S.W.E.A.T.

This month's show features artist and researcher Elly Clarke. Mad Kate interviewed Elly Clarke in the context of their project with Adrienne Teicher, HYENAZ. For the past two years HYENAZ have been researching cultures of extractivism within field recording and arts in general.

Elly Clarke is an artist and researcher. The focus of her multimedia-based artistic work lies on the transformation of the physical body in an increasingly digitally-mediated and experienced world, which she explores through performance, video, photography, music, curated and community-based projects. And through #Sergina, a multi-bodied drag queen who, across one body and several, performs online and offline about love, lust and loneliness in the mesh of hyper-dis/connection, gathering - and now also selling - data as she goes. In un/easy collaboration with this character, Elly is entering the final stages of her PhD at Goldsmiths, University of London, entitled 'Is My Body out of date? The drag of physicality in the digital age’. Earlier this year Clarke curated 'Dragging the Archive - a personal re:encounter with Franklin Furnace's cyber beginnings' in the library at Pratt Institute, Brooklyn, which explored Franklin Furnace’s re/emergence as a digital platform for performance in the 1990s. Clarke's work has been presented internationally, at venues that include The Photographer's Gallery and ICA in London; mac birmingham; Milton Keynes Gallery, Galerie Wedding in Berlin; the Banff Centre, Kiama, Helsinki; and The Marlborough Theatre, Brighton. ellyclarke.com

cover photo by OMER GAASH

More about Elly Clarke: http://www.ellyclarke.com/

More about HYENAZ: www.hyenaz.com

Tracks played

Sergina - More Blur Less Border (2020) Sergina- I want your data (2020) Sergina - Turn it Off and Turn Me On (2020) Sergina - Instantaneous Culture (2012) Sergina - He Only Wants Me For My Network (2015)

((All from 2020 are from a never released EP called Datafic(a)tion))

We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.

You can find out more https://www.alfabus.us/s-w-e-a-t/ More about HYENAZ and their research on extractivism: www.hyenaz.com

Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.

This months episode features choreographer, performer and Queer energetic healer Ambrita Sunshine who recently collaborated with Mad Kate in Berlin on "sweating together" at alpha nova & galerie futura

Ambrita Sunshine is a POC Queer artist & performer, actively working on both Europe and West Africa scene. Coming through a multidisciplinary path, she trained as a dancer and choreographer creating a fusion between various disciplines that she loves and practiced for a long time, including BDSM, sexual energy awakening practices, tantra, dance, use of sound and voice. She completed a lots of studies in Energy Healing, Esoteric Traditions in West Africa, Dance Rituals & Sciamanism. Ambrita has devoted herself to research on African movement, specifically regarding the ritual dances of the Ivory Coast, achieving two master's degrees in "Traditional Dances and Esoteric Rituals of the Ivory Coast & West Africa”. Moreover, for a long time she has been working on research about state of trance. She is currently involved in both individual and group energy treatments; teaching meditation techniques and introspective spiritual journeys. She constantly combines all these various aspects of her life. Ambrita travels constantly and for the past three years has decided to be nomadic.

Facebook: https://www.facebook.com/ambrita.sunshine IG: Ambritasunshine https://linktr.ee/ambrita.sunshine

We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.

You can find out more https://www.alfabus.us/s-w-e-a-t/

Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.

This months conversation is with visual artist and sculptor Chang Gao.

Chang Gao is a visual artist using multiple media in her practice production, like sculpture, hologram installation and photographic languages. Her work overlapped with the field of psychology, aiming to trigger audience’s desire and bodily responses. By exploring the relations between the very personal matter of the human body and the public space, her artwork serves as an alternative method to address the pressing cultural issue in Chinese public space.

