Art and Obsolescence

A very special episode! Today we are chatting with Pippi Zornoza, co-founder of the Dirt Palace, a feminist artist-run collective/residency program/space that has been a pivotal part of the artistic community in Providence for over 20 years, and this interview is part two of a three part series focused on the Dirt Palace and its two co-founders: Xander Marro and Pippi Zornoza.Pippi’s art and music defy boundaries of media, genre, and context, embodying an intensity and a meticulous approach to detail, often exploring the intricate, macabre, and the obsessive.  Pippi’s work spans textiles, embroidery, lace-making, knitting, sculpture, electronics, and performance — be it within an exhibition context, on stage, or, or in a dark and cavernous warehouse. Pippi’s musical projects are almost too numerous to name: Throne of Blood, Sawzall, Vulture, Bonedust, RETRIX, and currently HARPY. This series was made in collaboration with Voices in Contemporary Art (VoCA), and was recorded in December 2022 in Pippi’s studio. In a first for the pod, you can *watch* the interview, including clips of Pippi’s work here. In our chat we delve into Pippi’s origins as an artist, her early years in Providence, and how her creative practice has evolved to its current interdisciplinary state that refreshingly blurs the boundaries between contemporary art, performance, and musicStay tuned for the final episode in the series where we sit down with both artists to discuss their decades long collaboration.Links from the conversation with Pippi> Pippi’s Bandcamp: https://bonedustprov.bandcamp.com/> HARPY: https://harpyprovidence.bandcamp.com/album/a-sacrifice > A SACRIFICE (music video): https://youtu.be/kpo_PRLyuYI?si=8ZkNzf8Rni3QVXP4 > https://www.dirtpalace.org> https://www.dirtpalace.org/wchbnbGet access to exclusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

A very special episode! Today we are chatting with Xander Marro, co-founder of the Dirt Palace, "a feminist cupcake encrusted netherworld located along the dioxin filled banks of the Woonasquatucket river, which is to say in Providence, RI USA". The Dirt Palace is a feminist artist-run collective/residency program/space that has been a pivotal part of the artistic community in Providence for over 20 years, and this interview is the first in a three part series focused on the Dirt Palace and its two co-founders: Xander Marro and Pippi Zornoza.This series was made in collaboration with Voices in Contemporary Art (VoCA), and was recorded in December 2022 in Xander's studio. In a first for the pod, you can *watch* the interview, including clips of Xander's work here: https://vimeo.com/889901548In the interview, we discuss Xander's creative origins, explorations in puppetry, animation, printmaking, film, live performance, and community arts organizing.  We don't normally share guest-written bios, but Xander's is a work of art in its own right, so we simply must: "Xander Marro has been living the good life in the feminist sub-underground for too many years to count on her long bony fingers.  She draws pictures (usually narrative), makes movies (usually not narrative), produces plays with elaborate sets and costumes (usually narrative, but confusing), and then makes stuff like posters, quilts and dioramas (probably narrative?). Her work is often about spiritual relationships to the material stuff of this world. Co-founder of the Dirt Palace in 2000 (feminist cupcake encrusted netherworld located along the dioxin filled banks of the Woonasquatucket river, which is to say in Providence, RI USA). Her studio (and heart) is there still. Xander currently serves as co-director of Dirt Palace Public Projects. She cut her teeth in community arts management serving as the Managing Director of Providence’s legendary AS220. She teaches a class on poster design at RISD and serves as The Board Chair of One Neighborhood Builders, a community development/affordable housing organization."Stay tuned for our conversation with Pippi, and the final episode in the series where we sit down with both artists to discuss their decades long collaboration. Links from the conversation with Xander> http://xandermarro.com> https://www.dirtpalace.org> https://www.dirtpalace.org/wchbnbGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Help shape the future of the show! Take our listener survey: https://forms.gle/Pr8kThnNUGU6hasF6If you listen to this show chances are you are familiar with some iconic images of time-based media art that has taken place in Times Square — in fact I think perhaps the first image I ever saw of Jenny Holzer’s work  was a grainy black and white photo of one of her truisms on display on an LED sign in Times Square. Public art has been occurring in Time’s Square for many decades, but in fact, as we’ll hear from guest Jean Cooney, Time Square Arts has only existed for about 12 years. Before serving as their director, Jean was deputy director at Creative Time, another organization of course that is absolutely central to public art in NYC — I was