Under a tree and in a veranda with Aandrea Stang

Under a tree and in a veranda with Aandrea Stang

Guest post by Jacob Wick. I met Aandrea Stang in her office, which sits waist-level with passing-by students on their way to the dormitory across the way, twice. The second time, I brought her a raspberry glaze cronut from the donut place near my house, which, like...
What can be done with dance? Pt. 4: taisha paggett

What can be done with dance? Pt. 4: taisha paggett

Recently, I was fortunate enough to be in conversation with artist-choreographer taisha paggett. Paggett, who splits her time between Chicago and LA, is one of the many Chicago artists to be included in this year’s Whitney Biennial. If you’re in New York this week be...
Episode 447: Andrea Bowers

Episode 447: Andrea Bowers

http://traffic.libsyn.com/badatsports/Bad_at_Sports_Episode_447-Andrea_Bowers-fix.mp3 download This week: This week, our resident feminist commentator Patricia Maloney sits down with one of her heroes, the Los Angeles–based artist Andrea Bowers to talk about her...

A conversation with Renzo Martens at a cafe

This is work, somehow. Just talk about your own ideas and somebody else’s ideas that are fun and write about it. So many people talk about precarious labour in the arts, and it’s important I think, but it seems to be blind for half of the world’s population that never has a fucking cappuccino while thinking about one’s own ideas because they’re just working in mines and cleaning bedrooms and god knows what they’re all doing.

An interview with Adam Overton in his home

My whole experience, though, is just one of transitioning from one medium to another and feeling like there’s a thread running throughout all of it and therefore I don’t know this thing anymore. So for instance, you know I was a jazz drummer, and there were many moments where I just realized once I got into the computer, doing computer music, that I don’t need drums to do the thing that I want to do. And with jazz, one of the attractions was this notion of moment-form, like being in the moment, and this notion of working intuitively or even psychically with other people, and working within constraints or structures together and seeing what happens, and those sorts of things have continued in some shape or form throughout. So the mediums keep shifting, but…the general progression is like jazz drums, sensors attached to the body, then there was a big breakthrough halfway through grad school where it was, um, what I call biometric pieces, but minus the sensors where we used our fingers instead, where it was like checking someone’s pulse at the neck and watching their blinks. And all the sudden the tunnel vision got like this because all the sudden you’re staring into someone’s eyes for sixteen minutes in a piece and it’s really intimate and it was like “wow, this is amazing and it’s so much fun and really weird and I’m falling love with people just looking at them,” and it’s really uncomfortable…