Still from Warm, Warm, Warm Spring Mouths 2013, HD video with 5.1 surround, 13'. Commissioned by Film and Video Umbrella and Jerwood Visual Arts.

Your video installation Us Dead Talk Love, currently on view at MoMA PS1, makes use of hi-def and surround-sound technologies. How do you approach these in your video installation process? How did you approach the installation specifically for Chisenhale?

It's predicated on immersion, I suppose. An attempt to address the body whole, rather than privilege sight, hearing. This might begin with a redressing of the balance between ocular and aural, and pan down to take in the whole wobbling form, up to some emotional affect – the surround sound penetrating, the visuals interrupting and shifting themselves between depths of field and vast cosmic spaces; infinitesimal motes of dust. These technologies are corporeal in their totalising address, which I see as dichotomous to the material reality of the technology – which seems to be dissipated or perhaps simply deferred to some desperate mine in some OTHER continent. The combined effect being one of possession – the work finding its home entirely within the body of the audience.

You've spoken of the tension between text or writing and filmic realization in your work before. How did this tension come into play during the production of your work in Us Dead Talk Love? Was it exacerbated or sublimated by your chosen technologies?

If I had to choose, I'd say sublimated – though I think that it's more straightforwardly performative. The one to and of the other. New media as a home for these things. Whether that's somewhat apologetic for the a failure of these things to stand alone is moot, I hope.

You've mentioned before your exposure to Hollis Frampton. What influence did Frampton have on ...

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Looking back at and consolidating the year in exhibitions is one of the more challenging tasks an art writer faces. Tracking trips to shows throughout the year, and more importantly, the evolution of your feelings about them, is a daunting, sometimes insurmountable task. While in Europe this spring and summer, I was lucky enough to view some of the exhibitions I found more momentous and personally resonant. Starting in Italy with the 54^th Venice Biennale, I traveled up to Switzerland through Geneva and Basel, heading next to the UK and landing finally in Berlin. The list below reflects both personal favorites and those that I felt to be important in the confluence of art and technology.  

Josephine Pryde, “Embryos and Estate Agents: L’Arte de Vivre” at Chisenhale, London

British artist Josephine Pryde bears the unique ability to successfully navigate both photography and sculpture, two mediums which seem almost diametrically opposed. Up until this year I’d only been familiar with Pryde’s sculptures of half-finished baskets precariously suspended by butcher hooks, shown at Galerie Neu in Berlin last year; as well as her strange, oversized macro photographs of fabric, featured at Reena Spaulings in 2009. For her presentation at Chisenhale, “Embryos and Estate Agents: L’Arte de Vivre,” Pryde presented two sets of photographs. The first takes medical images of fetuses, superimposing them in Photoshop against barren desert landscapes; the second stages stock photography-style portraits of young, alternative-looking women contemplating whether or not they’re pregnant. Beyond Pryde’s fascinating material practice is her confrontation of oft-taboo, extremely personal, female-specific issues generally elided in contemporary art discourse. 

Cory Arcangel at the Whitney Museum of American Art, New York  / Hamburger Bahnhof, Berlin

Arcangel Fever spread around early spring 2011 as his Whitney retrospective drew near, the artist being asked by a vertiginous number of New York media outlets to grace them with pre-opening press. The show sparked some lukewarm reviews

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