really keen to sit down with jean to hear how she came to work within this particular niche, and in this convo we get to hear some really cool behind the scenes ins and outs of what it takes to help artists create art for the public, in perhaps one of the most public locations in the US, as well as, how the heck do artists create video art for 65 displays of various shapes and sizes in Times Square? All this and more in today’s chat with Jean Cooney.Links from the conversation with Jean> http://arts.timessquarenyc.org/times-square-arts/index.aspx> https://creativetime.org/Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Today we are revisiting an episode that aired originally two years ago to the day featuring artist Ian Cheng. This episode was one of our most popular in 2021, so we are pulling it out of the archives for our more recent subscribers to enjoy. Since 2012, Ian has been building a universe of sentient software, creatures, and elaborate systems of logic in the form of self-playing video games, installations, drawings, and prints. In this extended chat Ian shares some of his deepest influences, past mentors, childhood, studio practice and rituals for creativity.Links from the conversation with Ian> Ian's website: http://iancheng.com> Life After Bob: https://theshed.org/program/142-ian-cheng-life-after-bob> Pierre Huyghe: https://en.wikipedia.org/wiki/Pierre_Huyghe> Paul Chan: https://en.wikipedia.org/wiki/Paul_Chan_(artist)Join the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

In our latest episode we visit with artist legacy specialist Ursula Davila-Villa. In her crucial work, Ursula helps artists and their families put appropriate plans in place to ensure that their work and archives will exist in a way consistent with the artist’s wishes after they are gone. This unique work draws upon conservation, archives, estate planning, curation, and more. Despite how critical this work is, it isn’t really something you can go to school for. Tune in to hear the fascinating path that led Ursula to become a leader in this field, working countless artists including Cecilia Vicuña, Lorraine O'Grady, Carolee Schneemann, and many more.Links from the conversation with Ursula> https://blantonmuseum.org> https://www.fundacionjumex.org> https://www.alexandergray.com > Davila-Villa & Stothart: https://dvs.art> Aspen Institute Artist Endowed Foundations Initiative: https://www.aspeninstitute.org/programs/program-on-philanthropy-and-social-innovation-psi-2/artist-endowed-foundations-initiative Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

In Episode 68, we sit down with Jill Sterrett, Director of Collections at the Wisconsin Historical Society. Before her tenure in Wisconsin, and even before her time as director at the Smart Museum of Art, Jill dedicated over 28 years to SFMOMA. There, she led the conservation department during its formative years, establishing SFMOMA as a pioneer in the field of time-based media conservation. Throughout Jill’s extensive career, from her early years at SFMOMA to her current work in Wisconsin, she's consistently challenged predefined norms. She combines a deep respect for traditional conservation methods with a drive for big-picture innovation. Tune in to hear Jill’s story!Links from the conversation with Jill> https://cool.culturalheritage.org/byorg/bavc/pb96/> https://www.sfmoma.org/read/team-media-action-contemplation/> https://www.getty.edu/conservation/publications_resources/newsletters/24_2/dialogue.html> https://www.wisconsinhistory.org/Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Today we are diving deeper into the world of digital preservation in our visit with Crystal Sanchez, digital archivist for the Smithsonian Institution. So far, over the past two years and sixty six episodes we’ve visited with all kinds of folks involved in different aspects of preservation of works of art — but something we haven’t really looked at closely is the infrastructure that makes all of this possible. Without proper digital preservation storage, systems, procedures, protocols, and the people to build and maintain all of this — time-based media conservation would be impossible.  Crystal is just one of those people — at the Smithsonian she is responsible for managing a Digital Asset Management system that serves 22 Smithsonian Museums, even including the zoo. In this chat we’ll hear all about how this works, and what it takes to maintain a system like this, as well as the winding path that led Crystal from mathematics, to film studies, and finally to digital preservation.Links from the conversation with Crystal> https://www.si.edu/tbma/> https://www.si.edu/openaccessGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

