Isotopica

today on isotopica  we speak with

Thaddaeus Ropac,owner and director of the eponymous european galleries…..

we converse and let our toes skim the surface of what is a deep mystery to many contemporary artists….. the art market and the gallery system..  

as ever i claim few journalistic skills and actually find myself a little out of my bleak comfort zones, and instead in the dazzling bright lights where high culture meets high commerce….

Ropac, a charming man and one time student of jospeph beuys, displays a rare authenticity, especially in comparison with some of the london galleries of which many of us are so jaded and familiar….In reality a conversation perhaps only just begun, yet i hope you enjoy this little detour thru paris…… also featuring some rare japanese shellac 78 rpm recordings, marcel duchamp, john lennon, yoko ono and of course joseph beuys

Jane Fonda and Roger Vadim photographed by *dennis hopper

at "ICONS OF THE SIXTIES" ropac gallery pantin 2015*

photograph chosen in memory of when isotopica last met hopper and after much laughter, we asked him to adopt us.... unfortunately....

*********

Mr David Ellis & Mr Simon Tyszko continue their random journeys thru the strange ephemera of empire past..... Today in the

i ha

electro shock in the age of stupid

a

Hadean Eon (formally known as pre cambrian)

Eoarchean

Paleoarchean

Mesoarchean

Neoarchean

Mesoproterozoic

Neoproterozoic

Paleozoic

Mesozoic

Cenozoic

Subatlantic

Subboreal,

Atlantic,

Boreal,

Preboreal,

which is subdivided into

Holocene

Anthropogeny and finally......

Homo-amathês = the age of stupidresults gave up drinking,  output boosted beyond 5 Transliteratione result  year oe ringing had  stopped, ah frequency eny hearing hf actors my naturally seg electronically..... t

hopees n

attenuated vir injected d

Nahum Mantra in conversation with Simon Tyszko about his time at CERN, some hypnosis and the measurement of forever......

This is not what I said....

Okay well I'm in kind of taking us back to Hyde Ashbury when I remember we were there and comparing it to now here we are in Lake Central London and dislikes his neoliberal still. where in Haight-Ashbury we week I like the words we spoke were at work we're what we had serifs on some of the words and some of them are like san serif in and we will mostly help better turns in an unknown an with a more sophisticated people that there were a lot in higher expert you know because well we would be channeling something from mother mother university nature and end we had a meal lots and we had those little slashes of a word shipment that you kind of an emphasis on the letter like a lady! you know?  

I'm an this is nature's speaking to the young people at the time because is it wise the old people late just we're square we would round and so you can put a sign box which cause she couldn't do because we just didn't fit in the box we were excited about putting a difference about the did not spaces between us to highlight equilateral and innovative squares to be  and we were all about space that we were just all over space you know I'm back in Hyde Ashbury when you were panhandling you got like three dollars each six okay you know I'm now what they do is think I'm handling day based on a corporation man I can fuck it's like......

Uncertain States bring together artists, collectors, curators and archivists in a day of discussion around the role and artistic importance of the collector and collections within the context of fine art photography. Collections - in any form, private or public play a unique and crucial part in the documentation of contemporary visual culture. In open discussion, speakers and audience will consider the artistic influence of these collections. Who is collecting, where are the collections being held and what and why work is preserved.The day aims to encourage the audience that collecting can be a creative experience open to all and a superb entry level for anyone with the aspiration to start their own art collection.

Speakers include galleriest and curator Zelda Cheatle, archivist Pete James, writer and curator Camilla Brown, artist and academic Richard Sawdon-Smith, Spencer Rowell and Simon Tyszko.

BOOK NOW.

in the mean time.........

i want you (she's so heavy)

I want you

I want you so bad

I want you

I want you so bad

It's driving me mad

It's driving me mad

I want you

I want you so bad, babe

I want you

I want you so bad

It's driving me mad

It's driving me mad

I want you

I want you so bad, babe

I want you

I want you so bad

It's driving me mad

It's driving me mad

I want you

I want you so bad

I want you

I want you so bad

It's driving me mad

It's driving me mad

She's so heavy

Heavy, heavy, heavy

She's so heavy

She's so heavy

Heavy, heavy, heavy

I want you

I want you so bad

I want you

I want you so bad

It's driving me mad

It's driving me mad

I want you

You know I want you so bad, babe

I want you

You know I want you so bad

Asymmetrical MonoLocution

Is a new and experimental process where we attempt to re(create) meanings from just one side of a complex conversation, and in this instance one spoken in a second language.

this image is of a musical algorithm in action (sort of).

