All Entries: September 2011

Jessica Higgins & Denis Luzuriaga
Intermedia Television, Holyoke Massachusetts

From a full page advertisement in newsprint, depicting the Holyoke studio space
and some of the artists involved with LAB, the experimental
performance gathering behind SWITCH


by Joshua Selman

An interview with the Creative Director, Jessica Higgins and Producer, Denis Luzuriaga, of SWITCH,  a new art for television project being syndicated throughout Massachusetts. The discussion examines global participation in a local media market:

Joshua Selman: Are you returning to public television as a resource for artists?

Jessica Higgins: Yes, it’s a form of art making. On switch I’m trying to bring intermedia together with all the different modalities. Definitely influenced from the event score and intermedia to just allow an open, experimental place. I would say many people doing the performances there have taken the event score and the happening into the twenty first century using technology, producing video art, photography, painting, dance, poetry, conceptual sound, music…

A 7 minute documentary clip on making SWITCH in Holyoke Massachusetts.
interviews with Jessica Higgins and Denis Luzuriaga
discuss global participation in a local media market.

Video: Artist Organized Art

Joshua Selman: Do you think television is to video as cinema is to film? How is the viewing experience unique to the form? Is Holyoke a public television kind of city?

Denis Luzuriaga: Holyoke doesn’t have a public access channel so it would be great if we could show SWITCH in Holyoke as well, which is where it was created. The viewing experience is different just by the mere knowledge that there’s a chance that someone’s watching the exact same programming at the exact same second. When we do our once a month gathering in the studio to produce the show that we call SWITCH we definitely benefit from being a group and we work off of each other’s energy. There is a very strong collaborative feeling. Everybody gains inspiration from what other people are doing. To document it properly I have to put myself in the mindset of being an audience member.

Jessica Higgins: What’s interesting to me is the element of surprise. To see what happens. It doesn’t always work, but most of the time it hopefully does. I mean I think of so many artists who have been pushed out of their spaces. There’s like this whole air space that’s now becoming available it’s got a lot of potential for artists to do work and put it out there. The production is just a wonderful tool that artists are using.

Joshua Selman: Since you make these episodes for public television, but you also release them on a web channel ( are you encouraging global participation in a local media event? I heard you have also done intercontinental video chat sessions for local shows?

Denis Luzuriaga: Starting with your local public access television station is the way to go. People tend to overlook more traditional outlets such as public access and jump immediately to Youtube or Vimeo, but it’s a little difficult to try to present material that is relevant to your community in a forum that is designed for billions of people to have access to. The phrase think globally act locally would be very much apropos.

Joshua Selman: I know, Jessica, that you performed with Elaine Summers’ intermedia dance company at Lincoln Center and at Anthology Film Archives. The performances on SWITCH have a bit of a painterly quality as works on video, how did that aesthetic develop?

Jessica Higgins: Switch was such a natural unfolding. I mean we got together and basically experimented with creative ideas and many of the small Fluxus pieces that I grew up doing in the Fluxus Festivals that happened at the Anthology Film Archives and the Judson Church, doing very experimental, improvisational dance in Lincoln Center..

Denis Luzuriaga: Aside from doing the live performances once a month I paint here occasionally. This building is probably at least 150 years old. This space here originally apparently use to be a grocery store. Often during the performances we do, which we call lab we have video projections going on and so the performers may be performing in front of the video projections some people like to have the projection on them.

Joshua Selman: When I go to youtube the interaction is what I would term “webby.” But with, public television, the webby experience is replaced by a different type of focus. In a way the web experience is lonelier. One person focusing on an interface, it lacks the camaraderie of living space. I like to imagine ancient Greek theater with everyone texting and searching for stuff, passing links, commenting on boards and leaving ratings… but, of course, on stone, wood or parchment and by calling out.

Jessica Higgins: Artists being in everyone’s living room. You could switch on the television and have artists doing a short performance piece and have something that’s refreshing and different. I would love to see intermedia and Nam June Paik’s vision of having art in everyday life.. being able to turn on the television and see a short performance piece refresh people’s everyday life in a way that’s special and mysterious and experimental.

Joshua Selman: Denis, do you also have a background in experimental art and television?

Denis Luzuriaga: I used to live in New Jersey and in New Jersey I had a group. We were kind of experimental. We would show up on rehearsal nights, but we didn’t really rehearse because there was nothing to rehearse. We would all show up with outlandish instruments that were prepared or just in whichever way they were modified with effects and we would always try to out do each other with just craziness. So that’s kind of continued up here since I’ve moved up here to Western Massachusetts, we’re in Holyoke right now.