For episode 66 we are back in the conservation lab, visiting with the one and only Joanna Phillips. For any listeners familiar with time-based media conservation, Joanna hardly needs any introduction — she was among the first generation of practitioners in this field,  and the second ever time-based media conservator at a US museum. At the Guggenheim Joanna established the first museum time-based media conservation lab. Her work has been incredibly influential in the field — she developed a series of incredibly helpful templates for documenting time-based media while at the Guggenheim that went on to be borrowed, copied, and iterated on by museums all over the globe. Joanna has always been incredibly generous in sharing her work — years ago she used to host these fantastic gatherings where TBM conservators in NYC could gather in the Guggenheim’s lab to hear about the latest research that she and Deena Engel’s NYU students were conducting as part of they Conservation of Computer Based Art Initiative. In our chat we hear all about these origins, and what Joanna has been up to in recent years in Düsseldorf where she has not only been leading the Düsseldorf Conservation Center, but also recently published volume co-edited with Deena Engel, with contributions from time-based media conservators, curators, registrars, and technicians from all over the globe. Tune in to hear Joanna’s story!Links from the conversation with Joanna> https://www.guggenheim.org/conservation/the-conserving-computer-based-art-initiative> https://www.guggenheim.org/wp-content/uploads/2015/11/guggenheim-conservation-iteration-report-2012.pdf> https://www.duesseldorf.de/restaurierungszentrum> https://www.routledge.com/Conservation-of-Time-Based-Media-Art/Engel-Phillips/p/book/9780367460426Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

On today’s show we are visiting with Salome Asega, a true multihyphenate  who not only leads New Inc, the New Museum’s incubator for people working at the intersection of art, design, and technology, but who has also maintained a vibrant artistic practice all throughout the years that her career as an arts administrator has been thriving. This might be due to the fact that when you look at Salome’s work as a professional, it really is just an extension of her work as an artist — delightfully speculative, collaborative, participatory, critical of technology’s role in society, and in many ways engaged with questions of expanding access and inclusion. In our chat we hear about Salome’s hijinks as a teen growing up in Las Vegas, pretending to window shop in high end shops and casinos so that she could sneak glimpses at the Marilyn Minter and James Turrell installations. We delve deep into Salome’s participatory and community oriented artistic practice, and we also hear about her role in co-founding POWRPLNT, a digital art collaboratory in Bushwick.Links from the conversation with Salome> Demo 2023: https://www.demo2023.org/> Iyapo Repository: http://www.salome.zone/iyapo-repository> POWRPLNT: https://www.powrplnt.org/> http://www.salome.zone/about> https://www.newinc.org/Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This month we’re in the studio visiting with contemporary artist Nikita Gale. Gale's work employs objects and materials like barricades, concrete, microphone stands, and spotlights to address the ways in which space and sound are politicized. Last year in episode 32 we visited with gallerist Ebony L. Haynes, director of 52 Walker, and it was in preparing for that conversation that I visited the gallery, and had the treat of seeing Nikita Gale’s work in person for the first time in the exhibition titled End of Subject. I wasn’t really sure what to expect as the documentation online was deliciously cryptic — installation views showed a space sparsely populated by metal panels on the wall, and on the floor numerous sets of metal bleachers that appeared to have been crushed, thrown on their sides, spotlights strewn about the room, and wires — lots and lots of wires everywhere. With the beautiful wooden floors and opens space of the gallery, it looked as though a dance piece or some performance art had gone horribly wrong. This was all I knew, as well as the fact that there was some kind of sound element to the piece. When I arrived, the gallery looked just as it did in the photos online, but there was no sound. I was tiptoeing through the empty gallery, when suddenly the whole space sprung to life — voices erupted through the space, and the previously inert spotlights began to dance around the room. Over the course of several minutes I witnessed an incredible choreography of sound and light, until silence and stillness eventually returned to the room for an extended period of time before a new score and choreography eventually emerged. I sat in the room for an hour watching people come and go — some visitors who missed the performance entirely, some who only saw one or the other. It was incredible to see the space repeatedly transform from a spectacle, to a space where the viewers themselves became the performance. Being a conservation nerd of course my mind went directly to wondering how in the world a piece like this might be documented and migrated through generations of technology over decades, and I knew I just had to have the artist on the show to find out. Tune in to hear Nikita’s story.

