person:susan hiller

Renaud Epstein & station urbaner kulturen

(Feben Amara, Jochen Becker, Christian Hanussek, Eva Hertzsch, Adam Page) with Oliver Pohlisch and Birgit Schlieps

One day, one ZUP, one postcard (2014-…), 2018

https://dl.dropbox.com/s/kbrt94ul89pf031/IMG_8366-1.jpg?dl=0 https://dl.dropbox.com/s/6hiy70q8dcinrto/Berlin%20Hellersdorf.jpeg?dl=0

Wallpaper / Display cabinet
Collection station urbaner kulturen, Berlin-Hellersdorf

The sociologist Renaud Epstein’s project has first and foremost been an online format since its initiation in 2014: he posts a new postcard of large housing estates (Zones à Urbaniser par Priorité / ZUP) on his Twitter account every day. From a time when France dreamed of being modern and urban and believed in its architectural utopias, the ZUP postcards evoke at best a golden era, at worst a contemporary delusion.

▻https://www.dropbox.com/s/vte4ejv9wsumzyh/ARLES%202019-PRESS%20KIT-kl.pdf?dl=0

The Berlin collective station urbaner kulturen, based in the last big housing estate built in the GDR, has extracted sections from Epstein’s Twitter timeline in order to materialize the interaction between internet users and images. Their project «Going out of Circles / Kreise ziehen» presents a wider series of exhibitions that aims to create connections between the housing estates on the periphery of urban and economic centers, around Berlin and beyond.

A display case with original postcards next to the Twitter wallpaper emphasises the different readings of formats of communication.

Postcards – News from a Dream World
Musée départemental Arles Antique

1 July - 25 August / 10 - 18

Exhibition curators: Magali Nachtergael and Anne Reverseau

Eric Baudart & Thu-Van Tran (1972 et 1979), Fredi Casco (1967), Moyra Davey (1958), documentation céline duval (1974), Renaud Epstein & station urbane kulturen (1971 et créé en 2014), Jean Geiser (1848-1923), Joana Hadjithomas & Khalil Joreige (1969), Roc Herms (1978), Susan Hiller (1940-2019), John Hinde (1916-1997), Katia Kameli (1973), Aglaia Konrad (1960), Valérie Mréjen (1969), Martin Parr (1952), Mathieu Pernot (1970), Brenda Lou Schaub (1993), Stephen Shore (1947), John Stezaker (1948), Oriol Vilanova (1980), William Wegman (1943)

The postcard is the ultimate circulating picture, constantly subject to a sense of déjà-vu. Throughout the twentieth century, it went hand in hand with the bottling of the visible world, the rise of image globalization and mass tourism. Collectors, hoarders, retouchers and iconographers seize existing pictures to give them a new meaning, clarify their status or context.

By comparing this artistic vision with the making of postcards, this exhibition questions what they show and tell of the world, like a visual anthropology. What did they convey throughout the twentieth century, during their hour of glory? What vision of the world did they plant in the minds of their recipients, who got them from relatives and friends?

Both a symbol of our private and collective imagination, the postcard represents an illusion, always close to hand. It shows us a dream world in which can project ourselves, as in a desirable fiction story.

www.rencontres-arles.com/en/expositions/view/779/cartes-postales

▻https://archiv.ngbk.de/projekte/station-urbaner-kulturen-hellersdorf-seit-2014
▻https://www.ngbk.de/en/program/initiative-urbane-kulturen

#renaud_epstein #cartes_postales

Marysia Lewandowska
12.07.2017 (79’ 41’’)
▻http://rwm.macba.cat/en/sonia/-marysia-lewandowska/capsula

▻http://rwm.macba.cat/uploads/downloader.php?fichero=/uploads/songs/sonia243-marysia-lewandowska.mp3

The Women’s Audio Archive is a collection of recordings of private conversations, seminars, talks, conferences, and public events that Polish-born, London based artist Marysia Lewandowska carefully compiled from 1985 to 1990. Over 200 hours of audio that began as a fictitious archive that provided an interface and a cover for approaching key female figures in the arts and talking to them at length. The ideas and concerns of the second wave of feminism run through these mostly informal recordings, underpinned by Marysia’s intuition and her desire “to write that history with them, and to find myself in the present.”

