Artist and media critic Alessandro Ludovico interviews the three artists named Janez Janša. It’s no coincidence that they have the same name and not by chance that they share it with the former Slovenian Prime minister: they deliberately and officially changed the names they’d had from birth to Janez Janša. They also joined the right-wing SDS party led by their homonymous counterpart. After that they experienced a “visible disappearance” from having canceled their previous names but simultaneously having gained huge visibility thanks to their radical gesture. Changing your name is similar to dying: it affects more people other than just ...

Episode 1: Austerity Mareike Dittmer, Stefanie Hessler, Natascha Sadr Haghighian in conversation with Chus Martínez and Quinn Latimer. Promise No Promises is a podcasts series produced by the Women’s Center for Excellence, a research project between the Art Institute and the Instituto Susch—a joint venture with Grażyna Kulczyk and Art Stations Foundation CH. The Women’s Center for Excellence is conceived as a think tank tasked to assess, develop, and propose new social languages and methods to understand the role of women in the arts, culture, science, and technology, as well as in all knowledge areas that are interconnected with the field of culture today.

I met Barbara Hammer and Every Ocean Hughes (who then went by Emily) on the same night in 2011. From my journal, dated May 8th of that year: . . . last night went to the Kitchen for Emily Roysdon’s A Gay Bar Called Everywhere. A collective theater experiment with a large cast of friends and acquaintances. Was very piqued and moved—various representations of clichés and pathos and themes of ‘our community’. Barbara Hammer homage to Claude Cahun. Vanessa Anspaugh and Aretha Aoki’s duet re: passive-aggressive friend-love, many more vignettes. Met Emily at Julius after and shared a cab home—new friend? ...

Featuring LA-based musician and scholar TOM KRELL (aka @howtodresswell) who talks with us about the aesthetics of climate activism, the roll of the critic today, music as carrier signal for identity, the threshold for authenticity, the value of negativity, extraction and power — let’s just say it’s a rich and sweeping conversation that offers tools for thinking through some of the big questions of our day and insight into the mind behind one of the past year’s best albums “The Anteroom” (@dominorecordco).

Featuring New York-based writer NATASHA STAGG who, on the occasion of her new book “Sleeveless: Fashion, Image, Media, New York 2011-2019” (Semiotext(e)/Native Agents), speaks to us about the myths and metadata of NYC’s culture sector and the protocol for creative production in the 2010s. (w/ Caroline Busta, Daniel Keller, @LILINTERNET)

The sculptor Louise Bourgeois was born in Paris in 1911 and studied painting with Ferdinand Légér among others. As one of the most important artists of the 20th century, she lived and worked in New York since her emigration in 1938. Her extensive and challenging work, which includes innumerable drawings as well as several paintings, is now recognized worldwide after decades of obscurity. In the interviews that Christiane Meyer-Thoss conducted with Louise Bourgeois in New York in 1986 and 1989, the artist gives personal insights into her work.

The intercalations: a paginated exhibition series is conceived as a curatorial-editorial space to both host and critically reflect on the collaborations among members and affiliates of the SYNAPSE International Curators’ Network of the Haus der Kulturen der Welt, Berlin, while enabling explorations of the book as a form of exhibition architecture in relation to other aesthetic practices in the Anthropocene. In addition to its function as a vehicle to document the collaborations of the SYNAPSE network, this book-as-exhibition series aims to expand the discourse of curatorial knowledge production within a broader multidisciplinary field of research and experimentation. The series gradually ...

EL: soo first in terms of editing, mix of the track any thoughts? Me: I just listened through again and was wondering about the order of the question sets EL: ok Me: like what if we move the first question set to after the talking set? Me: it’s hard to say though if that would make any difference as it stands it’s not too bad it’s just really austere in the beginning and a little silly at the end EL: hah Me: though the pink noise helps actually quite a bit after the describing food section EL: its a cleanser Me: totally a palate cleanser …

Aaron Harbour of Et Al. interviews Ginger Wolfe-Suarez, expounding on her exhibition at Diane Rosenstein gallery, A Thing Repeated Is Not Always The Same. August 31, 2015 – EL

Since the Autumn of 2012 we have been attempting to connect a variety of musical and conceptual work in which we feel strongly exists in, points towards, or employs an area that could be described as the liminal. We both feel that this is not something so easily defined, does not have to do with a particular kind of work, nor is a particular thing or perceptual understanding. Yet at the same time we feel that in some music or ideas this area becomes quite important- actually vital to the total experience- even if it is not to be directly ...

Here, William Anastasi elaborates on his thinking behind the pioneering 1966 Dwan Gallery show Sound Objects, his relationship with John Cage, and the tautological nature of his work. Recorded October 2014 – EL

A zine published by The Creative Independent, compiling quotes, excerpts, and recommendations from working artists, all gathered from our archive. Hope Hall’s mindset for dealing with stress, Mike Rugnetta on getting over the anxiety of sharing your work, Eve Ewing on challenging your own ideas of failure, Christopher Shinn on pushing through anxiety-induced procrastination, notes on staying [mentally] healthy from Thor Harris, plus thoughts from working artists— including Jlin, Aubrey Plaza, Sheila Heti, Tabita Rezaire, Ottessa Moshfegh, Mykki Blanco, Addie Wagenknecht, Alison Goldfrapp, and many more—on rejection, working with fear, and channeling anxiety into creative work.