La matinale dédiée à l’actualité de la création contemporaine, tous les mercredis de 9:15 à 10:00 en direct sur *Duuu Radio.
Avec ce mois-ci : Justin Morin, Pascal Montfort et Julie Duval (accompagnée Juliette Bayi).
It is not a matter of boring the public to death with transcendent cosmic preoccupations.
Tracklist:
Vigilanti Curi: On Motion Pictures by Pope Pius XI (Girl, 9, Brent)
The Living Theatre Declaration (Boy, 9, West Midlands)
The Use of Free Time by The Situationist International (Girl, 9, Shropshire)
Manifesto in a Clear Language by Antonin Artaud (Girl, 10, Salford)
Realistic Manifesto by Naum Gabo and Antoine Pevsner (Boy, 9, West Midlands)
Free International University Manifesto by by Joseph Beuys and Heinrich Böll (Girl, 10, Salford)
Feminist Manifesto by Mina Loy (Girl, 9, Brent)
Important Books (or, Manifestos Read by Children) runs until May 2022 at Whitechapel Gallery in London, with a monthly installment on Montez Press Radio.
Stanley Schtinter will preview his new work, The Lock-in, at this year’s Oberhausen Short Film Festival, before touring it across pubs in London’s East End during June.
Une émission de Stanley Schtinter, produite par Montez Press Radio.
Do you hear the world while being in the world?
Verstärkung (Amplication) by Armin Lorenz Gerold is part of a newly conceived performance series titled Give Rise To initiated by curator Cathrin Mayer for HALLE FÜR KUNST Steiermark (Graz).
How can sound be made visible? This question is repeatedly asked in the practice of the artist Armin Lorenz Gerold (born 1981 Graz, lives in Berlin). For Verstärkung (Amplification) (2021), a new work commissioned by HALLE FÜR KUNST Steiermark, Gerold created an audiovisual system of sculptures and flat monitors that is spread across the entire floor of the main gallery. Like the artist’s previous work, Verstärkung (Amplification) (2021) is located between installation and performance. Gerold’s multi-disciplinary practice, which can be defined as an investigation of photography and sound, transforms classical exhibition contexts and galleries into acoustic landscapes. Gerold, whose formats also always establish points of reference to radio and streaming, allows himself, his collaborators, and his audience to immerse themselves into a meditative flow of language and sounds.
After a year of physical isolation and global political unrest, Verstärkung (Amplification) (2021) addresses the ways in which communication is changing within ever more complex digital systems. The title of the work thereby indicates one of the starting points of Gerold’s proposition to use elements from sound and music production as the symbolic equivalents of socio-political phenomena. Verstärkung (Amplification) (2021) thus refers on the one hand to the electronic process of amplifying a signal, and on the other the word amplification stands from the artist’s perspective for the phenomenon of solidarity advocated by different (political) communities and their public proclamations. In the specific context of this work, amplification means telling and sharing experiences of encouragement and support. Originally conceived as an installation for HALLE FÜR KUNST Steiermark, Verstärkung (Amplification) now exists as a ca. 75 min piece of spoken word based on text contributions by musicians, artists and writers Alice Cannava, Alejandro Alonso Díaz, Jennifer Hope Davy, Enver Hadzijaj, Cornelia Herfurtner, Sinaida Michalskaja, Miriam Stoney and Bruno Zhu. With the inclusion of these collaborators, Gerold “amplifies” various voices that speak from and on behalf of different political and social contexts. In addition to these recordings the sound piece includes soundscapes, of marching and demonstrating bodies among others. In Verstärkung (Amplification) (2021) all of these parallel levels of meaning come together in sound, language, and images within the sensitive and poetic practice of the artist. This work thereby becomes a sounding board that offers not just a depiction, but a real and tangible experience of the local and global political and economic mechanisms that influence our bodies and minds and the ways in which we communicate.