For this episode we are back in the conservation lab, visiting with Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research at the Whitney Museum of American Art. If you were to visit the Whitney today and see the lab and the department that Carol leads, you might find it hard to believe that none of it existed back when she joined the Whitney. In 2001 Carol not only became the museum’s first director of conservation, but also its first staff conservator. In our chat we hear all about the incredible work that Carol has done over the past 20+ years at the Whitney, but the story goes much further back, prior to arriving at the Whitney, Carol spent a prior 20+ stint as the first conservator at the Menil Collection in Houston. Having originally trained and studied art that was centuries old, at the Menil Carol suddenly found herself dealing with modern and contemporary art and all the special and unique challenges that emerge when a conservator is faced with art where the paint has barley just dried. Carol found that talking directly to artists and their collaborators about the practical and technical aspects of their work was crucial in her work as a conservator — long before this was a common thing for conservators to do. This interview practice was eventually formalized and became the Artist Documentation Program, generating hours upon hours of footage of Carol and her former colleagues chatting with artists like Ann Hamilton, Ed Ruscha, Sarah Sze, Josh Kline, just to name a few. Today artist interviews have become a central part of conservation practice, so I was very excited to sit down with Carol, to interview the interviewer and hear what she has learned over decades as a leader the field of conservation.Links from the conversation with Carol> Artist Documentation Project: https://adp.menil.org/> The Whitney Replication Committee: https://www.newyorker.com/magazine/2016/01/11/the-custodians-onward-and-upward-with-the-arts-ben-lernerGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Today we are visiting with the one and only Shirin Neshat, who hardly needs introduction. If you’ve ever taken an art history class that covers video art, photography, international cinema, or for that matter contemporary opera, you’ve definitely seen Shirin’s work. Since her debut exhibition in 1993 at Franklin Furnace, Shirn’s work has offered a deeply personal yet universal perspective on womanhood, power, corruption, trauma, and the female body as the battleground of social and political manipulation. All of this in Shirin’s work is of course informed very much by her experience as an Iranian immigrant, who moved to the US at age seventeen just prior to the revolution, and since then has lived ostensibly in exile. These themes in her work however are quite universal, which is something Shirin spoke to expensively in our chat when we discussed her latest work which just so happens to be on view as we speak. Her latest exhibition at Gladstone Gallery titled The Fury is on view until March 4th, you’ve got a whole month to check it out, and this show features new works including a photo series and a large video installation in Shirin’s signature black and white with two channels of video on opposite walls, that harkens all the way back to her iconic 1998 video installation Turbulent. We discuss all this and more in our chat, as well as Shirin’s perspective on the ongoing protests and movement in Iran sparked by the death of Masha Amini — which of course is deeply related to the themes that have been present in Shirin’s work for decades.Today’s episode, and the many more artist interviews coming your way this year was made possible thanks to generous support from wonderful folks at the Kramlich Art Foundation.Links from the conversation with Shirin> The Fury: https://www.gladstonegallery.com/exhibition/10596/the-fury/installation-views Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

We are closing out 2022 with highlights from eight incredible artists that graced the show this year. Tune in to hear the voices of Gary Hill, American Artist, WangShui, Meriem Bennani, Alan Michelson, Tourmaline, Arthur Jafa, and Hito Steyerl discussing how they think about the preservation and documentation of their work, as well as intimate inside glimpses into their practice and studios. Sending a huge heartfelt thanks to everyone all of the listeners that made 2022 such a memorable year for the show – wishing you all the best and see you in the new year! xoGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

For our 60th episode, we are visiting with artist, writer, filmmaker, and educator, Hito Steyerl. In addition to being able to find Hito’s work in museums, biennales, collections, and bookshelves all over the world, a good deal of her single-channel moving image work can be watched freely online, which of course is a good thing, but Hito’s work has also explored the darker side of what the global dispersion of images can entail – starting with her deeply personal pre-internet short film Lovely Andrea. Hito’s work is often deeply socially and politically engaged – taking on issues of war, labor, surveillance, climate change, and more – and this social engagement and critique extends of course to her writing. Hito is not shy about turning her lens onto corruption that exists within the art world itself, as she did in her 2017 book, Duty Free Art: Art in the Age of Planetary Civil War – a