Sergio De La Torre

Sergio De La Torre is an artist based in San Francisco, CA.

His works have focused on issues regarding diaspora, tourism, labor and surveillance. These works have appeared in the 10th International Istanbul Biennial; the Bienal Barro de America; the Cleveland Performance Art Festival; the Atelier Frankfurt; the Centro Cultural Tijuana; the Yerba Buena Center for the Arts, and the TRIBECA Film Festival.

He has received grants from Creative Capital, the Rockefeller Foundation and the Sundance Documentary Fund. Sergio De La Torre is an Associate Professor in the Art and Architecture Department at the University of San Francisco. Learn more on his websites, Delatorres.com and Maquilapolis.com

Sergio De La Torre “Sanctuary City/Ciudad Santuario”, 2009

Sergio De La Torre “Eviction Notice Letter”, 2015

Bill Kelley, Jr.

Bill Kelley, Jr. is an educator, curator and writer based in Los Angeles. He holds a Ph.D. in Art History, Theory and Criticism from the University of California at San Diego (UCSD) and a Masters in Colonial Art Studies from the University of New Mexico, Albuquerque (UNM).  His current research focuses on collaborative and collective art practices in the Americas. Bill has written for such journals as Afterall, P.E.A.R., and Log Journal. He served as co-curator of the 2011 Encuentro Internacional de Medellín (MDE11) and was the former Director and Co-Editor of the online bilingual journal LatinArt.com. He currently holds the position of Assistant Professor of Latin American and Latino art history at California State University Bakersfield. Bill has co-edited an anthology with Grant Kester of collaborative art practices in the Americas entitled: Collective Situations: Readings in Contemporary Latin American Art 1995-2010 (Duke University Press, forthcoming). He is currently Lead Researcher and Curator of Talking to Action, for Otis College of Art as part of The Getty’s Pacific Standard Time: LA/LA initiative.

Tela sobre Santo Domingo: BijaRi, Contando con Nosotros, MDE11: Encuentro Internacional de Medellín (2011)

The Artists Group, Bulbo, 2008 (Video still from the music video El Corrido del Ciudadano by Herencia Norteña)

Ludger Brümmer

Born and raised in Werne, Germany, Ludger Brümmer received his Masters in psychology/sociology at University Dortmund. Composition studies with Nicolaus A. Huber and Dirk Reith at the Folkwang Hochschule Essen. Collaboration with choreographer Susanne Linke and the Nederlands Dans Theater for “Ruhrort” with his work “Riti Contour” for orchestra. International Performances at GRM, Paris at ICMC’s in San Jose , Tokyo, Banff, Thessaloniki. Visiting Scholar at CCRMA Stanford University, teaching Assistant at the Folkwang Hochschule, TU Berlin, School of Design Karlsruhe, research fellow at Kingston University, lecturer for composition at the Sonic Arts  Research Centre Belfast. Since 2003 head of the Institute for Music and Acoustics at ZKM|Karlsruhe and guest professor at School of Design. Member of the “Academy of the arts“ Berlin. 

 2010 Amazonas, Opera Biennale Munich / Sao Paulo, 2012 “The origin of Noise, the noise of the origin”, Donaufestival Krems.

Focus in physical modelling of sound, Video, granular synthesis, sound synthesis techniques, spatial music, databases.

Awards: Folkwang Award Essen, WDR Award Cologne. Busoni Award Akademie der Künste Berlin, Golden Nica Ars Electronica 1994 and second prize at the Ars Electronica 1997, Larry Austin Award, ICMA, Pierre d’Or Bourges 1997 and 2001, first prize at Rostrum for electroacoustic music by the UNESCO. Musica Sacrae 2001, Fribourg Switzerland. Menzioni D’Onore at the Luigi Russolo Award, Italy and the Stockholm Electronic Music Award. 

The book he referred to is this one by Irvine Stone about Michelangelo: The Agony and the Ecstasy

There is an excerpt of a composition called Spin,in the inetrview, and here are the notes on the full version.

Spin 18 min

After working with Granular Synthesis and Physical Modells I became interested in a sound quality that was more or less already present in all of the used techniques: Noise. 

