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Willem de Ridder

Willem de Ridder

April 12, 2008 at 6:00 pm

Willem de Ridder

A very special guest, Willem de Ridder, will be speaking at 6pm. His presentation will be followed by our third screening of Here is Always Somewhere Else.

Willem de Ridder has been pioneering his entire life in the arts and the media. In the beginning of the sixties he brought in Holland all the modern young composers together in the MES (Mood Engineering Society), which resulted in the very first art performances and happenings. He became chairman for Northern Europe of Fluxus, started the First European Mail Order Warehouse for Fluxus works and made with Wim T. Schippers a national television program in which Holland heard for the first time about pop art, fluxus, zero, and his own anti-art activities. In 1965 he started a national newspaper in which everybody could publish anything they wanted. It caused a revolution in medialand (like internet now). Together with friends he started Paradiso and Fantasio, two clubs in which everybody could jump on stage and do whatever they wanted. Soon there were 150 of those clubs all over the country.

Together with English media adventurers like Jim Haynes, Germaine Greer, William Levy and Heathcote Williams he started SUCK, the First European Sexpaper, the beginning of the sexual revolution. They organised also the very first sexfilm festivals in Amsterdam, with visitors from all over the world. When he discovered how reading and writing had fatal effects on our society, he stopped with the newspapers and moved to the capital city of the image culture: Hollywood. There he started making weekly radio shows without any scripts for Holland. He developed the very first audio tours, before the walkman was invented. Then he made a radioshow in which the listeners were asked to sit in their car, turn on the radio and follow his instructions. About 30.000 of them started driving in the middle of the night having an adventure they would never forget.

Together with Max Lobckovicz, Shirley and Paul Eberle he made the first magazines in America in which everybody could publish anything they wanted about their sexlife. With Queen Adrena he introduced the first erotic telephone lines. He also made the very first magazine with sound in Hollywood, and so he went on and on.

He is going to tell his entire story in TELIC Arts Exchange.
Among others about his illegal exhibition in the MOMA.

In Holland he is called the Master Story Teller so you will hang on his lips, thumb in your mouth, time vanishes and space will disappear.

Visit Willem’s website and listen to some of his podcasts for Typeradio here.

This exhibition is made possible in part with support from the Mondriaan Foundation, Amsterdam, the Consulate General of the Netherlands in New York, The Andy Warhol Foundation for the Visual Arts, and basjanader.com.

Mondriaan Foundation

Peter Cho - Takeluma

July 16, 2005 6:00 pm to August 13, 2005

 Takeluma screenshot

Given that we have two installations with nonsensical titles opening this Saturday night, we figured it was as good a time as any to start talking about truth and meaning. (Don’t worry it’ll be quick.) In Plato’s cave, captive prisoners are convinced that the shadows they see and echoes they hear — and they’ve never seen or heard anything else — are the real thing. They see the shadow of a donkey and they call it the “donkey.” Peter Cho’s projection for his Takeluma project attempts to show the shadows cast by the hidden meaning of our spoken utterances. The artist team of Davis & Davis seem to come at it from the opposite direction. Their installation EFAC gives us the shadows and (unlike 1 Year Later, their previous installation at Telic) the artifice, drawing us in while leaving the answers as elusive as ever.

Sean Dockray - Churchillian II (Chadder)

October 23, 2004 at 6:00 pm

Installation view
George W. Bush’s 2002 State of the Union Address was described by many American pundits as “Churchillian.” Somehow, this man, whose speaking gaffes are widely known, was given credit for delivering one of the greatest speeches in modern history.

CHURCHILLIAN II (CHADDER) is an interactive sound installation that breaks this speech into its component parts and reconstructs it physically, portraying the machine behind the speech. Sean Dockray explores discarded technologies in this work to focus on the use and abuse of language in contemporary politics. His installation fills the space - visually, by a giant homemade wooden frame and, aurally, by a robotic voice run through a loud guitar amplifier.
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