She worked as a public art researcher at the Public Art Research Centre of China – China Central Academy of Fine Arts. Meanwhile, she is a co-founder and director at the International Laboratory of Social Innovation - China Central Academy of Fine Arts (CAFA-ILSI). She gave a Ted Talk on May 23rd, 2016 and presented her PhD topic at Collision doctoral conference at Royal Central School of Speech and Drama twice in 2019 and 2020 and IEEE Sentimental Robotics and Automation Conference, Sharing Biological Practice Symposium RCA. She has shown her works internationally, in London galleries like London Art Biennale, Beaconsfield Gallery, Royal Central School of Speech and Drama, Dyson Gallery at the Royal College of Art, 508 King’s Road Gallery in London Battersea, Korean Collage of Fine Arts at Hongik University in Seoul, together with Japan Tama University and Alto University, Helsinki and many museums and galleries in China. She also held a Double Solo exhibition: Public Intimacy in March 2020 at Dyson Gallery, Royal College of Art.

More about Chang:

www.gaochangart.net https://www.rca.ac.uk/research-innovation/research-degrees/research-students/chang-gao/

Latest show in Utrecht Netherland: COME ALIVE-the power of pleasure: https://come-alive.nl

Ongoing show at CHIANCIANO Biennale in Tuscany Italy: https://biennalechianciano.org/artisti-2022/

Ongoing show They/Them/Their: Naturally No Binary at IMT Gallery London: https://imagemusictext.com/

Most recent publication: Representation: http://www.gaochangart.net/rca-book-launch_representation-communique/

We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.

You can find out more https://www.alfabus.us/s-w-e-a-t/

Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.

Media Mentioned

Audre Lorde – The Uses of the Erotic

Deirdre Barrett – Supernormal Stimuli: How Primal Urges Overran Their Evolutionary Purpose

photo by Torsten Weller

S.W.E.A.T. features conversations about performance and performativity of the sexual/ized body at work—work as labour of survival and labour of a/Art with host Mad Kate. This episode features artist Mürüvvet Türkyılmaz, whose work delves into the themes of borders, mapping, geography, and memory. We met in the context of Tanja Ostojić's Mis(s)placed Women? collaborative art project at DEPO Gallery in Istanbul in 2022.

Born in Izmir in 1968, Türkyılmaz currently resides and creates from Istanbul, Turkey. Since 1996, her artistic journey has taken her across numerous exhibitions in Turkey and abroad, where she has been invited to showcase her work. Notable among these are her participation in events such as the 8th Havana Biennial, the 15th Sydney Biennial and the 3rd Mardin Biennial.

Between 2004 and 2010, Türkyılmaz held the position of instructor at Yeditepe University, where she taught courses on Turkish Art History, Visual Culture, and General Art History. Additionally, she has been at the forefront of fostering creative dialogue and collaboration among artists and individuals from diverse disciplines through her leadership of the Open Table, a platform for discussion and exchange.

Over the past five years, Türkyılmaz has embarked on immersive journeys, residing and working in locations such as Istanbul, Rome, and France, which have further enriched her artistic practice. She holds an International Art Therapy Certificate from Altınbas University in Turkey and has offered art studio courses to both children and adults.

More about …

Mürüvvet Türkyılmaz: https://www.instagram.com/muruvvetturkyilmaz_art/?hl=en

Acik Radyo: https://acikradyo.com.tr/program/acik-masa

Tanja Ostojić – Mis(s)placed Women? (2009-2022) at DEPO Istanbul: https://www.depoistanbul.net/en/event/tanja-ostojic-missplaced-women-2009-2022-exhibition/

Tanja Ostojić – Mis(s)placed Women? https://misplacedwomen.wordpress.com/

We mentioned …

Mahsa Amini aka Jina Amini https://en.wikipedia.org/wiki/Death_of_Mahsa_Amini

Ana Mendieta https://en.wikipedia.org/wiki/Ana_Mendieta

Track List …

Mad Kate – My Fear of Pretending (featuring Lori Baldwin)

Eat Lipstick – Afraid of Love

This show is dedicated to parent artist and musician Lehua Lií Ludlow (30.06.1967 - 05.07.2023)

This conversation features artist Montserrat Gardó Castillo and is led by Mad Kate and Adrienne Teicher in the context of their work on cultures of extraction. They talk about collaboration, the naked body, and rules of engagement.