Armin Lorenz Gerold (*1981 in Graz, lives in Berlin) is an artist and composer. His work has been presented at KW Institute for Contemporary Art in Berlin, at LambdaLambdaLambda, Prishtina; at fluent, Santander; mint, Stockholm; and the Gothenburg Biennial of Contemporary Art (in collaboration with Doireann O’ Malley). In spring 2021, a new radio play installation will be accompanied by an artist’s book published as part of the Ruisdael Fellowship the artist received. Gerold releases pop music under his virtual alter ego wirefoxterrier, which is featured on the soundtrack of the LGBT teen drama SKAM Italia. The debut EP Radio Pristina was released in 2020.
Miriam Stoney (*1994 Scunthorpe, lives in London and Vienna) studied at the University of Oxford and the Bartlett School of Architecture London and is now enrolled at the Academy of Fine Arts Vienna. Her work has been featured at Kevin Space, Vienna; Institute of Contemporary Arts, London; BBC Introducing Arts; Somerset House Studios, London; Centre Pompidou x West Bund Museum Shanghai, Shanghai; KW Institute for Contemporary Art, Berlin; and Haus, Vienna.
Enver Hadzijaj (*1980 in Langen, lives in Berlin) is an artist, teacher and art director currently based in Berlin. He among others runs the art space Beach Office, Berlin and the items label Lonelydays Qed. He recently has shown his own work at FRAGILE, Berlin. He taught at Bauhaus University Weimar, the University of the Arts Bremen and at the Zurich University of the Arts.
Alice Cannava (*1980 Tortona, lives in Berlin) edits and designs Occulto, an uncompromising yet gentle crossbreed of an avant-garde magazine and a science school book, featuring long essays, fiction, artist’s projects, and experimental music compilations. A series of concerts and cultural events in various Berlin venues is connected to and informed by the magazine. Alice’s further occupations include studying the history of science and technology at the Technical University of Berlin, designing and developing websites, and occasionally DJing under the moniker of Nana Bianca.
Bruno Zhu (*1991 Porto, lives in Amsterdam and Viseu) explores his fascination for photography’s ambivalent symbol as surface and object, representation and appropriation.Recent projects include presentations at Fri Art Kunsthalle in Fribourg, UKS in Oslo, ICA Cinema 3 in London, Frans Hals Museum in Haarlem, Antenna Space in Shanghai and Kunsthalle Lissabon in Lisbon. Zhu is a member of A Maior, a curatorial program set in a home furnishings and clothing store in Viseu, Portugal.
Alejandro Alonso Díaz (*1990 Santander, lives in Barcelona) is a curator and researcher who explores the metabolic encounters between natural, social and poetic structures of knowledge, investigating structural ecologies and their impact on society. He has curated several exhibitions and is currently involved with the ecological research platform Matter in Flux. Since 2016, Díaz has been the director of fluent, a para–institution in Santander, Spain; dedicated to imagining new socio-natural ontologies through contemporary art. His writings on art has been published in numerous exhibition catalogues and magazines such as Frieze, Mousse Magazine and Terremoto.
Jennifer Hope Davy is an artist and writer whose practice centers on the politics and potentiality of perception and interruption, mediating between cognition and visibility. Working across disciplines, her work largely operates in the form of a gesture, an act, or a proposition appearing as exhibition, performance, fiction and art writing. Based in Berlin, she also freelances primarily as an editor and sometimes curator and guest professor.
Cornelia Herfurtner is an artist working both under her own name and in various collective contexts. Her recent work has included a series of relief shields (What is a weapon?, Very Project Space, 2021), a series of photographs titled ‘freedom and control of others (including myself)’ (published in starship #19, 2020), and the video essay ‘Women* leaving the museum’ (in collaboration with David Polzin, 2019). She is organized in the Interventionist Left and works in the alliance Rheinmetall Disarm against arms production and arms exports of Germany’s largest arms producer Rheinmetall.
