Indistinct Chatter

LAYR / Pia-Marie Remmers

Indistinct Chatter is a podcast series accompanying the group exhibition with the same title at LAYR Vienna curated by Pia-Marie Remmers. Each episode features one artist in the show, offering an extended space for their work and thoughts. Music written and produced by Mike Ratledge mikeratledge.bandcamp.com Podcast unterstützt durch österreichisches Bundesministerium für Kunst, Kultur, öffentlicher Dienst und Sport. - Indistinct Chatter is a group exhibition dedicated to film, while at the same time excluding it. Since the 1970s, exhibition spaces have become more frequently transformed into quasi movie theaters, with video works forming an integral part of contemporary artists' often immersive installations. But how do we attend to the sensation and pull of the cinematic when the moving image is absent? The works on view range from narrative snippets and movie props to closing credits, without showing a single motion picture. Temporality and movement are largely suspended, while the apparent subplots and by-products of the cinematic are put into the spotlight. A nod to Louise Lawler's "A Movie Will Be Shown Without The Picture" (1979) where the audience was invited to watch a full-length film in a regular cinema without its visual component, the exhibition tackles questions of performativity, narration and representation in front of and behind the screen.

Episodes

  1. 04/23/2021

    Vol. 6 - Lise Soskolne

    The sixth episode consist of “The Provenance of Jeanne Dielman" a text written by Lise Soskolne and read by Tamara Faith Berger. Lise Soskolne was born in Canada in 1971 and lives and works in New York since the late 1990s. She is a co-founder of Working Artists and the Greater Economy and has been its core organizer since 2012. The organization advocates for the payment of artist fees by nonprofit art institutions in the U.S. In the context of her first institutional solo exhibition in Germany, Humour Then, at Kunstverein Nürnberg in 2020, Lise wrote provenance records for each of her paintings in the show. She decided on this format to document and convey the creation process of her paintings as well as their exhibition participations and changes of ownership. The latter played an especially interesting role in regards to “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles”, a painting which is part of the group exhibition in Vienna. In "The Provenance of Jeanne Dielman", the artist interweaves “the violent refusal” of the character of Jeanne Dielman in Chantal Ackerman’s 1975 film with the events surrounding the sale of the work in the late 1990s. Tamara Faith Berger is the author of Lie With Me (2001), The Way of the Whore (2004) – republished together as Little Cat in 2013 – Maidenhead (2012) and Kuntalini (2016). Her fifth book, Queen Solomon, was published by Coach House Books in October 2018. It was nominated for a Trillium Book Award. Her work has been published in Apology, Canadian Art, Taddle Creek and Canadian Notes and Queries. She runs Smutburger, a literary collective. She lives in Toronto. Music written and produced by Mike Ratledge mikeratledge.bandcamp.com Podcast unterstützt durch österreichisches Bundesministerium für Kunst, Kultur, öffentlicher Dienst und Sport.

    Vol. 6 - Lise Soskolne

About

Indistinct Chatter is a podcast series accompanying the group exhibition with the same title at LAYR Vienna curated by Pia-Marie Remmers. Each episode features one artist in the show, offering an extended space for their work and thoughts. Music written and produced by Mike Ratledge mikeratledge.bandcamp.com Podcast unterstützt durch österreichisches Bundesministerium für Kunst, Kultur, öffentlicher Dienst und Sport. - Indistinct Chatter is a group exhibition dedicated to film, while at the same time excluding it. Since the 1970s, exhibition spaces have become more frequently transformed into quasi movie theaters, with video works forming an integral part of contemporary artists' often immersive installations. But how do we attend to the sensation and pull of the cinematic when the moving image is absent? The works on view range from narrative snippets and movie props to closing credits, without showing a single motion picture. Temporality and movement are largely suspended, while the apparent subplots and by-products of the cinematic are put into the spotlight. A nod to Louise Lawler's "A Movie Will Be Shown Without The Picture" (1979) where the audience was invited to watch a full-length film in a regular cinema without its visual component, the exhibition tackles questions of performativity, narration and representation in front of and behind the screen.