Book Launch: This is Television
May 28, 2019
Participants: Judy Radul in conversation with Allison Collins
This Is Television addresses the increasingly obsolete medium of television by way of the medium of the book—by extension commenting on media’s continuous changes of form and format. Through an interplay of theory and artistic research material, the book extends Judy Radul’s ongoing investigation of media with an idiosyncratic perspective on television—while still feeding off collective experience. The book thematizes television as a cultural container, both in its format as a “box” for content and as an ideologically saturated apparatus for reception. With sections titled Craig, Oral History, Moon, Display, Landing, End of Analog etc., the book visually charts our identification with specific media, our attempts to understand media form and evokes our emotional response to technological shifts. Springing from a desire to engage intermedia form by way of a book about television, and to commit to the ambiguity of its title’s announcement, This Is Television is organized around three central chapters: “This,” “Is,” and “Television” are individually interpreted in newly commissioned essays by Honor Gavin, Ana Teixeira Pinto, and Diedrich Diederichsen, with additional short texts by Judy Radul.
Edited by DAAD Artists-in-Berlin Program, Ariane Beyn, Judy Radul
Texts by Diedrich Diederichsen, Honor Gavin, Ana Teixeira Pinto, Judy Radul
Co-published with DAAD Artists-in-Berlin Program
Design by Katja Gretzinger
Judy Radul’s latest works involve an original computer-controlled system for live and pre-recorded video. Her practice also includes sculpture, photography, writing and performance. Recent exhibitions include: a solo exhibition at Witte de With Centre for Contemporary Art, Rotterdam, 2017; Contour Biennale 8, Mechelen, Belgium, 2017; Bienal de Nicaragua, 2016; a solo exhibition at Agnes Etherington Art Centre, 2015; Berlin Biennale 8, 2014; a solo exhibition at DAAD Galerie, Berlin, 2013. Her large-scale media installation World Rehearsal Court (2009) has been shown in Vancouver, Vienna, Seoul, Oslo and Moscow. Related to this project, with Marit Paasche she co-edited a book of collected essays and images A Thousand Eyes: Media Technology, Law and Aesthetics (Sternberg Press, Berlin, 2011). She has a B.A. in Fine and Performing Arts from Simon Fraser University and a MFA in Visual and Media Arts from Bard College, New York. She is represented by Catriona Jeffries Gallery, Vancouver and teaches at Simon Fraser University, Vancouver.
Allison Collins is a Vancouver-based curator, writer and researcher, who has dedicated her practice to investigating and participating in artist-run centres both contemporary and historical. Since 2015 she has worked as Curator of Media Arts at Western Front, where she primarily focuses on the facilitation and production of new artistic projects in media art. In 2017 she co-curated (with Patrick Cruz) the 2nd Kamias Triennial, an exhibition, residency and event series that took place in Quezon City, Philippines. Other curatorial projects include Mainstreeters: Taking Advantage, 1972-1982 (with Michael Turner), grunt gallery and Presentation House Gallery, Vancouver; Moveable Facture, VIVO Media Arts Centre, Vancouver; Suspicious Futures: Selected works of Susan Britton, Vtape, Toronto, DIM Cinema, Vancouver and PLATFORM, Winnipeg; and Hold Still Wild Youth: The Gina Show Archive, Or Gallery and VIVO, Vancouver. From 2011-2012 she published ARCLines, a series of historical profiles documenting the origins of Vancouver’s artist-run centres, and was Event Manager for Institutions by Artists, a three day, international congress regarding contemporary artist-run centres and initiatives (Arcpost.ca). Recent writing has been published in Traffic Vol 1. by Project Space Pilipinas, and by Presentation House Gallery. She holds a BFA in Visual Art from the University of Ottawa and an MA in Critical and Curatorial Studies from the University of British Columbia.