Cathrin Mayer (*1988, in Vienna lives in Graz and Berlin). She currently is the curator at HALLE FÜR KUNST Steiermark (Graz, AT), where she curates exhibitions and performances. Until May 2020 she worked as a curator at KW Institute for Contemporary Art in Berlin, where she was responsible for exhibitions and performances. She has curated exhibitions by Anna Daučíková, Kris Lemsalu, Evelyn Taocheng Wang.Previously, she worked for the 9th Berlin Biennial, hosted by the New York-based collective Dis. Most recently, she curated a major solo exhibition of Estonian artist Flo Kasearu at Tallinn Arthall and the first solo exhibition of Kosovar artist Dardan Zhegrova at FRAGILE, Berlin. In addition to her curatorial work, she teaches regularly, most recently at the University of the Arts in Berlin, among others. She is the editor of the book “Wish A Dream and Dream A Wish”, published by Sternberg Press in March 2021.
The HALLE FÜR KUNST Steiermark is one of the most innovative exhibition houses for contemporary art in Austria and the surrounding region. The outstanding modernist pavilion architecture from the early 1950s was built as one of the first white cubes in Austria. Over the years, outstanding artistic positions such as Cosey Fanny Tutti, Ulrike Oettinger, Rosemarie Trockel, Tom Burr, Adrian Piper, Julia Scher, Josef Bauer and Bruno Gironcoli were shown in thematic group exhibitions. Today, as before, the exhibition house is dedicated to the presentation of contemporary, socially relevant art production in an international context, whereby the carefully presented art here should also consciously stand and speak for itself.
Montez Press Radio and *Duuu radio share shows on each other’s airwaves.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
and continue to breath,
continue to breath,
continue to breath.
BREATHE [part one] Go outside and take in three deep breaths. While outside, move your body around and feel the temperature of the air. Inhale and exhale, feeling the temperature change as the air flows in and out of your nose and mouth. Go back inside to the area you prepared in your home where you would like to spend the rest of the listening session. BREATHE [part two] Press play and follow the voice prompts. Let your body find stillness wherever you are at and continue to breathe from deep in your belly. If you fall asleep at any point, know that the vibrations of sound are still surrounding you and aiding in your relaxation.
Montez Press Radio and *Duuu radio share shows on each other’s airwaves.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
Rena Anakwe is an interdisciplinary artist and performer working primarily with sound, visuals, and scent. A member of the artistic collective NON Worldwide, she is based in Brooklyn, New York by way of Nigeria and Canada.
I said: “Mama?”
She said: “What baby?”
I said: “What to do to get a girl?”
She said: “Be yourself.”
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
A conversation with Otis Houston Jr, a self-taught artist who began making art after taking an art class while incarcerated. Since 1997, he has maintained an ongoing presence under the Triborough Bridge on the FDR Drive where he presents impromptu performances and a site-specific installation of signage and sculptures. Many thanks to Gordon Robichaux and Post Present Medium for facilitating the recording of this segment.
Otis Houston Jr. (born 1954, Greenville, SC) lives and works in East Harlem, New York. Houston Jr. is a self-taught artist who began making art after taking an art class while incarcerated. Since 1997, he has maintained an ongoing presence under the Triborough Bridge on the FDR Drive where he presents impromptu performances and a site-specific installation of signage and sculptures. Houston has exhibited his work at Gordon Robichaux, apexart (organized by Sam Gordon), Room East, Socrates Sculpture Park (curated by Chelsea Spengemann), and CANADA in New York; Marc Selwyn Fine Art and Parker Gallery in Los Angeles; F in Houston (organized by Adam Marnie); Rebecca Camacho Presents in San Francisco (organized by Bob Linder); and Cave in Detroit (in collaboration with Miles Huston). Profiles of the artist have appeared in Hauser & Wirth’s Ursula magazine, The New Yorker, The New York Times, The Brooklyn Rail, Gradient, and Contemporary Art Daily. Images and videos of his work taken by daily commuters and passersby populate numerous blogs and YouTube. Houston’s album of original songs, America, was released in 2006 on iTunes and as a vinyl record in 2020 published by musician and artist Dean Spunt’s Post-Present Medium label. BLACK CHEROKEE, a 22-minute documentary about Houston Jr., directed by Sam Cullman and Benjamin Rosen, was released in 2012.