The sounds I have used in this work started with digital noise. This sound were video or data files which were read as raw data into a sound editor, than modified so that the information structure inside the video file became audible. Of course I was looking for files with quite some periodical information in it so that this could be interpreted as a more or less pitched or repetitive sound quality. After modifying these sounds they were cross composed with other algorithmic structures I have created before. This process resulted in different more or less noisy sounds ranging from hiss to some „dirty“ timbres. 

In conjunction with some samples of string instruments and modified voices I created the narrative form of Spin with the intention to generate an experience of noise.

The sound structure were mixed and separated again for the 32 channel spatial version of the work which is on this recording reduced to stereo. It was the aim to make the dense structure mix happening in the concert space through a cluster of speakers while they were moving. This enables the listener to experience a world of sound containing a perspective perception, auditive focussing inside an individual scenario which and many other features. Of course the stereo can only reproduce fractions of this but it gives still a good hint of the potential of the work.

Prozession der Tiere, audiovisual Installation by rosalie (visuals) and Ludger Brümmer (music) 80 meter x 16 meter

Still from the work “Shine“ for video, dance and audio

Still from the work “Shine“ for video, dance and audio

Michael Jantzen

Michael Jantzen, who considers himself to be an artist and a designer, was born in Centralia Illinois on May 3rd 1948. He grew up with his parents and eight brothers and sisters on a summer resort near Carlyle Illinois. It was there that his early experimentations with structure design led him to Southern Illinois University, at Edwardsville and their Dean’s List Program.

After graduating with a Bachelors of Arts degree, Michael went on to receive his Masters of Arts degree from Washington University in St. Louis Missouri. Over the next twenty years he designed and built many experimental art projects, and architectural structures. Many of the architectural structures explored new ways of re-inventing the house.

Michael moved to the Los Angeles area in 1990 to continue his leading edge experimental work in the crossover fields of art and architecture.

Michael’s work has been featured in hundreds of articles in books, magazines, and newspapers from around the world. His designs have also been featured on various TV programs, exhibited in many galleries, at the National Building Museum in Washington DC, at the Harvard School of Design and Architecture, at the Canadian Center for Architecture in Montreal, the Santa Fe Institute, and at the Museum of Modern Art in New York City.

Michael is married to Ellen Jantzen who is also an internationally known artist.

Learn more about Michael on his websites,  http://archinect.com/michael-jantzen/projectswww.michaeljantzenstudio.com and www.michaeljantzen.com

The M-house

The North Slope Ski Hotel

Maggie Hinders

In 1980 Maggie Hinders filled a U-Haul, drove east from the Midwest, and landed in New York City. She studied art and design at SVA, Parsons, and The Art Student’s League. After many twists and turns she found her place as a book designer at Alfred A. Knopf Publishers.

Among the many books whose interiors she has designed are A Monster’s Notes by Laurie Sheck, The Roosevelts by Ken Burns and Geoffrey Ward, and James Merrill, Life & Art, by Langdon Hammer. Her focus in book design is working with the editor and author to support the author’s vision through her knowledge of type design and layout.

Painting has always had an important place in Maggie’s life. Her current works are abstracted, large-scale paintings of animals’ faces. They invite the viewer to contemplate the multiple planes of what animal represents in life in and art, particularly portraiture.

She is represented by Chemers Gallery in Tustin, California and her work is in the archive at Pen and Brush Gallery in Manhattan. She is a member of New York Artist’s Circle.

Here are examples of some of her book designs, A Monsters Notes, The Roosevelts,  and James Merrill.

And here is the book she mentioned reading in the interview, The Art of Rivalry

Susan Silton

Susan Silton, performing with The Crowing Hens

Susan Silton resides in Los Angeles. Her multi-disciplinary projects engage multiple aesthetic strategies to mine the complexities of subjectivity and subject positions, often through poetic combinations of humor, discomfort, subterfuge and unabashed beauty.

Silton’s work takes form in performative and participatory-based projects, photography, video, installation, text/audio works, and print-based projects, and presents in diverse contexts such as public sites, social network platforms, and traditional galleries and institutions.