Montserrat Gardó Castillo is a performance artist. She studied dance at the Institut del Teatre/Barcelona and at the Folkwang UdK/Essen as well as journalism at the URL/Barcelona. She is currently studying for a Master’s degree in Humanities and Contemporary Art at the UOC/Barcelona. After working with VA Wölfl/NEUER TANZ (2009 to 2017), she started creating her own work together with Petr Hastik and supported by FFT Düsseldorf and Urbane Künste Ruhr, amongst others. Besides, she collaborates with artists such as Gintersdorfer/Klaßen, Heiner Goebbels, Alexander Giesche, Tino Sehgal, Alexandra Pirici, La Fleur, SEE! and Costa Compagnie. She was nominated twice for the Förderpreis für Darstellende Kunst in Düsseldorf and received the Ground Support Prize of the NRW Kultursekretariat. In the 2021-22 season she has been curating the series: “Politics of Invitation” at FFT Düsseldorf together with Monika Gintersdorfer and Annick Choco; and for the last two years she has been working on the topic of brutalism, with works online and two site-specific performances in NRW.

More about Montse: https://montseandpetr.com/

https://www.fft-duesseldorf.de/komplizinnen/montserrat-gardo-castillo

Politics of Invitation: https://www.fft-duesseldorf.de/reihen-festivals/politics-of-invitation

we mentioned:

The Celestial Wheel, a book by Ursula K. Le Guin

Europa, a film by Lars von Trier

we played:

Mad Kate – My Fear of Pretending (featuring Lori Baldwin)

This month features professor, writer and dancer Thomas F. DeFrantz in conversation with HYENAZ (myself + Adrienne Teicher) in the context of our project on art and cultures of extraction. Together we talk about time, Black aesthetics, NOWness and the processes of building creative encounters.

Thomas F. DeFrantz teaches at Northwestern University and directs SLIPPAGE: Performance|Culture|Technology; the group explores emerging technology in live performance applications. He believes in our shared capacity to do better and engage creative spirit for a collective good that is anti-racist, proto-feminist, and queer affirming.

Thomas' creative projects include Queer Theory! An Academic Travesty commissioned by the Theater Offensive of Boston and the Flynn Center for the Arts; fastDANCEpast, created for the Detroit Institute for the Arts; reVERSE-gesture-reVIEW commissioned by the Nasher Museum in response to the work of Kara Walker, January, 2017.

Books: Routledge Companion to African American Theater and Performance (with Kathy Perkins, Sandra Richards, and Renee Alexander Craft, 2018), Choreography and Corporeality: Relay in Motion (with Philipa Rothfield, 2016), Black Performance Theory: An Anthology of Critical Readings (with Anita Gonzalez, 2014), Dancing Many Drums: Excavations in African American Dance (2002), and Dancing Revelations: Alvin Ailey’s Embodiment of African American Culture (2004).

Thomas convenes the Black Performance Theory working group as well as the Collegium for African Diaspora Dance, a growing consortium of 325 researchers committed to exploring Black dance practices in writing.

Recent teaching: University of the Arts Mobile MFA in Dance; ImPulsTanz; New Waves Institute; faculty at Hampshire College, Stanford, Yale, MIT, NYU, University of Nice. Has chaired Program in Women’s and Gender Studies at MIT; the concentration in Physical Imagination at MIT; the Department of African and African American Studies at Duke; and served as President of the Society of Dance History Scholars.

DeFrantz acted as a consultant for the Smithsonian Museum of African American Life and Culture, contributing concept and a voice-over for a permanent installation on Black Social Dance that opened with the museum in 2016.

Visit the website at https://slippage.org

More about HYENAZ Extraction: https://www.hyenaz.com/extraction/

This episode features performance artist, writer and director Lori Baldwin who shares some of her pandemic hustles and her latest work with OONA about the visibility of women*s art and labour.