Salome Oggenfuss is a filmmaker working across disciplines, born in Switzerland and based in NYC.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
Oh god no! No there’s nothing static about place. I mean, the worst thing that can happen to a place is that somebody forces it to be static.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
Lucy Raven discusses her practice and new commissions with critic, curator, and activist Lucy R. Lippard and Dia curator Alexis Lowry. This conversation is organized in conjunction with the opening of Lucy Raven’s exhibition at Dia Chelsea.
Lucy R. Lippard was born in 1937 in New York City. She is a writer, activist, curator, and cofounder of various activist artist groups (including Ad Hoc Women Artists Committee, Artists Call Against US Intervention in Central America, Heresies, PADD, and Printed Matter). Since 1966, she has published twenty-five books on contemporary art, cultural studies, and local history. She lives in a New Mexico village where she edits the monthly community newsletter, serves on the Water Board and the Fire Department auxiliary, and is active in community planning and land use issues.
Lucy Raven was born in Tucson, Arizona, in 1977. She received a BFA in studio art and a BA in art history from the University of Arizona, Tucson, in 2000, and an MFA from Bard College’s Milton Avery Graduate School of the Arts, Annandale-on-Hudson, New York, in 2008. Her work has been exhibited in solo presentations at the Nevada Museum of Art, Reno (2010); Hammer Museum (2012); Portikus, Frankfurt (2014); Yerba Buena Center for the Arts, San Francisco (2014); VOX centre de l’image contemporaine, Montreal (2015); Columbus Museum of Art (2016); and Serpentine Gallery, London (2016–17). With Vic Brooks and Evan Calder Williams, she is a founding member of 13BC, a moving-image research and production collective. Raven teaches at the Cooper Union School of Art in New York.
Alexis Lowry is a curator at Dia Art Foundation, New York, where she recently organized Lucy Raven’s exhibition for Dia Chelsea.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
A friend invited me to a bar in Place de la Concorde to celebrate and we go down to the center watch the fireworks.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
A conversation with the man who has guided Wijs - through the last 2 years, with reference to the goings -on of the Windrush Scandal, The Sewell Report, BLM, and his own personal anguish and journey with identity. With song selections and a reading to the man who has carried Wijs- through the last 10 years of life - James Baldwin. This piece will have a particular focus on what those men and songs meant for Wijs- during lockdown. He will explore the playlist (curated by Ike Onyewuyenyi) of some of the sounds that filled James Baldwin’s house in St Paul de Vence as well as records on the shelves of his father’s home.
Rudi Minto de Wijs is a curator specializing in Queer and Black identities. His practice engages with poetry, dance, film and music. Through constant collaboration he explores society and joy in his own identity. His favourite day is Thursday.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
I’ve been thinking about that a lot, about borders and divisions and the symposium of capitalist civilizations and colonialism, patriarchy, and how this things exist in the present.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
Johannesburg-based interdisciplinary artist Nkhensani Mkhari discusses their recent work and ideas with ENDS curator manuel arturo abreu. They discuss cosmology, creativity, and other interesting topics. In particular, we discuss the work “Dialogues with a Plant” and its context, for which Mkhari generously provides the following description:
Dialogs with a plant, at the end of history. Turn now, beloved, your eyes to these blooming and colourful multitudes, See how, perplexing no longer, they stir there in view of your soul! Every plant announces, to you now, the laws eternal, Every flower louder and louder is speaking with you. ― Johann Wolfgang Von Goethe If a plant spoke to you, how would you respond? What questions would you ask? What linguistic apparatus would you use to weave a divine tapestry that allows each to see with the other’s eye(s) the flourish of mystical clarity of each other’s presence? What kind of syntactic formations would emerge from this supposedly impossible discourse? What may we learn about institutional care from those who are cared for by nature and care for us? If we collectively expanded the idea of relatedness beyond the confines of mankind to the rest of nature, our collective ethics surrounding care would evolve to expand agency to all ‘others’, other(ed) people, and (m)other nature. We would move closer to nature and expand culture, closing the fold that relegated nature to provider and humanity as consumer. ‘Dialogs with a plant, at the end of history’ is a series of speculative performance lectures. For each performance, the artist/curator