posts tagged "Line Magazine"

An edited conversation: Patrick Staff

19 May 2014

Part 1


I wonder if he’s still alive, that’s what I always thought


Sandy Katz?

Tape I 00:05:00


Sandy Katz: Oh, so you’re gonna film me from two different angles?

SS: Yeah. Look at me.
Jim Hubbard: Look at Sarah.
James Wentzy: The tapes last 40 minutes, so we’ll change tapes every 40 minutes.

SS: Okay. So the way we start is you say your name, your age, where we are, and today’s date.

SK: Okay. My name is Sandy Katz. And we are at Short Mountain Sanctuary, where I live, which is in Cannon County, Tennessee. I’m 42 years old. What was the –

SS: Today’s date.

SK: And today’s date is October 15th, 2004.


Do you want to take me through your notes?


The interview appears to be part of a bigger project that this woman, Sarah Schulman, was doing at the time…ACTUP…


ACTUP…yes. And it was an oral history project.


What’s an oral history?


It’s based around the process of interviewing and creating an oral history through that medium. So there is less of a focus on documents, cold, factual elements etc., and more of an interest in speaking with individuals, getting their personal stories and creating an archive – a living archive of their voices.

SS: Do you remember how you became aware of it?

SK: I can’t remember the first references to AIDS or gay cancer, or whatever. Later on, in retrospect I’ve read the early articles that appeared. But I don’t specifically remember seeing them. But by the time I started having sex with men, I was definitely aware that there was this health crisis in the gay world, and that I, that there were precautions. I think that, I think I was aware of, say, of some basic safe-sex ideas before I was having sex with men.

At the same time, I’ll say that sort of because of what I was just describing, of this idea that I just was so strongly not identified with the men who I could tell from a block away were gay. I did feel sort of weirdly distanced from AIDS in my early sexually active years. I felt like the guys who I was having sex with didn’t really fit the profile, and I wasn’t, I don’t think I was really sort of seriously considering the idea that, that they could have HIV.


One part of the interview that I found particularly poignant were the sections about medication, which seems to be quite a contentious issue at the time, whether you took the prescribed medication for HIV/AIDs or whether you didn’t.


Well that medication came out as new medication just as HIV/AIDs was considered a new disease. There’s a fear around how you actually treat it and deal with it. Because in many ways it’s the unknown.


And it’s interesting how he put off the fact that he was sick. It got me thinking about the idea of abled and disabled bodies again…



Yes, it’s interesting to question at what point you become a ‘disabled’ body. Is it from the moment that you start to feel physically ill or at the point when the doctor diagnoses you? In many ways you become a disabled body because the diagnosis and prescription of medication tells you that you are.


And for a long time Sandy seemed to be in denial about that, thought he was…before he was positive…when the results came back inconclusive.

SS: Well did you ever conceptualize of yourself as a potentially future person with AIDS?

SK: Not really. I really just, I just, I guess I felt I had enough information, and – was smart enough that I wouldn’t get it. And I never particularly had any anxiety about having been exposed to it. And the times when I got HIV-tested, it was always as a companion to someone who was filled with anxiety about having been exposed, and just wanted a friend to go get tested with. So, and it’s kind of interesting.

I didn’t test positive myself until 1991. But I did start testing inconclusive in 1988. And on two different occasions, it was the same scenario, of a friend who was filled with anxiety. So I went with them to get tested, and got tested, really just thinking I was doing it as support for them. And then, they came back negative. And I came back inconclusive. Which I didn’t really interpret as positive. I sort of constructed all of these elaborate – reasons why I would have an inconclusive blood test. I had had malaria in the late ’80s, and some doctor told me, maybe my malaria was making the test read strangely, or. Um. But it, no, it wasn’t ’til I actually tested positive in ’91 that I really thought about the possibility that I could be positive. I had even had boyfriends who were positive, but I just felt like I was being so careful and by-the-book that, uh, that I’d be okay.


 Compiled by Joseph Constable and Jess Dunleavy

Modern Edinburgh Film School, A new island forming, a fighting island, its surfacing painful from freezing, unfathomable waters, says “the reality diagonal”, itself a floating cinema, and is a cathartic event  2014

Modern Edinburgh Film School, A new island forming, a fighting island, its surfacing painful from freezing, unfathomable waters, says “the reality diagonal”, itself a floating cinema, and is a cathartic event  2014

The Modern Edinburgh Film School The Silver River, 2014

The Modern Edinburgh Film School The Silver River, 2014

Exploit.zzxjoanw.Gen by Dane Sutherland

Image courtesy of Plastique Fantastique

Coined by writer, artist and self-proclaimed ‘concept engineer’ Kodwo Eshun, the term Sonic Fiction refers to the myriad statements, titles, costumes, relations, speculations, rituals, hidden tracks, production techniques, economies, patois, basslines, gestures and images close to a genre of music, generating a trans-media narrative, immanently connected as they are to the speculative potency of the sonic grain of each song. As the enigmatic art collective 0(rphand(rift> have said, “the solitons of the music tell a story.”