Her work has been exhibited/presented nationally and internationally at Museum of Contemporary Art, Los Angeles; SFMOMA, San Francisco; Susanne Vielmetter Los Angeles Projects; LA><ART, Los Angeles; Hammer Museum; ICA/ Philadelphia; MAK Center for Art and Architecture, Los Angeles; and Australian Centre for Contemporary Art, Melbourne, among others. Projects include the commissioned installation, In everything there is the trace at USC Fisher Museum, the book project, Who’s in a Name? (both 2013), and the site-specific opera, A Sublime Madness in the Soul (composed by Juliana Snapper, 2015), which presented through the windows of the artist’s then-studio in downtown Los Angeles. In November, 2015, Silton’s Whistling Project was included in SITE Santa Fe’s year-long series of exhibitions, SITE 20 Years/20 Shows, which included a commissioned performance by Silton’s women’s whistling group, The Crowing Hens.

She has received fellowships and awards from the Getty/California Community Foundation, Art Matters, Center for Cultural Innovation, Cultural Affairs Department of the City of Los Angeles, The MacDowell Colony, Banff Centre for the Arts, Durfee Foundation, The Shifting Foundation, and most recently, Fellows of Contemporary Art. Silton’s work has been featured in numerous publications including Artforum, Art21, KCET’s Artbound, Art in America, X-TRA, ArtLies, Flash Art, and Cabinet.

A Sublime Madness in the Soul, 2015 (composed by Juliana Snapper). Excerpt from operatic work presented through the windows of Silton’s studio, visible and audible from the 6th Street Bridge, Downtown Los Angeles.

Susan Silton and The Crowing Hens, 2010. Documentation from performance at LA><ART, 2010. Performers: Erin Barnes, Jessica Basta, Carole Anne Kaufman, Laura Loftsgaarden, Kathryn Nockels, Susan Silton. Musicians: Joe Berardi, Jessica Catron, Jeremy Drake.

Turn the Beat Around, 2016. Videowork produced in the aftermath of Orlando nightclub attack, June, 2016.

Renée Petropoulos

Portrait copyright Silvia Gruener

Renée Petropoulos has created projects and exhibited internationally. Most recently embarking on the project “Among Nations (Mostly)” with a performance “Analogue” (2012) at the MAK, Venice to Venice (2012) as part of the Hammer Museum’s Made in L.A. and “Women in Surrealism” for LACMA (Los Angeles County Museum of Art). “Black Star”, begun in 2006, is a performance in continuum in Berlin.  Her most recent installment of “Prototype for the History of Painting: Eingrouping Social Historical” was installed in MARTE San Salvador, El Salvador.  Her recent film, “Two or Three Things I Know About Gas Station Mini Marts” screened at Screening, in Philadelphia.   The outdoor public sculpture project “Bouquet”(Flower Tower) Between Egypt, India, Iraq, the United States, Brazil, Ethiopia, and Mexico”, situated in Santa Monica, California at a street and pedestrian intersection was completed in spring, 2014. An exhibit of related subject, “Bouquet(Flower Girl) Between Libya, the United States and Scotland”, was installed at LAMOA in Eagle Rock in May 2014. Petropoulos’ monument drawings were also included in “Forms of the Formless” at Beijing Moca, curated by Marlena Donahue.

From the United States to Mexico/ From Mexico to the Untied States, was presented at Commonwealth and Council, which included a choreographed performance. She is exhibited Monument 1 – conjugation, with the Proxy Gallery in Paris in 2016. In 2016, a cd of sound work, Between Libya, the United States and Scotland, created with composer Greg Lenczycki, will be released. Two new works are scheduled for 2016, one with the Isaura String Quartet and a reading of sculpture, “Cheek by Jowl”, at Hauser Wirth Schimmel. Her project with former student, Amanda Katz was released this summer in 7 x 7 (http://7×7.la/semicolon/). She recently returned from Naples Italy where she has been working on a collaborative project, with Neapolitan scholar, Dr. Denise Spampinato.

”Venice to Venice” 2012 Venice Beach Biennial_Made in California_organized by Hammer Museum

Installation view of “Upish” exhibition including from left to right, “London (interior walkway)” and “Berlin (exterior walkway)” and “Study for a Representation of Germany…” and “Study for a Representation of Syria (Parts A and B)” (other artwork by other artists is seen in the room as well)

Laurie Palmer

Hohenmolsen coal mine, outside Leipzig, Laurie Palmer is on the right with camera.