book whose initial seed of inspiration was realizing that an artwork of her own had been purchased merely as an investment and shipped directly to a tax-haven Freeport art storage facility. Hito’s installations are often ambitious in scale and immersion, and are incredibly spatially away of your presence – it is quite common to find a place for yourself as a viewer to sit, rest, and enjoy the work – in a way that is very integrated with the installation itself. In our chat we cover so much ground from Hito’s origins in film-making, to going inside how she conceives of and creates her immersive installations, as well as some pretty real feelings about long-term preservation of contemporary art in the age of anthropogenic climate change and global energy crisis. This episode was made possible thanks to generous support from lovely folks at the Kramlich Art Foundation. Tune in to hear Hito’s story! Links from the conversation with Hito> How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013: https://www.artforum.com/video/hito-steyerl-how-not-to-be-seen-a-fucking-didactic-educational-mov-file-2013-51651> Lovely Andrea, 2007: https://vimeo.com/533265768> Duty Free Art, Art in the Age of Planetary Civil War: https://www.versobooks.com/books/2992-duty-free-art> Radical Friends: https://www.furtherfield.org/radical-friends-book/ Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This week on the show we are visiting with Rebecca Cleman, executive director of Electronic Arts Intermix. EAI has of coursed already come up on the show many times, and recently in episode 54 we visited with their director of preservation and media collections – today we will be going deeper into this history and evolution of EAI, and getting a look behind the scenes of an organization that has been incredibly central to the history of video art, and incredibly impactful for countless artists. At EAI Rebecca has built a long and rewarding career of working with and collaborating artists – starting years ago focused on their distribution program, sitting down with artists and facilitating the hard work to ensure that their work made it into the hands of curators, art history professors classrooms, and ultimately in front of your eyeballs in a way that honored the artist’s vision and intentions. In 2019 Rebecca stepped up as executive director, and in just a few short years has already left an unmistakable imprint on the organization, stewarding EAI through a move of their HQ, growth of their team, and really doing some important work to think through what enabling distribution means in an age where artists have infinite means at their own fingertips. Rebecca’s own professional journey is a great story and is just bursting with tales of the evolution of the art world in NYC, and life-long relationships with artists that she has built over time. Tune in to hear Rebecca’s story!Links from the conversation with Rebecca> EAI: https://www.eai.org Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This week on the show we are traveling to Karlsruhe, Germany to chat with art conservator Morgane Stricot. You wouldn’t know it considering the technologically complex works of art that she cares for today, but Morgane’s first love in conservation was incredibly traditional, initially being drawn to frescos and murals. Fast forward to today and she is wrapping up a PhD in applying a media archeological approach to the conservation of time-based media art in the context of the collection of the ZKM, where she serves as their Senior Media and Digital Art Conservator. The approach that Morgane is taking with conservation at ZKM is quite distinct – and a refreshing reminder that the technologies that underpin works of art are also worthy of study and preservation in and of their own right. What does it look like when art serves a supplementary purpose of helping to preserve the cultural context of the history of technology? Tune in to find out, and to hear Morgane’s story!Links from the conversation with Morgane> ZKM: https://zkm.de/> PAMAL Group: https://pamal.org/en/pamal-group-en/ Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This week on the show we travel to Switzerland to visit with media conservator Martina Haidvogl. We’ve heard the conservation program at the Bern Academy of the Arts mentioned a few times on the show so far, as for a long time it was really the only formal conservation training program that had time-based media as a specialization. With time spent in Bern, and as an alum of the Academy of Fine Arts in Vienna, Martina was one of the few first conservators to arrive in the US with formal time-based media conservation training, and now co-directs the Bern Contemporary Art and Media conservation program, so suffice it to say, she’s kind a big deal. In our chat we hear about Martina’s formative experiences in her early years training as a conservator, the accomplished eight-plus years she spent at SFMOMA’s first-ever time-based media art conservator, and the deeply important work she is doing now to train the next generation. We’ll also hear about how Martina is thinking through how the conservation profession and the arts ecosystem needs to adapt and evolve to a rapidly changing world around us. Tune in to hear Martina’s story!Links from the conversation with Martina> About Team Media at SFMOMA: https://www.sfmoma.org/read/team-media-action-contemplation/> About caring for technology-based