Denis Luzuriaga: The kind of work I do that pays my bills is in the advertising industry. And it is specifically pre production artwork. They call it also storyboards and comps and animatics. When I started out doing it, it was all done by hand marker illustrations on paper and then that slowly transitioned to all digital. It’s still drawn by hand, but it’s drawn on, in this case, a tablet that also doubles as a monitor.

Joshua Selman: What else would you say are aims or goals of making SWITCH?

Jessica Higgins: My father’s intermedia ideas and theories, which he struggled so hard to put out there, I think there was a reason that this culture wanted that.

Denis Luzuriaga: We would love for artists from other parts of the country and artists from all parts of the world not only to collaborate online with SWITCH but also to come to LAB, to come right here to Holyoke and get involved. We want to make connections with other people who have similar sensibilities.

Jessica Higgins: We decided we were going to do this LAB, which became SWITCH down in Holyoke.

Denis Luzuriaga: I mean take a look down this canal here, there are just some beautiful, beautiful scenes. It would lend itself very well to location shooting be it film or still photography or even just subject material for painters or photographers.

Joshua Selman: LAB is your actual performance laboratory? How is it different from SWITCH?

Jessica Higgins: LAB is more of this place that is so wide open that really anything can happen. But when you deal with switch which is something that’s broadcasted you are dealing with a few very loose constraints such a time. I mean we have a 30 minute segment that we need to perform these pieces in, and we want everyone to get a chance to do their piece. Of course this isn’t written in stone and sometimes if vintage Fluxus artists have come along or we’ve had a few guest artists to SWITCH that are very well known and structures vary a little bit in that case.

Joshua Selman: Holyoke is a very unique place to be doing this isn’t it?

Denis Luzuriaga: When I moved up here I didn’t really know much about this area. I didn’t know about Holyoke at all. Physically it’s a very interesting city. There’s a new building that’s being built here in Holyoke and they call it this High Performance Computing Center. It’s going to house some of the most powerful computers in the world. One of the reasons they’re building a center here in Holyoke is because of the fact that the electricity that’s available to them is green electricity. It’s all hydro-electric. It’s just one block in that direction.

Joshua Selman: Jessica, your father, Dick Higgins, was not only a founder of Fluxus, but he coined the term intermedia as it applies to contemporary art. You also worked with Elaine Summers who is considered preeminent for intermedia as applied to dance and movement. Are you working with your those theories at LAB?

Jessica Higgins: Yes I’m trying to bring together an open space to experiment with intermedia.

Joshua Selman: How does Holyoke measure up as an enclave?

Denis Luzuriaga: Holyoke is definitely the most exciting environment, that people could come to, to collaborate in projects. For example, there’s Bring Your Own Restaurant that happens here in Holyoke. People show up here on the canals and they bring tables and tablecloths and linens and real plates and some people even dress up and of course there’s no money exchanged and that is another community driven event as an outdoor restaurant. The people who attend are artists, they’re business people, they’re politicians. That is an artist organized event.

Joshua Selman: Who thought of going back to television in the age of the streaming media server?

Jessica Higgins: When I saw Denis working it reminded me that Nam June wanted to put intermedia on TV in everyone’s living room. It was a natural leap to ask Denis to put LAB on TV as a show called SWITCH.
Public television episodes of SWITCH are available on demand​groups/​switchtvextra
Extra SWITCH content only available online

Jessica Higgins, Creative Director of SWITCH: American artist, lives and works in New York and Massachusetts. Formative dance studies at Juilliard and Joffrey. Daughter of Fluxus Founders Dick Higgins and Alison Knowles. She has direct experiential knowledge of Fluxus, having early formation in that culture by way of the original members and by participation in historic Fluxus events. She is a regular correspondent for Artist Organized Art and the Creative Director of ‘Switch’ a local access television series of performance and intermedia out of Western Massachusetts. Her works and performances have exhibited in numerous countries.

Denis Luzuriaga, Producer of SWITCH: visual artist working in Western Massachusetts. He combines video, painting, and sound in what can be termed “sense-scapes.” His latest work “Temporis” is a two channel video and sculptural installation. Temporis is installed in a 150 year old mill building along the Connecticut River. Denis exhibits his work in galleries, exhibition spaces, and works with outsider artists performing irreverent versions of yester-year avant-garde such as Kurt Schwitters’ “Ursonata” electrified.