Laurie Palmer is an artist, writer, and teacher currently employed in the Art Department at the University of California, Santa Cruz. Her work, which takes form as sculpture, installation, writing, and public art, is concerned with material explorations of matter’s active nature as it asserts itself on different scales and in different speeds, and with collaborating on strategic actions in the contexts of social and environmental justice.

Palmer collaborated with the artist group Haha for 20 years on site- and community-based projects, and more recently, with Chicago Torture Justice Memorials (CTJM), which helped win historic reparations legislation for African Americans tortured by Chicago police. Her book In the Aura of a Hole: Exploring Sites of Material Extraction (Black Dog, London, 2014) investigates what happens to places where materials are removed from the ground, and how these materials move between the earth and our bodies. The Lichen Museum is a work in progress.

Lichen Walk, 2015, Sector 2337 Chicago

Hole, 2010 – 2016

Pablo Helguera

Pablo Helguera at Libreria Donceles, San Francisco, 2014

Pablo Helguera (Mexico City, 1971) is a New York-based visual artist. His work revolves around the art of social interaction, and draws elements from sociology, activism and education through unusual formats. His work has been presented in multiple museums, including the Guggenheim, MoMA (New York), the MuseoNacional Centro de Arte Reina Sofía (Madrid), the Palacio de BellasArtes (Mexico), as well as in several biennales (Havana, Performa, Liverpool, Philagrafika, etc.).

He is the author of more than 20 books, including Art Scenes (2012), Education for Socially Engaged Art (2011) and Atlas of Commonplaces (2015). He has been the recipient of the Guggenheim and the Creative Capital grants, and is the winner of the International Award for Participatory Art of the Emilia-Romagna region (Bologna, Italy). Upcoming solo exhibitions  for 2017 include the MFA Boston,  the Jumex Collection in Mexico City, and a two-person exhibition with Suzanne Lacy at the UC Santa Barbara Museum.

Peter and the Wolf Captain, installation/performance,  Diverseworks, Houston, 2016

The Parable Conference, BAM, Brooklyn, NY,  2014

Julie Tremblay

Julie Tremblay in her studio, 2015. Photo: Isauro Cairo

Julie Tremblay is from Quebec, Canada, and is based in Newburgh, NY. She has a Master’s of Fine Arts degree from Pratt Institute in Brooklyn, which she obtained in 1997 with a mention of excellence. She has since exhibited in group and solo exhibitions in galleries and museums throughout the US, Canada, Mexico, Europe and the Middle East, and most recently at the Sharjah Art Museum in the United Arab Emirates. In 2012, CBS.com named her as one of “5 best up and coming NYC artists.” Other recent press include feature articles in Surface Magazine China, Creative Quarterly, and Nu-Modé Magazine, just to name a few. In 2013, she was awarded a residency with the prestigious Parisian gallery ”Galerie RX”, where she spent the summer in their gigantic space in Ivry-sur-Seine, former scientific laboratory of Frédéric Joliot-Curie, making a large site-specific installation. She recently had a solo exhibition at the Invisible Dog Art Center in Brooklyn, and also completed two major commissions in Canada last year; one for the lobby of a new movie theater in Markham, Ontario, Canada and the other for La Maison Simons, in Gatineau, Quebec.

Julie often uses industrial and/or re-purposed materials to make visually impactful sculptures, installations and performances that bridge nature, industry and technology, and explore the nature of representation as well as our place in the world/universe.

The book mentioned in the interview is Realist Magic: Objects, Ontology, Causality by Timothy Morton.

Learn more on the Julie Tremblay website and Instagram.

Niche, 2016. Spray-painted aluminium mesh. Installation currently on view at the Sharjah Art Museum until January 24, 2017.

Fission, 2013. Spray-painted aluminium mesh, LED lights. 12 x 6 x 4.5 feet. Made during the residency at Galerie RX in Ivry-sur-Seine, France. This site is the former science lab of Frédéric Joliot-Curie.

