Episode 104: Brian Holmes with Lane Relyea

August 26, 2007 · Print This Article

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Brian Holmes
The show opens with a bang! Britton Bertran’s car is hit and we are the witnesses.

And as you listen to this week’s intro designed specifically to irritate Duncan, pause a moment and say to yourself…”Seriously? Episode 104?” Richard’s parents have called us both to mention how happy they are. Here we are poised on the cusp of another Bad at Sports season and this week Duncan is joined by friends of the show Lane Relyea and Claire Pentecost to interview/interrogate French American Theorist and Art Critic Brian Holmes.

As we roll over the two year mark we once again are faced with questions about the Bad at Sports Project. We know what we think but once again we want to hear from you. Please email your thoughts about the show and your hopes for it’s future to badatsports@gmail.com please use the header “Hope Chest.” Thanks in advance for taking the time to help us get better.

Piet Zwart Institute Bio for Brian Holmes-
Brian Holmes is an art and cultural critic, activist and translator, living in Paris, interested primarily in the intersections of artistic and political practice. He holds a doctorate in Romance Languages and Literatures from the University of California at Berkeley. He was the English editor of publications for Documenta X, Kassel, Germany, 1997, was a member of the graphic arts group Ne pas plier from 1999 to 2001, and has recently worked with the French conceptual art group Bureau d’études. He is a frequent contributor to the international mailinglist Nettime, a member of the editorial committee of the art magazine “Springerin” and the political-economy journal “Multitudes”, a regular contributor to the magazine Parachute, and a founder of the new journal “Autonomie Artistique”. He is currently preparing a book in French, entitled “La personnalité flexible: Pour une nouvelle critique de la culture.”

http://brianholmes.wordpress.com/

Theo Hakola is a god among men.

Britton Bertran
Lane Relyea
Claire Pentecost
Brian Holmes
Blunt Art Text
Mike Wolf
Carolyn Picard
UC Berkeley
Ne Pas Plier (Do Not Bend)
Marc Pataut
Apeis (Association for Employment, Information and Solidarity of Unemployed and Casual Workers)
Documenta
Catherine David
Jean-Francois Chevrier
Masao Miyoshi
Harvard
The Wharton School
Simon Lamunière
The Journal of Aesthetics and Protest
Jordan Crandall
Eyebeam
G8 Summit
Nettime
Multitudes
Empire
Next 5 Minutes
Tony Negri
Paulo Virno
Subcomandante Marcos
The Yes Men
Loompanics
Bob Black
Max Sterner
Peter Lamborn Wilson
Oprah Winfrey
Martha Stewart
16 Beaver Group
Whitney Independent Study Program
Harry Potter
Hyde Park Art Center
Direct download: Bad_at_Sports_Episode104_Brian_Holmes.mp3

14 Responses to “Episode 104: Brian Holmes with Lane Relyea”

  1. Sorry Britton, I didn’t see your car there.

  2. Rush is over dude. Let my people go.

  3. Holy Moly! New look! Wow!

    Duncan what on earth are you bitching about, you got your Tragic-ly hip.

    Can’t please some folks.

  4. Are the columns to the left and right supposed to be grayed out until I pass the mouse over them?

  5. Hot digity damn I like the new site design! —Except for one thing. I MISS THE CARTOON of the Mit-head! That was so great! Can’t you find a wee little corner up top for it, or perhaps left under the “Point of Origin” box? Please please please? — it deserves it.

  6. “Are the columns to the left and right supposed to be grayed out until I pass the mouse over them?” -Richard

    Yep, the design that everyone wanted was a slick soft future-modern glass look and thats why they are transparent till you mouse over.

  7. This and last several Podcast have been thought provoking and …brilliant .. quite simply well done .

  8. Oh. ARP! can be found at…

    http://www.art-neutopia.org/

  9. My last pithy comment didn’t show up. What gives?

  10. Okay, I’ll try again

    Rush can be found at

    http://www.rush.com/

  11. (be prepared to shed a tear at the beauty)

    There are those who think that life
    Has nothing left to chance
    With a host of holy horrors
    To direct our aimless dance

    A planet of playthings
    We dance on the strings
    Of powers we cannot perceive
    The stars arent aligned —
    Or the gods are malign
    Blame is better to give than receive

    You can choose a ready guide
    In some celestial voice
    If you choose not to decide
    You still have made a choice

    You can choose from phantom fears
    And kindness that can kill
    I will choose a path thats clear
    I will choose free will

    There are those who think that theyve been dealt a losing hand
    The cards were stacked against them —
    They werent born in lotus-land

    All preordained
    A prisoner in chains
    A victim of venomous fate
    Kicked in the face
    You cant pray for a place
    In heavens unearthly estate

    Each of us
    A cell of awareness
    Imperfect and incomplete
    Genetic blends
    With uncertain ends
    On a fortune hunt
    Thats far too fleet…

  12. Thanks for the return of the Mitt Head!

  13. The links aren’t working properly.

  14. Enjoyed the interview ver’ much: there were a couple of magic moments where Lane asked a question in normal language and Brian responded in fluent intelltuogibberish. Love that.

    Having only a phrase-book understanding of that tongue, I wasn’t sure what the answer was to the question “Everybody seems to be creating models of art-making that are based on schools – what’s the deal, and why is this bandwagon a good one?”

    It seems that, aside from ideas of inclusiveness, community-involvement, breaking down the artist-as-solo-practitioner-on-a-mountaintop (which seem like potentially good things) that the school-as-artform model has a couple of serious issues: it’s unwieldy, it requires more support, it sucks the dick of the “School is Where You Learn Art” paradigm that gets us all such massive debt and MFAs, etc.

    Another, perhaps more interesting issue, is that once art becomes a teaching event, it is constrained by the duration/scope of that event; I can get the same experience from painting X now that I could when it was first made, and even get something from a reproduction of it in a book; it’s harder to get something from a non-object artwork that ceases to exist once its social structure is disassembled (ie pedagogical factory) – So does this breaking down of the artwork-as-object make it more accessible (including people normally outside of the art bubble) or less accessible (limiting its impact to ‘those there then’). ??

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