Nam June Paik: A seminal pioneer of video art, closely associated with Fluxus and intermedia, during the New Year’s Day celebration on January 1, 1984, he aired Good Morning, Mr. Orwell, a live link between WNET New York, Centre Pompidou Paris, and South Korea. With the participation of John Cage, Salvador Dalí, Laurie Anderson, Joseph Beuys, Merce Cunningham, Allen Ginsberg and Peter Orlovsky, George Plimpton, and other artists, Paik showed that George Orwell’s Big Brother hadn’t arrived. In 1974 Nam June Paik used the term “super highway” in application to telecommunications, which gave rise to the opinion that he may have been the author of the phrase “Information Superhighway”. “The building of new electronic super highways will become an even huger enterprise. Assuming we connect New York with Los Angeles by means of an electronic telecommunication network that operates in strong transmission ranges, as well as with continental satellites, wave guides, bundled coaxial cable, and later also via laser beam fiber optics: the expenditure would be about the same as for a Moon landing, except that the benefits in term of by-products would be greater.”

Dick Higgins: A composer, poet, printer, and early Fluxus artist. Higgins was raised in Worcester, Massachusetts. His daughter, Hannah Higgins is the author of Fluxus Experience, an authoritative volume about the Fluxus movement. Her twin sister, Jessica Higgins, a New York based intermedia artist closely associated with seminal curator Lance Fung, late Fluxus gallerist Emily Harvey and The Artists Museum’s and Construction In Process, performed and collaborated as a youth in original Fluxus related events. Dick Higgins coined the word intermedia to describe his artistic activities, defining it in a 1965 essay by the same name, published in the first number of the Something Else Newsletter. His most notable contributions include Danger Music scores and the Intermedia concept to describe the ineffable inter-disciplinary activities that became prevalent in the 1960s. He was an early and ardent proponent and user of computers as a tool for art making, dating back to the mid 1960s, when Alison Knowles and he created the first computer generated literary textes.

Elaine Summers: A founding member of the workshop-group that would form the Judson Dance Theater and significantly contributed to the interaction of film and dance, as well as the expansion of dance into other related disciplines, such as visual art, film, and theater. She furthermore fostered the expansion of performing dance in new, often outdoor locations. Her movement approach Kinetic Awareness offers a comprehensive perspective on human movement and dance. Summers worked intensively with film and its inclusion in live performance. Her learning of filmmaking and her experiments at Judson finally led to her own intermedia presentation Fantastic Gardens in 1964. In 1971 the Elaine Summers Dance & Film Company premiered Energy Changes. The piece went into full premiere in 1973 at the sculpture garden of the Museum of Modern Art in New York City, including an early use of video showing dancers located in other parts of the garden, in collaboration with Davidson Gigliotti, composers Philipp Corner and Carman Moore, recorded on video by Nam June Paik.

LAB: A monthly gathering in Holyoke, Massachusetts or alternative locations where experiments with action and intermedia are shared by a local community of artists with guests from around the world. The LAB sessions are used as the basis for the creation of the show SWITCH.

Holyoke is a city in Hampden County, Massachusetts, United States, on the banks of the Connecticut River. It is part of the Springfield, Massachusetts Metropolitan Statistical Area. The city was named after Elizur Holyoke, who explored the area in 1660. One of the first planned industrial communities, Holyoke bears the nickname “Paper City”

Bring Your Own Restaurant (BYOR): Do it yourself fine dining on the streets of Holyoke. A plein air potluck held every other Friday, 7pm start, rain or shine and from Spring until late Fall. All are welcome. If you would like to join us, bring a dish of something edible to share, your own plate, chair, utensils, etc. and we will enjoy the lovely view in downtown Holyoke with good company. Bringing your own table is recommended, but if you are solo there is always space at someone else’s table. We will have a couple of chairs on hand for those without access to cars. We would like this to be a trash-free event, so please do not bring disposable plates or other items that will end up in the landfill! Dress to impress or dress to de-stress. No reservations


#permalink posted by Artist Organized Art: 9/28/11 11:51:19 AM

Paul D. Miller (DJ Spooky,) The Book of Ice (2011)
Art Center Nabi, Seoul + 2011 Gwangju Design Biennale

Paul D. Miller (aka DJ Spooky) Conceptual Poster: Manifesto for
The People’s Republic of Antarctica,
2011 Gwangju Design Biennale
Republic Of Korea (South Korea)

by artist/correspondent JiHyun Song (

한국의 대표적인 미디어 센터, 아트센터 나비의 라이브러리 개관식에 디제이 스푸키가 초대되었다. 디제이 스푸키의 방문은 언제나 흥미롭다. 그를 만나는 자리는 음악과 영상을 즐기는 자리이기도 하지만, 박식한 작가의 연설을 들을 수 있는 자리이기도 하다. 그의 연설에 이어지는 관중의 질문은 때로는 대단히 논쟁적이다. 나는 여기서 이 시대의 아티스트의 역할에 대해 생각해 본다.

