked about art, life, and cigar torpedos.

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