Kazys Varnelis

Kazys Varnelis is an artist, designer, and scholar. His focusses on the impact of digital technology on everyday life. He holds a PhD in the History of Architecture and Urban Development from Cornell University and is the founder and Director of the Network Architecture Lab and co-founder of AUDC , entities that are both think tanks and practices, conducting research, producing publications, and exhibitions. With AUDC he has published Blue Monday: Absurd Realities and Natural Histories and exhibited at High Desert Test Sites and other venues. With the Network Architecture Lab , he has edited the Infrastructural City. Networked Ecologies in Los Angeles and Networked Publics  and exhibited at the New Museum, the Museum of Modern Art, and held a major exhibition at the Contemporary Art Centre in Vilnius, Lithuania. He taught for a decade each at the Southern California Institute of Architecture and Columbia University and is a founding faculty member of the School of Architecture at the University of Limerick, Ireland.  

David Schafer

David Schafer’s work embraces the physicality of sculpture and the ephemerality of sound. His work is concerned with the intelligibility and structures of language and of built space. His practice distills information and redirects it, while presenting new relationships that are critical or sometimes humorous. Resembling scaffolding, shelves, or make shift supports, they weave multi-layered semiotic associations, conflating space with multiple references. His work engages the viewer spatially and cognitively by using sound to interact with the visual and sculptural elements. Schafer’s work expresses the fallacy of certain aspects of modernism in terms of the belief structures of language and built space. His work explores the limits of language and the boundaries of meaning, and often the starting point for the work is a found text or form. His use of sound may involve spoken word, appropriated recordings, a voice actor, or fabricated new sounds, and may involve dialogue from a film, song lyrics, or a philosophic text.

Schafer’s “Two One of a Kind” 2016, was initiated by a cassette tape recording of the author Umberto Eco lecturing at Stanford University in 1987 on “Fakes and Originals”. For this project the cassette tape was digitized and is emitted as an mp3, as part of the work. On side A of the tape, a sample of drumming was added and looped for the duration and on side B a guitar sample was added and looped. As an mp3, the recording is heard continuously as there are no sides. The shift from drums to guitar, signify the change in sides of the cassette, but the lecture continues uninterrupted. The accompanying poster uses an image of Sean Connery, but has Umberto Eco’s name on it. The poster design is from an ad for Jim Beam bourbon from the mid 1970’s featuring the actor Sean Connery endorsing the product and reads, “You can’t improve on the original”.

Recently Schafer has had one-person shows at Diane Rosenstein Gallery in Los Angeles and Studio10 gallery in Bushwick, NY. Schafer has executed temporary and permanent public works including a One Percent for the Arts commission for the Huntington Hospital in Pasadena, CA. This work titled “Separated United Forms” involved the 3-D scanning of a small Henry Moore sculpture in the collection of the Norton Simon Museum. The data was then sampled, remixed, and cast at a larger scale in bronze.

Starting in 2009, Schafer has performed as DSE, a platform for the production of and dissemination of processed recordings, live signal manipulation, and noise actions. Utilizing both analogue and digital source material, he translates data emphasizing manipulation of the structural authority and intelligibility in language. Throughout this time Schafer has extended his practice into experimental venues and collaborative projects. Schafer has performed at Human Resources, Control Room, L.A.C.E., David Kordansky Gallery, Samuel Freeman Gallery, Printed Matter, Silent Barn, Roulette, Invisible Dog, and Studio10. Schafer’s sound work has been included in curated radio programs in Lisbon, Paris, and Berlin.

His work has been included in numerous exhibitions throughout the United States and has shown internationally. He has contributed to Cabinet Journal, Paper Magazine, and his work has been written about in ArtForum, Art in America, Arts, Cabinet Journal, NY Times, LA Times, Baltimore Sun, Chicago Tribune, The New Yorker, and Metropolis, among others.

Schafer is currently living in Los Angeles and teaching at Art Center College of Design in Pasadena, CA.

Here are two books that were mentioned in the interview; Douglas Barrett After Sound: Towards a Critical Music. And Marie Thompson, Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism.

“Two One of a Kind” Fabricated aluminum, PA speaker, mp3 player, poster 92” x 12” x 24” Audio: 50:06 Poster: 18” x 24” off set litho. Ed. 200

“Always the Sun” 2016 94” x 84” x 54” Fabricated and powder coated aluminum, rubber, misc. electronics, ipods, speakers, plastic, hardware. This work embodies two channels of sound. Channel one is spoken word of Michel Foucault’s text “What is an Author” cut up into over 150 short phrases. Channel two is Karlheinz Stockhausen’s composition “Kontakt”, cut up into 100 short sections. Both channels of sound are randomly played and emitted simultaneously, and continuously.