그는 이번 방문에서 자신의 저서 The Book of Ice (2011)를 소개했다. 책에는 남극에 대한 역사적, 과학적 데이터 및 사진자료들에 그래픽 작업물들이 담겨있다. 물리학자 Brian Greene 과 남극전문가 Ross Virginia 와 공동작업을 함으로써 학문적인 진지함과 객관성을 더한 결과물이다. 남극의 얼음이라는 시의적인 소재를 보고, 이 작업이 환경 문제에 대해 깊게 애도 하거나나, 슬픈 고발을 할 것이라 생각했다면, 그 기대는 고히 저버려야 할 것이다. 그는 보다 중립적으로, 남극의 얼음이 가진 차가운, 미지의 물성에 대해서 집중한다.

Excerpt: The Book of Ice, Paul D. Miller (aka DJ Spooky, That Subliminal Kid)
Book Launch at Art Center Nabi, Seoul as part of the 2011 Gwangju Design Biennale

그는 아트센터 나비에서 몇가지 퍼포먼스를 선보였다. 눈의 결정체를 시각화하는 알고리즘을 사용한 음악, 또한 거대한 빙하를 담은 영상에 맞춘 디제잉과 같은 것이다. 이를 감상하는 관객은 그의 음악적 감흥의 세계로 인도된다. 그리고 그 음악은 남극의 이미지, 호기심을 자극하는 미지의 대륙을 인상적으로 그리고 있었다.

그의 작품세계는 나에게 아메바를 연상하게 만든다. 당대의 키워드를 먹어치우고, 발산하는 문화적 아메바. 디제잉이 기존의 음악을 해체하여, 샘플링을 만들고, 이들을 잘 섞어 자신만의 음악으로 재창조 하는 것이라면, 디제이 스푸키는 재료 선택에 있어서 상당히 영리하다. 일단 메세지가 충만한 시의적인 소재를 선택하고, 그 매체를 기존의 텍스트와 음악적 장르안에서 해방시킨다. 그는 클래식 라이브 음악과 전자음악을 혼합하기도 하고, 목소리와 현장음을 섞기도 하고, 기성영화를 짜집기하기도 한다. 그의 믹싱작업은 부담없는 출입구가 되어, 미로와 같은 이시대를 관통하기에 부족함이 없다. 실로 그는 전세계를 여행하며 각기 다른 명사와 만나 명소에서 갖가지 협연을 펼친다. 그의 창조물에는 요즘 우리가 지향하는 “다원예술” 또는 “멀티디서플리너리” 라는 키워드가 담겨있다.

Cover: The Book of Ice, Paul D. Miller (aka DJ Spooky, That Subliminal Kid)
Book Launch at Art Center Nabi, Seoul as part of the 2011 Gwangju Design Biennale
free PDF sample

디제이 스푸키는 밤시간의 클럽 문화를 낮시간의 고상한 미술관으로 가져왔다. 2005년 캘리포니아에서, 나는 그의 발표에 노골적으로 불만을 표시하는 관객들을 본적이 있다. 당신의 클럽스타일 디제잉을 고급 예술에나 붙일만한 철학으로 포장한다고 말이다. 실로 그는 인상주의, 팝아트, 플럭서스 무브먼트의 주요 개념과 저명 아티스트들의 사상을 그의 디제잉 스타일과 연관지어 아주 세련되게 이야기 할줄 안다. 심지어 스푸키 자신에게 뾰족하게 던지는 화살들을 세련된 매너로 받아, 철학적 문맥에 역어간다. 이데올로기는 지목됨과 동시에 분해된다. 작가는 갖가지 이야기들을 예술로 풀고, 문학으로 풀고, 문화로 확장시킬줄 아는 훌륭한 안목과 풍부한 지식을 가지고 있다.

