#15 - Chris Kraus on Film

In this episode writer and filmmaker Chris Kraus speak about the difference between writing and film making, her influences and of the summer she got her first camera. The Los Angeles-based writer and I met in Stockholm a couple of days before the opening of her show at Index, which coincided with the launch of her book Summer of Hate in Swedish.

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EpisodesJenny Danielsson
#14 - William Zaluski on the Getty

Gallery educator William Zaluski talks about the imaginative experience of visiting a museum and the fabulous tram ride up the hill to the Getty Center. We discuss contemporary panel conservation, a typical tour of the museum for students, and a couple of objects that were once in Sweden, a stolen painting gifted to Christina, queen of Sweden in 1649 and a brilliant allegorical painting by Titian. Apparently, 4 hours is a typical time to stay at this massive art institution. Aside the many galleries I recommend the garden tour.

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Jenny Danielsson
#13 - Tracy Kinnally on Frieze LA

Tracy Kinnally is an art advisor practicing in New York City and internationally. After the first edition of Frieze Los Angeles, we sat down to discuss the fair. Covering what was special about it and the art on display. Tracy also talks about the world of art collecting and the role of an art advisor. Do you have to be super rich to collect art?

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Jenny Danielsson
#9 - Jeffrey Alan Scudder on Radical Digital Painting

Jeffrey Alan Scudder is a contemporary artist who travels and spends his time performing, programming and making pictures. In this episode we discuss Jeffrey’s lecture performances on Radical Digital Painting. A conversation around technologies, media and the history of painting. When has a digital painting found its final form? Can we understand systems by thinking about them as musical scores?

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#8 - Chase Hall on The Mountain School of Arts

The Mountain School of Arts is run by artists in California. Chase Hall is a self-taught artist living in New York. We met the day before he started this intendant arts program in LA. Now, some six months later, we catch up. As it turns out, his participation has made a huge impact on his trajectory as an artist. We conclude that it is important to create time for reflection.

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Jenny Danielsson
#6 - Lisa Wade on Collateral Events

The Collateral Events and the 5x5x5 program are parallel events to the art biennale Manifesta 12, in Palermo, until November 4, 2018. Curator Lisa Wade talks about these events, the vibrant and welcoming Sicilian art scene, and the basics for the many start-ups growing around the island.  

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Jenny Danielsson
#5 - Mark Thomas Gibson on Disaster

Mark Thomas Gibson (b. 1980) is an American artist. The conversation revolves around disaster, including the moment that occurs after the rupture. A moment of clarity and forward motion, at the point where choices can be made on what to do next. About current affairs, his work process that starts with a proposition and how drawing helps to work something out. 

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Jenny Danielsson
#3 - Constance Tenvik on Narration

Finding a mood and to pay attention to detail are vital components within multi-disciplinary Norwegian artist Constance Tenvik practice. Here she talks about her daily drawing routine, and a trip to Scotland, to reenact a grand vision for a video, and the unexpected result. We also speak about nature and Scandinavian children’s litteratur, like Astrid Lindgren, Roald Dahl and Mumin.

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#2 - Kate Sutton on National Identity in a Global Art World

American writer and curator Kate Sutton has been regular contributor to artforum.com for a decade. For a long period of time she lived in Moscow and today she is based in Zagreb.  Consequently, she has written about many artists located outside of places oftentimes describe as art centres, like London and New York. She mentions a couple of artist, among them Taus Makhacheva from Dagestan.

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#1 - Yves Scherer on Money

Yves Scherer is an artist living in New York. Driving to his studio, we talk about the necessity of money. Money can buy the better material for a stretcher bar, money is at times hard to get. But at the centre of things stands the urge to create the most beautiful works.  

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