spends two hours engaging in the manifestation of a radical pedagogy through a four-part public conversation with a Monstera about the history of western civilization once a week for the duration of the Residency exhibition. Part 1: the tethers and ruptures of our civilization, its dualisms, and schisms. Part 2: the trials of articulating collective assertions and our desire to try. Part 3: Care. Part 4: mapping and tracing speculative histories with the goal of excavating dormant and possible redemptive futurologies for humanity What possibilities could emerge in a dialog between such radically alienated agents? The plant and the artist. When one looks beyond the hazy vitrines of western history to the panoramic view of earlier epochs of civilization, the idea of plants as agents of communication is not so strange or alien. Humanity lived in harmony with nature and plant life was regarded as sentient, imbued with intelligence and the power to heal. Communication with plants goes beyond their preparation and consumption. It requires the philosophical understanding that life imbues all things. The idea of animism, from the word ‘anima’ which means “spirit or breath” posits that all things have a spiritual essence that “animates” them. Many indigenous societies continue to use plants as interfaces for metaphysical and hyperdimensional communication. My own tribe, the vaTsonga use psychoactive plants during female initiations, to facilitate communication with the ancestral realm and transform the ‘girls’ into ‘women’s. Shamans in Mexico call Peyote a ‘plant teacher’, who if ingested, transports them through altered states for divination and dreaming, relaying information from topological manifestations of a higher order, the Shaman becomes a repository for ancestral spirits. Becoming the ‘plant teacher’.
Nkhensani Mkhari (b.1994) is a Johannesburg-based queer multidisciplinary artist and curator. Their broad praxis spans photography, painting, performance art, sound design, and new media. Their artworks function as multi-modal material-semiotic metaphors. Nkhensani describes their work as a queer meditation on transience, aesthetic sociology, and redemptive futurologies; an abstract machine nomadically migrating through contemporary culture. Exploring what Individuality is, what collectivity is, and what it means to share space. A study on migration, myth, and cultural practices of (re)memory, rooted in counteractive ways of seeing and modes of hearing.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
There’s innocence and sorrow and terror at once.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
Monomania explores a singular artist or group with each episode, sharing rare recordings, brief analysis, and context for obsessive listeners. For the 2nd episode we’ll explore the recordings of Steve Thomsen, visual artist and composer of solo work and with groups including Monitor, World Imitation Productions, Solid Eye, Swan Trove, and the Los Angeles Free Music Society.
Adam Morosky was born in 1983 and has worked as a gardener, pizza delivery driver, tattooer, bus boy, house painter, child’s birthday entertainer, movie prop designer, welder, educator, plumber, handyman, film projectionist, café manager, artist assistant, youth advisor, textbook illustrator, restaurant interior fabricator, movie set decorator, swingers club bouncer, truck driver, electronic waste manager, computer refurbisher, carpenter, video editor, performing artist, Uber driver, venue programmer, nightclub manager, bar tender, dog walker, sound technician, art handler, stage manager, furniture maker, lighting designer, and tech director. He lives within sniffing distance of the Gowanus Canal with his lovely wife-to-be and two cats.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
It’s so fluid and fresh and it’s a great record to move to. Do yourself a favor and check out Circadian Rhythms.
*Duuu et Montez Press Radio s’associent pour partager une sélection d’émissions sur leurs ondes respectives.
Monomania explores a singular artist or group with each episode, sharing rare recordings, brief analysis, and context for obsessive listeners.
Adam Morosky was born in 1983 and has worked as a gardener, pizza delivery driver, tattooer, bus boy, house painter, child’s birthday entertainer, movie prop designer, welder, educator, plumber, handyman, film projectionist, café manager, artist assistant, youth advisor, textbook illustrator, restaurant interior fabricator, movie set decorator, swingers club bouncer, truck driver, electronic waste manager, computer refurbisher, carpenter, video editor, performing artist, Uber driver, venue programmer, nightclub manager, bar tender, dog walker, sound technician, art handler, stage manager, furniture maker, lighting designer, and tech director. He lives within sniffing distance of the Gowanus Canal with his lovely wife-to-be and two cats.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.
My panic attack at the Cheese Cake Factory is no one’s business.