나는 디제이 스푸기가 현시대에 새롭게 등장하는 아티스트 상을 반영하고 있다고 생각한다.그것은 일인 다역의 사회적 퍼포먼스를 수행하는 역할이다. 동시대의 예술가는 타분야의 전문가들과 협연을하고, 큐레이터를 만나고, 자신의 작품이 가진 문화적 텍스트에 대한 이야기를 하고, 관객을 예술행위에 동참케하는 워크샵과 이벤트를 진행한다. 이제, 좋은 작가는 자신의 작품을 훌륭하게 포장해서 더 많은 문화 향유자에게 다가갈 수 있게 노력한다. 그런 의미에서 디제이 스푸키의 발표회는 디제잉 이벤트, 강연, 책 판매로 구성된 괜찮은 문화 마케팅 모델이기도 하다. 여기에는 약간의 즐거움, 그리고 약간의 고급스러운 지식, 그리고 참여의 기회라는 예술을 사랑하는 사람을 중독시킬만한 삼박자가 갖추어져 있다.

Paul D. Miller
(aka DJ Spooky, That Subliminal Kid)
Book Launch at Art Center Nabi, Seoul as part of the 2011 Gwangju Design Biennale
JiHyun Song (

그의 발표에서 나는 예술가이자, 기획자이자, 또 선생님이기도한 일인 다역의 나의 모습을 보는 것도 같았다. 물론 디제이 스푸키는 슈퍼 스타이고, 나는 평범한 젊은이일 뿐이지만 말이다. 그는 적극적으로 디지털 시대의 숙명을 수행하고 있는 반면, 나는 주춤거리고 있었다. 이렇게 열심히 살고 있는 우리가 가끔 고도 자본주의 사회의 흐름 속에서 부유하고 있는 것처럼 느껴지는 것은 무엇 때문일까? 작가의 침묵이 미덕이 되고, 작품이 대신 말을 거는, 예술가가 불어넣은 영혼이 가득 담긴, 그런 작품을 요즘 시대에서 만들어내기는 어째서 이렇게 어려운 것일까? 세상 밖에서, 침묵속에서, 자신만을 바라보며 수천장의 자화상을 그리는 고흐들이 발견되기 까지는 너무 오랜시간이 걸리는 걸까? 돌아오는 길 내 맘 속에는 질문이 꼬리를 이었다.

Paul D. Miller (aka DJ Spooky, That Subliminal Kid) discusses the mathematical basis
for The Book of Ice at his book launch, Art Center Nabi, Seoul
as part of the 2011 Gwangju Design Biennale
JiHyun Song (

Paul D. Miller (aka DJ Spooky, That Subliminal Kid) demonstrates musical compositions
for The Book of Ice at his book launch, Art Center Nabi, Seoul
as part of the 2011 Gwangju Design Biennale
JiHyun Song (

Paul D. Miller (, known by his stage name DJ Spooky, That Subliminal Kid (born 1970), is a Washington DC-born electronic and experimental hip hop musician whose work is often called by critics or his fans as “illbient” or “trip hop”. He is a turntablist, a producer, a philosopher, and an author. He borrowed his stage name from the character The Subliminal Kid in the novel Nova Express by William S. Burroughs. He is a Professor of Music Mediated Art at the European Graduate School.

Brian Greene ( is a Professor of Physics and Mathematics at Columbia University, and is recognized for a number of groundbreaking discoveries in his field of superstring theory. His books are widely read.

Ross A. Virginia ( Director of Arctic Studies at Dartmouth College, a world renowned expert on Antarctica, is an ecosystem ecologist interested in human influence on biogeochemical cycles in terrestrial systems. His emphasis is on understanding how processes such as desertification and climate change alter plant-soil interactions and the ecology, biodiversity and functioning of soils. His research examines carbon and nitrogen cycling in deserts, including the arid lands of the southwest and the polar deserts of Antarctica, the McMurdo Dry Valleys. He is also interested in the relationships between the disciplines of ecology, ecosystem science and environmental law.

The Book of Ice: (Free PDF Sample)

Seung H-Sang ( Curator 2011 Gwangju Design Biennale, has completed Paju Book City project in Korea, and he has gained international recognitions through projects like Guggenheim Pavilion in Abu Dhabi, Chao-Wei SOHO project in Beijing as well as Korea DMZ Peace-Life Valley, the graveyard of late former President Roh Moo-hyun and Commune by the Great Wall in Beijing. He served as a commissioner of Korean Pavilion for Venice Architecture Biennale in 2008. He has established and operated the architectural firm, Iroje since 1989.