The key development that has made thinking Sonic Fictions possible is certainly Afrofuturism: a name for the alternative histories and alien futurities generated amongst Afro-diasporic cultures. As an epistemology, it considers Black artistic production as a dispersed modality of wresting forms of science-fiction, utopian thought and modernity from a situation in which the Black subject is inherently alienated by the events of dominant historical narratives, speculating upon this alienated character as a future-oriented subjectivity in-production.


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FWD: LINE, Commission.
Dimitris Papoutsakis and Becky Campbell, Slope, 2014

FWD: LINE, Commission.

Dimitris Papoutsakis and Becky Campbell, Slope, 2014

Tristan Stevens GIF, Tablet, Silica Sand, Himalayan Rock Salt Lamp, Vinyl Sticker

Tristan Stevens, 2014 html,

Bending Light: making work for the real and the virtual realms

‘Bending Light’ was the first exhibition organised by the curatorial research group Home Platform. Produced by curator and artist Charlie Cousins as part of Bristol Art Weekender, ‘Bending Light’ selected the work of emerging artists working in the spaces between the real and virtual realms. This excerpt is taken from a panel discussion organised by Home Platform to support the exhibition and consider the questions it posed.

Chaired by:

Charlie Cousins: Curator of Home-Platform, Artist and Writer

Georgina Bolton: Programme Coordinator at Situations, Writer and Researcher for Line Magazine

Contributions from:

Menna Comminetti: Exhibiting Artist

Sebastian Jefford: Exhibiting Artist

Kit Poulson Artist and Lecturer at UWE

Tom Johnson Artist and Co-Founder of Madescapes ^

Charlie Cousins: Hi everyone, welcome to ‘Bending Light’ the first exhibition from Home-Platform. For those who aren’t aware, Home is a curatorial research platform examining the relative positions of object, image and gallery. Trying to work both on and off-line to explore the space in-between the virtual and physical realms, and question the role of the gallery space within a post-internet culture. Today is a chance for an open discussion about the themes that have been brought together in the show.

Georgina Bolton: Thanks for being here everyone and of course a huge thanks to Charlie, Will and all artists for putting on such a fantastic show that has both set the context and provided content for this debate. So I guess this started out when Charlie and I had a conversation that triggered a mutual curatorial interest. As someone also fascinated by screen/surface, object/image relations, I’d been developing research with Line magazine for a couple of months, with ambitions to co-curate and launch a new experimental online platform for Line, titled ‘Curator’s Space.’

We wanted to think about ways in which we could utilise and maximise online space. To create a platform that was more than just a documentary presence of an exhibition that had passed, but a screen-space dedicated specifically to new work. Traditionally there is a physical spread in the magazine called ‘Curator’s Space’, and it grew out of an inspired idea to translate the section to a digital format, inviting artist led groups or a specific curator to create an online exhibition that was solely created for, and existed on screen.

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Ryan Trecartin, Photo by Fulvio Orsenigo

This year the Zabludowicz collection in London has bookended its exhibitions programme with two artists of a similar age but who are at very different stages of their career. So, in the glare of a thought grenade thrown carelessly into the public sphere by Peter Schejdhal (“Ryan Trecartin is the most significant artist to have merged since the 1980s”) and Massiniliano Gioni’s interpretation of Trecartin’s work as exemplary of an emerging “hysterical realism”, it seems appropriate to expose the young Scottish Artist Rachel Maclean’s work to the revelatory light of these bold claims. Just what is hysteric about Trecartin’s work to begin with? What relationship does it bare to any sort of “realism” – and by extension reality? And how might it be considered as exemplary of a generational symptom which is locatable in an increasingly wide number of works by those like Maclean, to borrow a marketing meme, younger than Jesus?

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Well, now that we have seen each other, said the unicorn, if you’ll believe in me, I’ll believe in you | Through the Looking-Glass

The world can’t be like this, or I can’t be in it | The Radicalisation of Bradley Manning