Media Illiteracy
Une compilation de sons, extraits, musique et conversations d’émissions diffusés sur Montez Press Radio.
*Duuu et Montez Press Radio s’associent pour partager chaque mois une sélection d’émissions sur leurs ondes respectives.
In the heat of an argument with an old friend you realize you’ve agreed all along. You attempt to express this agreement, but it’s too late, they don’t believe the change in tone is genuine. You’ve already used some choice words but they were all so imprecise. Are we speaking the same language? A long attempt to start over with samples from old Montez segments including a sermon from the Church of World Peace, Ceyda Oskay asking Uber drivers (immigrants) to sing lullabies, and an excerpt from Constance De Jong reading from Modern Love. We learn it wasn’t our faults, blame the tools, stop fetishizing obsolete technology and innovative design and just offer someone in the room a seltzer. There’s a radio play by Jutta Koether’s students at the HFBK Hamburg, the sound of canned seltzer, Sam Korman’s In Conclusion: A Review of Reviews on Amy Sillman’s show at the new MoMA, Seth Price’s ‘We Are Writing a Book’, Douglas Kearney, Andrew Lampert on Isolated Field Recordings from Issue Project Room under Kayla Guthrie and an old friend trying to remember how they met online pre-Myspace and again in the magazine section of a bookstore. A snippet from Alex Bag’s “Hyper Pop Culture Parody Diaper Surprise”, then gen-z hyper-pop Kitten’s “Daddy Don’t Take My Phone Away,” DripReport falls in love with Sketchers, but she doesn’t want you.
“Why this Kolaveri Di?” translates to “why this murderous rage against me?” (I think), Dhanush, Shruti Anirudh are asking white girls. All Gas No Breaks at a furry con, Ayesha Erotica, Beat Kidz on Wall Street asking grown-ups who they’ve exploited today, Gretchen Bender’s “Artificial Treatment”, a local news anchor can’t figure out the right tone to deliver the bad news (but it’s not really funny). Sharing is learning but not always, Atrocity Guides tells us about someone who thought they could learn to be a soldier online and tries it out in Libya, without bothering to enlist. Tech fueled delusions of grandeur can go both ways. DJKenn tells us, in a very cool accent, how he moved to Chicago from Japan, without much English, and coincidentally meets Chief Keef’s uncle on the street and then begins to produce for them. Terry Allen’s country ballad “Truck Load of Art” recalls a partially failed attempt to export NYC cosmopolitanism to those with less fortunate taste. A friend of Montez Press Radio reads from Jay Chung and Q Takeki Maeda’s “Bad Driver” PDFs, wondering where these Asian stereotypes even come from, and realizing fake news isn’t anything new. Over Yuja Wang on the piano.
Gonpo Singh the mysterious South Asian ‘digital nomad’ asks if babies are aware of America’s existence. Then a recording of a flat earther arguing with gallerists at Carriage Trade. An Alternative history of MSG (it’s never been bad for you), audio from Aleksandra Domanovic’s video “Turbo Sculpture” explaining why Eastern European cities enjoy public sculptures of Western celebrities. Shanzhai Lyric reads from a giant pile of Asian graphic t-shirts that yearn to make sense to Western sensibilities. Whatever-new-age-y ambient music under readings from Glenn O’Briens “Like Art”, a collection of his long running columns in Art Forum where he reviewed advertisements. Micheal Craig-Martin on Audio-Arts Volume 1, Number 2, Side A. Angela Bullouch – Trip To America-Dye Hair, Julia Scher – Wonderland Bounce. Is this too much information? Next a YouTuber teaches us how to speed read, and then Ursula K. Le Guin & Todd Barton’s “Music and Poetry of the Kesh”, ethno-musicology for a future civilization. And then more from Gonpo.
Each month, Montez Press Radio and *Duuu radio share shows on each other’s airwaves.
An offshoot of Montez Press, Montez Press Radio was founded in 2018 with the goal of fostering greater experimentation and conversation between artists, writers, and thinkers through the medium of radio. This platform is an experiment in broadcasting and community building which allows different corners of the art world to interact with each other in person and on air—a place where media finally meets flesh.