In 2009, Lewandowska was invited by Maria Lind, Director of the Centre for Curatorial Studies at the time, to digitize the material and work with the collection in an effort of making it available online and decided to turn this private collection into an online public archive under a Creative Commons license. The process includes documenting the negotiations involved in bringing about this change of status, twenty years later.

SON(I)A talks to Marysia Lewandowska about the Women’s Audio Archive, about the crucial need to generate counter-narratives in totalitarian regimes, about networking before networks, about the boundaries between the private and the public, the negotiations generated by the shift from one sphere to another, the responsibilities of the archive, and the potential to generate conversation through art.

This podcast includes fragments from the Women’s Audio Archive and the voices of (in order of appearance): Marysia Lewandowska, Nourbese Philip, Nan Goldin, Nancy Spero, Allan Kaprow, Jo Spence, Lynne Tillman, Donald Judd, Maureen O. Paley, Susan Hiller, Lynne Tillman, Judy Chicago. The complete recordings are available at Women’s Audio Archive.

Timeline
03:10 Marysia Lewandowska: A good moment to reflect on the Women’s Audio Archive.
03:26 M. Nourbese Philip: the loss of the original tongue, in search of a missing text.
07:37 Marysia Lewandowska: Setting up a mode of working to be in control and to understand the culture around.
09:10 Nan Goldin and Marysia Lewandowska: The desire for conversation.
12:30 Marysia Lewandowska: From public recordings to private conversations
14:10 Judy Chicago: The way women communicate.
15:07 Marysia Lewandowska: A conversation can’t be scripted.
16:00 Allan Kaprow: Post-68.
18:35 Marysia Lewandowska: Thinking of self-archiving, keeping a record of what happens.
21:36 Jo Spence: A split subjectivity.
25:10 Marysia Lewandowska: Developing a voice.
29:15 Lynne Tillman: Chit-chatting about the menu.
29:45 Marysia Lewandowska: The previous experience in Poland, clubs, discussions, amateur films and other strategies to survive.
36:01 Marysia Lewandowska: Making it public and the question of access.
38:08 Donald Judd: The challenge of making things permanent
40:09 Marysia Lewandowska: A new structure for an archive and the negotiation process
51:19 Maureen O. Paley: Women have led, women have fought
52:40 Marysia Lewandowska: Important conversations.
53:40 Susan Hiller and Marysia Lewandowska: Saying the one thing you want to say.
56:40 Marysia Lewandowska: The need for the archive to be intact.
58:52 Susan Hiller: I believe in reciprocity.
01:01:24 Marysia Lewandowska: Self-instituting by giving it a name.
01:02:35 Judy Chicago: Being lady-like.
01:03:13 Marysia Lewandowska: Many of the women were feminists.
01:04:53 Nancy Spero: My vulnerability through the language of Artaud.
01:08:49 Marysia Lewandowska: A network before email, before digitization and before the internet.
01:11:25 Judy Chicago: Discrimination.
01:12:44 Marysia Lewandowska: Bad recordings.
01:13:13 Judy Chicago
01:14:35 Marysia Lewandowska: How the Museum gets distributed, artworks starting a conversation.
01:16:57 An unsuspected archival finding to end this conversation.

Partition rouge
▻https://www.canalsud.net/?Partition-rouge

L’histoire se souvient plus volontiers du premier film parlant que de la fin du cinéma muet – une invention chasse l’autre. Susan Hiller choisit quant à elle de réaliser « Le dernier film silencieux », un film qui, comme son titre l’indique, parle d’extinction, et ce sur un mode tout paradoxal, puisqu’il est presque exclusivement sonore : s’y succèdent en effet des enregistrements de voix s’exprimant dans des langues menacées de disparition, tandis que sur l’écran noir s’inscrivent les noms de ces langues et la traduction des propos. Durée : 1h51. Source : Canal Sud