Dr Lucilee Bach (Sorbonne Paris), is engaged in a process of analysing, documenting and contextualising the historical studio practice of Simon Tyszko (Isotopica host: eccentric). In this episode the conversation had been broken into answer and response and then only one side (Dr Bach) is included in the composition. At the same time an algorithmically generated tonal pattern is overplayed in the style of modern music. 

Capitalism farms you and your children

capitalism farms us all

 

martin rev and alan vega. i was once alan vega's sound engineer for a long european tour..... formidablé 

Peter Tatchell  is a delightful and seemingly ever present (at least within my political consciousness)  human rights campaigner, originally from Australia, best known for his work with LGBT social movements. a genuinely frontline campaigner for a fairer world, peter has twice attempted a citizens arrest on despot Robert Mugabe .today we are in informal conversation..... niiiiice peter grab the pig and the pigs fight back

: An Autotuned Political Re-Education

Q. Miss Heart, may we assume that the tape recorded message which you referred to earlier in your testimony was recorded a day or two before it was discovered on April 24th, of 1974, to the best of your knowledge and belief?

A. Yes.

Q. In other words, you late learned, did you not, that it had been broadcast on the same day that it was received, and I believe that was April 24, 1974, and I take it your recollection is that you had recorded that message a day or two prior to that time, April 22 or 23, a day along in there?

A. I don’t know when it was received.

Q. All right, but you do recall, do you not, that it was recorded in an apartment on Golden Gate Avenue at 1827.  Were you familiar with that address?

A. Not the address but it was on Golden Gate.

Q. Were you familiar with the apartment complex, Apartment No. 6?

A. Yes.

Q. All right, and if I showed you a photograph, I believe you made reference to having recorded the message in that closet, it that correct?

A.  Yes.

Q. Miss Hearst, I will show you two photographs which your attorney has handed to me and ask whether this appears to be the closet in which the tape recorded message was made?

A. Yes.

Q. Now, could we have these two photographs marked for identification.

THE CLERK: Plaintiffs 88 and 89 marked for identification.

THE COURT: Plaintiff’s Exhibit 88 and 89 for identification, photographs of the closet.

[Plaintiff's Exhibits 88 and 89 marked for identification.  Photographs of closet.)

MR. BROWING: Thank you, Your Honor.

Q. Now, was the closet door closed when hyou made the recording, Miss Hearst?

A. Yes.

Q. And you testified, I believe, that DeFreeze was in the closet with you at the time you made the recording?

A. Yes.

Q. Was there anyone else in the closet at that time?

A. Me.

Q. Pardon me?

A. Me.

Q. You and Mr. DeFreeze?

A. Yes.

Q. Now, approximately how long had you been at the apartment on Golden Gate at that time?

A. A month, a month and a half.

Q. A month, a month and a half?

A. Yes.

Q. So this was April, around April 21st, 22nd, so you had been there about March, late March?

A. No.

Q. Pardon me?

A. No, I think the middle of March.

Q. The middle of March, Okay.  As a matter of fact, when you got to 1827 Golden Gate, or this apartment on Golden Gate, you were not being held in that closet all the time, were you?

A. Yes, I was.

Q. You were?

A. Yes.

Q. Was there a previous closet in which you were held?

A. Yes.

Q. Did you later ascertain that that closet was the 37 Northridge in Daly City?

A. Yes.

Q. A place in Daly City?

A. Yes.

Q. And you were kidnapped, were you not, on April 4, 1974?

MR. BAILEY: February.

THE COURT: Better get the month right.

MR. BROWNING: Q. February 4, is that correct?

A.Yes.

Q. And you were held at Daly City from that date until the time you moved to Golden Gate, is that correct?

A. Yes.

Q. And you moved in a car, I take it?

A. Yes.

Q. Were you blindfolded?

A. Yes.

Q. And whose car was it, do you know?

A. I don’t know.  I was put into a garbage can that was tied up and put in the trunk of the car.

Q. And then, was the garbage can taken into the apartment on Golden Gate when you arrived?

A. Yes.

Q. Were you in it?

A. Yes.

Q. And you were placed in a closet immediately, is that correct?

A. Yes.

Q. Do you remember signing an affidavit in this case earlier, Miss Hearst, in connection with your motion for boil?

A. Yes.

Q.

Isotopica is today in conversation with the wonderfully named

Nahum Mantra

a composer, multi instrumentalist, and Artist, who also coordinates the technical committee for the cultural and artistic utilisations of space (ITACCUS) at the International Astronautical Federation in Paris. Nahum lives and works in London and Mexico City and curates Kosmica, a monthly series of space and arts gatherings at The Arts Catalyst London.

Nahum and i first worked together at the shunt lounge, a beautiful 1000 artist collaborative project under london bridge station which ran for some years until the foundations of the foul shard filled our playground with concrete.....