Chandler McWilliams

Chandler’s work uses familiar materials like glass, lights, MDF, house paint, neon, and found objects to play with words, repetition, philosophy, and humor. He makes strong use of spatial awareness, anxiety, and scale to reference a lived reality of a mind obsessed with ethics smashed together with the constant pressures of fatherhood. His work plays with how much can be said with few words, out of context, and made material.

He has exhibited internationally in non-profit and commercial galleries, and art institutions such as the The Museum of Contemporary Art Los Angeles, The Hammer Museum, Los Angeles Municipal Art Gallery, California Institute of the Arts, Machine Project, Frederick R. Weisman Museum of Art and the Istanbul Festival of Light.

Chandler has published pieces for academic journals and conferences and is the co-author of “Form + Code in Design, Art, and Architecture” (Princeton Architectural Press, 2010). He currently teaches in the Design Media Arts program at UCLA.

The books i mentioned  are Fred Moten’s “The Undercommons”  and Eugene Thacker’s “Cosmic Pessimism”. The philosophy books for kids are from the Plato & Co series.

Saccades 2012 Between 36″ × 20″ and 60″ × 34″. Running time 12:19. Video, flat panel display.

Folly 2012 60″ × 74″ × 30″ Fan, paper.

Laurie Sheck

Laurie Sheck is the author of, most recently, Island of the Mad, (December 2016 )and A Monster’s Notes, a re-imagining of Mary Shelley’sFrankenstein, which was long-listed for the Dublin Impac International Fiction Prize, and named one of the Ten Best Fictions of the Year by Entertainment Weekly ( 2009). 

A Pulitzer Prize finalist in poetry for The Willow Grove, she has been a Guggenheim Fellow, as well as a fellow at the Radcliffe Institute for Advanced Study at Harvard, and at the Cullman Center for Scholars and Writers at the New York Public Library. 

Her recent lyric essays have appeared in The Paris Review,The Atlantic, Granta, and elsewhere. Her poems have appeared in numerous publications including The New Yorker, The New York Times, The Paris Review, and The Nation.  She has taught at Princeton, CUNY, and Rutgers, and is currently a member of the MFA Writing faculty at the New School. She lives in New York City.  


Ivana Smiljanić

Ivana Smiljanić, photo by Miša Stojmenović

Ivana Smiljanić is a visual and performance artist born and raised in Belgrade. She graduated and obtained her Magister Degree at the Faculty of Fine Arts in Belgrade in 2009. She also attended a year long program of Women’s Studies at the Center for Women’s Studies in Belgrade.

As a winner of the “Dimitrije Bašičević Mangelos” Award , Young Visual Artists Awards network in Serbia, she got an artist residency in the ISCP, New York in 2009. She was also Serbian representative for the Henkel Art Award in 2011. Ivana’s works are part of the Telenor Art Collection and the October Salon Collection of the Belgrade Cultural Center. She currently lives in Belgrade and Bucharest.

In her work, by using various media and resources of her own body, Smiljanić is re-creating/re-interpreting experiences and contexts that she faces as a woman, as an artist and as a citizen. In 2007 she started an on-going performance series I DANCE DANCE DANCE, which tackles various relations and instances forming the system of contemporary culture (from the role of the artist within this system to the marginalization of minority groups).

The interview focuses on Ivana’s major activities in recent years: installations dealing with violence against women entitled “You will remember me”, one of which has been described and could be seen here (solo exhibition in the Contemporary Art Center of Montenegro, 2014)

Books that have been mentioned: “How Should a Person Be“, by Sheila Heti  and “Language and Nationalism” by Snježana Kordić, available for free download in Croatian. And here is a short review in English.

You Will Remember Me, installation view, 2016, Gallery-Legacy Čolaković, Museum of Contemporary Art Belgrade, photo: Ivana Smiljanić

Sensing Realities, installation view, 2015, Galerie B-312, Montreal, photo: Isabelle Guimond