Today's conversation features performance artist, writer and director Lori Baldwin, whose thought-provoking work is based in the desire for connection and disruption. She designs performances and experiences intended to call spectators to action by questioning aspects of their immediate surroundings. Through theatre, live art and film, Lori's approach weaves lightness and provocation together in order to challenge commonly held ideas about power, gender, endings, eroticism, and death. In her collaborative creative processes, she seeks to build affirming spaces based on a non-judgmental, collective approach towards composition and devising. Her artistic strategy is to invite a critical look into the world we live in while creating an interactive experience that gently provokes audience participation and thoughtful engagement.

Lori and I speak about the "value" of work and the tricky presence of the physical sexualized body in art. We also talk about German pandemic relief, how she managed to hustle her performances during the few windows of opportunity when most live gigs were brought to a halt, and we talked about her collaboration with performance artist OONA, their guerilla-style performances Milking the Artist at Art Basel Miami and A Heist A Nude and Butter at The Metropolitan Museum of Modern Art in New York.

More about Lori Baldwin: https://www.iamloribaldwin.com/

«S.W.E.A.T.» (Sex/uality. Work. Extraction. Art. Theatr/ics): with Lori Baldwin

S.W.E.A.T. features conversations about performance and performativity of the sexual/ized body at work—work as labour of survival and labour of a/Art with host Mad Kate.

We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.

You can find out more https://www.alfabus.us/s-w-e-a-t/

Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.

S.W.E.A.T. (Sex/uality. Work. Extraction. Art. Theatr/ics) with Donato Laborante

S.W.E.A.T. features conversations about performance and performativity of the sexual/ized body at work—work as labour of survival and labour of a/Art with host Mad Kate. This episode features Italian poet, storyteller and curator Donato Laborante.

Today's show features a conversation that my collaborator Adrienne Teicher and I had with artist Donato Laborante in the context of our ongoing project about cultures of extraction and artistic practices. We are also joined by artist Federica Dauri, who is translating for us. Adrienne and I met Donato in 2015 when we first toured to the Murgia region of Italy, about an hour inland from Bari. We played many small venues and met all of the incredible artists that Donato knows across the region. As well as being a curator, Donator is a poet, actor, performer and storyteller who galvanizes the artistic scene to create happenings and to move people to take political action in their everyday actions. After our initial visit, Adrienne and I returned again several times to the region because we were fascinated by the role of stone in the area and had met several artists who utilized stone to make musical instruments, most notably Vito Maiullari. During one of our visits, we made a journey into a marble quarry in Apricena, and were joined by several local artists. Together we spontaneously began playing percussive sounds on the wall of the quarry and recorded our impromptu performance. It was this moment that sparked our interest in the idea of extraction as metasignfier–including the extraction of (creative) labour from (precarious) bodies; minerals, gas and water from the ground; sounds, words and images from sentient beings; the consensual extraction of digital content, and the “mining of the exotic” from our very identities.

Airing this conversation comes after we’ve just made a third visit to the area to deepen our knowledge of relationship to stone, sound, and time, meeting again Donato and other artists in the area. Here Donato shares with us some of his feelings about the significance of stone, of digging, and of archeology and the layers of time captured in the stone. He also talks about his relationship to work, time, patience and meditation.

More about Donato Laborante: https://www.facebook.com/profile.php?id=100008775795320

More about HYENAZ extraction: https://www.hyenaz.com/extraction/

More about Vito Maiullari: https://www.facebook.com/vito.maiullari.9/

More about Federica Dauri: https://federicadauri.com/works

S.W.E.A.T. features conversations about performance and performativity of the sexual/ized body at work—work as labour of survival and labour of a/Art with host Mad Kate.

