Welcome to the ninth installation of the Artslant podcast series, Working (it) Out.
My name is Gillian Dykeman, and I'm a visual artist living in Toronto, Ontario. In Working (it) Out, I interview artists to ask about the role of audience in their practice. Each interview will begin with one question: "Does art require an audience?"
Working (it) Out with Gillian Dykeman
Episode Nine | Postcommodity: Wide Eyes
- Reflection from the audience / implicating the audience/ social practice (3:32)
- Building capacity through strategic suturing (7:10)
- Land Art’s positioning vs including community (8:40)
- Designing work to implicate audiences (13:12)
- Asking questions of one’s audience (16:35)
- Layers of noise as fertile ground (17:05)
- Pointing an indigenous lens and offering a view through it (19:00)
- Seeing and looking back + Valie Export (24:00)
- Open eye iconography and indigenous readymades (25:00)
- Scare-eye balloons: "Powerful semiotic vehicles of Indigeneity" (26:20)
- Having eyes open to what is going on (28:00)
- Borders as microcosms (36:00)
- The potential politics of aesthetic choices (38:00)
Postcommodity is Raven Chacon, Cristóbal Martínez, and Kade L. Twist. On today’s episode, we discuss at length their work Repellent Fence. A project almost ten years in the making, Repellent Fence will appear floating over the towns of Agua Prieta, Mexico, and Douglas, Arizona, USA, this October—bisecting the US/Mexico border. The work consists of oversized “Scare-eye” balloons, an ineffective bird repellent product which functions for the artists as an “indigenous readymade and semiotic vehicle.” We discuss this work, land art, borders, Valie Export, and keeping one’s eyes open to the politics of place.
Music: Four Tet, "Parallel Jalebi"
Portraits of Postcommodity members left to right: Cristóbal Martinez, Kade Twist, and Raven Chacon
Repellent Fence, An artist study of balloon installed near the border fence
Google map artist sketch of Repellent Fence intersecting border
Location of Repellent Fence