Ai WeiWei ( Curator 2011 Gwangju Design Biennale, is influential artist, curator, social commentator and activist. His ground-breaking work, Sunflower Seeds, was recently presented at the Tate Modern Turbine Hall. The work consisted of 100 million porcelain seeds, each individually hand painted by 1,600 Chinese artisans. Ai’s work has been exhibited in Venice Biennale, Kassel Documenta, Guangzhou Triennial, Sydney Biennale and many other institutions. He has also participated in Beijing Olympic Stadium project modeled after the bird nest designed by the Swiss architects, Herzog & De Meuron.

Gwangju Biennale ( Founded in 1995 in memory of spirits of civil uprising of the 1980 repression of the Gwangju Democratization Movement, the Gwangju Biennale is Asia’s oldest and most prestigious biennial of contemporary art. Under the helm of previous curators that include Kerry Brougher, Sukwon Chang, Okwui Enwezor, Charles Esche, Hou Hanru, Honghee Kim, Yongwoo Lee, Youngchul Lee, Kwangsoo Oh, Wankyoung Sung, and Harald Szeemann, the Gwangju Biennale has established itself as a highlight of the international contemporary art biennale circuit. Centered on the Biennale Hall in Gwangju’s Jungoui Park, the presence has elevated the city of 1.4 million to become a cultural hub of East Asia. It is home to some of the best-preserved cultural relics in the nation, and is known locally as the “City of Art, Cuisine and Culture Previous editions of Biennales went under the titles Beyond the borders(1995), Unmapping the Earth(1997), Man +Space(2000), Pause(2002), A Grain of Dust, A Drop of Water(2004), Fever Variations(2006) and Annual Report : A year in Exhibitions(2008), 10000 Lives (2010)it first help a pre-biennale (June 18 – 27) that year and officially established the Gwangju Design Biennale in 2005 based on experiences from the pre-biennale. The Gwangju Design Biennale distinguishes itself from other design exhibitions or fairs by featuring unique planning and configuration that actively incorporate not only the aesthetic and practical value of design but also socio-cultural relationships. Its emphasis is laid on understanding the trends of domestic and international design and cultural phenomena and expanding publicity. Therefore, the Gwangju Design Biennale pursues the convergence and consilience of all design fields, rather than classifying each genre, and features cubic and experimental activities of visual culture.

Art Center Nabi ( is an art museum in Jongno-gu, Seoul, South Korea. Since its opening (Circa 2000,) Art Center Nabi has actively promoted new media arts in Korea. Exploring new possibilities of creation, education, and exhibition of media arts, Art Center Nabi has been in the forefront of the convergence of art and media technologies of the time.

JiHyun Song (송지현) 학력: 고려대학교 국어국문학 학사 졸 2001, 시카고 예술대학 필름/비디오/뉴미디어 학사 졸 2004, 캘리포니아 예술대학 실험애니메이션/통합매체 석사 졸 2007, 교육방송 국제 다큐멘터리 영화제 프로그래머 2008/9/10, 한양대, 건국대, 영상부문 강사, 주요 전시경력: Big Screen big Game, 서울 스퀘어 2010. 12, She, running the City, Museum of Modern Art, NY, US 2006

그의 작품세계는 나에게 아메바를 연상하게 만든다. 당대의 키워드를 먹어치우고, 발산하는 문화적 아메바. 디제잉이 기존의 음악을 해체하여, 샘플링을 만들고, 이들을 잘 섞어 자신만의 음악으로 재창조 하는 것이라면, 디제이 스푸키는 재료 선택에 있어서 상당히 영리하다. 일단 메세지가 충만한 시의적인 소재를 선택하고, 그 매체를 기존의 텍스트와 음악적 장르안에서 해방시킨다. 그는 클래식 라이브 음악과 전자음악을 혼합하기도 하고, 목소리와 현장음을 섞기도 하고, 기성영화를 짜집기하기도 한다. 그의 믹싱작업은 부담없는 출입구가 되어, 미로와 같은 이시대를 관통하기에 부족함이 없다. 실로 그는 전세계를 여행하며 각기 다른 명사와 만나 명소에서 갖가지 협연을 펼친다. 그의 창조물에는 요즘 우리가 지향하는다원예술또는멀티디서플리너리라는 키워드가 담겨있다.


#permalink posted by Artist Organized Art: 9/06/11 10:34:36 AM


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