artworks and design objects: https://www.sfmoma.org/read/theres-no-app-adventures-conserving-old-tech/> On SFMOMA's MediaWiki documentation platform: https://stedelijkstudies.com/journal/reimagining-the-object-record-sfmomas-mediawiki/> About the HKB's Contemporary Art and Media training program: https://incca.org/training-programme-bern-academy-arts-switzerlandhttps://www.hkb.bfh.ch/en/studies/master/conservation-restoration/> Symposium Contemporary Art Conservation Revisited: 20 years later (program & videos): https://www.hkb.bfh.ch/conscareGet access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This week on the show we are continuing to expand our perspective on the time-based media conservation ecosystem in Taiwan, with our guest Yuhsien Chen. In the handfull of years that she has been dedicated to time-based media conservation Yuhsien has been up to some incredibly exciting things. We heard her name come up back in episode 46 when visiting with her colleague and collaborator Tzu-Chuan Lin, about work they did together at the National Taiwan Museum of Art – and as you’ll hear in today’s chat there’s so much more. For years now Yuhsien been leading the Save Media Art Project in Taiwan, and fascinatingly just wrapped up what I’m guessing is probably the first Fulbright scholarship focused on time-based media conservation, which brought her to New York City where for the past few months she has been embedded within both the museum of modern art – and Rhizome. Yuhsien however has been keen to find a way to carve out her niche in her hometown, and all of the information and practice that she observed and absorbed during her Fullbright has led some pretty surprising conclusions. Tune in to hear Yuhsien’s story!Links from the conversation with Yuhsien> https://savemediaart.wixsite.com/sma-tw Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Since 1991 when he somewhat accidentally landed a curatorial position at the Guggenheim, Jon Ippolito has been passionately dedicated to building curatorial projects, research initiatives, and collaborations revolving around the preservation of time-based media art. Through projects such as the variable media questionnaire, exhibitions such as Seeing Double, and books such as Re-collection: Art, New Media, and Social Memory (co-authored with Rick Rinehart), Jon’s thinking about how to approach the documentation and preservation of art has unquestionably influenced a whole generation of professionals – not least of which through his role as director of the digital curation program at the University of Maine where he has been for the past twenty years. Tune in to hear Jon’s story!Links from the conversation with Jon> http://three.org/ippolito/> https://digitalcommons.library.umaine.edu/fac_monographs/198/> https://umaine.edu/newmedia/people/jon-ippolito/Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

This week we’re visiting with media conservator and conservator Caroline Gil Rodríguez, who last year became director of preservation and media collections at the Electronic Arts Intermix. EAI played an incredibly pivotal role in cementing video art’s place in history, and there Caroline is doing exciting work not only to safeguard their important collection, but also to help shape and rethink what role a place like EAI plays within the broader time-based media conservation ecosystem today, many decades after the organizations founding. In our chat we hear about Caroline’s vibrant professional journey, and the incredible array of positions she has held across many different contexts within the moving image preservation world – from handling nitrate film, preserving Catalonia’s legacy of silent film – to assessing software based works of art at the Museum of Modern Art and the MET. Our chat with Caroline further expands the global map we’ve been building on the show of time-based media conservation practice, as we hear all about her origins and early professional years in Puerto Rico. Tune in to hear Caroline’s story!At the time we’re releasing this episode Puerto Rico is reeling from the devastation of hurricane Fiona. Below is a list of local aid and relief organizations courtesy our guest – please consider supporting them if you are able:Taller Salud- Feminist grassroots organization that works with low-income and mostly Black women and communities in Loíza. Donation page: https://secure.actblue.com/donate/fionaresponseAgitArte | Papel Machete- AgitArte is an organization of working class artists and cultural organizers who work at the intersections of race, class, gender, sexuality and ideology. Donation page: https://secure.actblue.com/donate/fionaresponseMuseo de Arte Contemporáneo de Puerto Rico (MAC) - Community Contemporary Art Museum in Santurce, San Juan, PR. Artist Emergency Fund - PayPal.Me/museoMACPRPitirre Proyectos-  a Puerto Rican based organization, 501c3 non-profit launched to provide direct aid to the artist community in the island. Artist Relief fundraiser: https://www.pitirreproyectos.org/donateOther links from the conversation with Caroline>  M&M proyectos curator Michy Marxuach https://www.cifo.org/index.php/visit/leadership/item/596?tmpl=biographies&TB_iframe=true&height=500&width=900>  We didn’t ask permission, we just did it… https://camstl.org/exhibitions/we-didnt-ask-permission-we-just-did-it/> Recording of noise band Cornucopia, at Iámbica Festival https://archive.org/details/Live_SanJuan_01