In this episode, HYENAZ (Adrienne Teicher and Mad Kate) speak to Professor Imre Szeman, in regards to their project Art and Extractivism. They speak about defining extractivism, the role of the artist in using the term, the use and limitation of regarding everything as animate, and greenwashing. Imre Szeman is the inaugural Director of the Institute for Environment, Conservation, and Sustainability and Professor of Human Geography at the University of Toronto Scarborough. From 2021-2022, he was the Climate Critic for the Green Party of Canada. He is co-founder of the Petrocultures Research Group, which explores the socio-cultural dimensions of energy use and its implications for energy transition and climate change, and the leader of After Oil, a collective which has produced After Oil (West Virginia University Press, 2016) and Solarities: Seeking Energy Justice (University of Minnesota Press, 2022). He is author (most recently) of On Petrocultures: Globalization, Culture, and Energy (WVUP, 2019) and is working on The Future of the Sun, a book detailing corporate and state control of the transition to renewables.

More about Imre: https://www.imreszeman.ca/

More about HYENAZ https://www.hyenaz.com

We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.

You can find out more https://www.alfabus.us/s-w-e-a-t/

Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.

This episode features excerpts from three different interviews with interdisciplinary artist Simon(e) Jaikiriuma Paetau. They share thoughts on funding, performativity and code switching before, during and after the pandemic.

S.W.E.A.T.

Starting a new year and new season of S.W.E.A.T., this episode goes back to the very beginning with the first interview on the topic conducted in 2019 with Simon(e) Jaikiriuma Paetau, an interdisciplinary artist living and working between Germany and Colombia. Later, during a collaborative 2020 HYENAZ project called "Perimeter," Simon(e) shares thoughts about their intersectionalities and how this effects how they are read in different contexts. Finally and most recently in 2023, they share thoughts post-pandemic about German arts funding during Covid and how it has affected them and their practice.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist. Their works are located between cinema, video installations and performance, dealing with queer decoloniality. Simon(e) studied Media Art at the KHM Cologne and Film at the EICTV Cuba. Simon(e)’s short films Aribada and Mila Caos have both premiered at Cannes Directors Fortnight and toured worldwide international film festivals such as New York film festival, BFI London, Rotterdam, Guanajuato film festival etc. Aribada won several international awards and prizes, including the Emerging Talent Prize at kurzfilmtage Oberhausen and a nomination for the Queer Palm in Cannes 2022. Simon(e)'s first feature film the Whisper of the Jaguar premiered at Documenta14 and won the award for Best Director at the International Cartagena Film Festival. Simon(e)’s performance works, and video installations have premiered at Wexner Center of the Arts, Haus der Kulturen der Welt HKW, Kasseler Dokfest Monitoring, Ballhaus Naunynstrasse, Cinemateca de Bogotá, as well as the 11th Berlin Biennale.

More about Simon(e) Jaikiriuma Paetau: http://www.lapaetau.com/ More about HYENAZ Perimeter audio-visual work: https://www.hyenaz.com/perimeter/

We all sweat as we provide care, as we labour, as we perform our work, as we fuck, as we survive and as we sacrifice one choice for the other. How exactly do we define our work and how does that work entangle and circumscribe our sexual identities, our racialized bodies, our creative lives and the ways in which we provide care? How do we perform both tasks and identities within the framework of that which we consider work? These conversations are a means to speak between intersectionalities by anchoring through our (always, already, and ever pervasive) sexualized and racialized bodies, our working bodies, our artistic bodies and our performative bodies. I hope that they contribute to dialogues which normalize sex work as work, and all work as deserving of respect, healthy conditions, and a living wage.

More about Mad Kate and the podcast: https://www.alfabus.us/s-w-e-a-t/

Mad Kate (they/them) is an electronic producer, sound designer, performance artist and writer who began working the Berlin performance and club scene in 2004, expanding their unique identity-queering, genderfcking and sexpositive performative work throughout music, theatre and film. Their explorations of borders between/within bodies, audibility, consent, proximity, and touch as political practice have brought them to theaters, communes, technomansions, prisons, dungeons, squats and galleries around the world.

cover photo by Ricardo León Jatem