[microsound-announce] New podcast: FONS ÀUDIO #17. Judith Barry -on the intersection of different disciplines (architecture, sculpture, film, video, performance) forged in the seventies when postmodern theories first arrived on the art scene

Radio Web MACBA rwm2008 at gmail.com
Tue Feb 5 06:55:28 EST 2013

*New podcast: FONS ÀUDIO #17. Judith Barry. *

Judith Barry's installations can be considered to be *an intersection of
different disciplines (architecture, sculpture, film, video, performance)
forged in the seventies when postmodern theories first arrived on the art
scene.* A substantial part of Barry's work, which is closely linked to
feminism, revolves around issues of gender identity and the relationship
between individuals and the urban environment. With the idea of documenting
the work of artists in the MACBA Collection, FONS ÀUDIO talks with Judith

Link: http://rwm.macba.cat/en/specials/fons_judith_barry/capsula
Related info: http://rwm.macba.cat/en/specials/fons_judith_barry/capsula

Educated at UC Berkeley in the seventies, in an academic context marked by
the radical changes that took place in the sixties as a result of the
convergence of structuralism, psychoanalysis, semiotics and media theory,
Judith Barry (Columbus, 1954) went on to develop an artistic practice that
is closely linked to research. In her pieces, which have roots in
performance and links to other disciplines, but are mainly presented as
installations, theory is just as important as form, which is often based on
a cumulative strategy. Through these interplays of overlapping ideas and
images, Barry creates ambivalent spaces that highlight the tensions between
conceptual coldness and sensual impulses. In spite of a self-confessed lack
of formal continuity, it is not difficult to understand Barry’s body of
work as a whole, as a coherent evolution, thanks to recurring elements such
as the treatment of space (urban, architectural, personal) and the use of
architecture as metaphor, which have been pivotal in much of her career.

In a kind of extension of Henri Lefebvre’s ideas on the social production
of space, Barry often uses architecture as a means by which to make
political, economic or gender conventions visible. In her work, complex
networks of social relationships that resist representation become
macrophysical structures that spectators can interact with almost
intuitively. In this process of reification, film plays a key role: Barry
takes advantage of the almost universal nature of cinema and the
familiarity of its language to transmit ideas, evoke sensations and create
an interplay between the memories and experiences of spectators and the
sound and visual stimuli of the piece. 'Echo' (1986) and 'In the Shadow of
the City... Vam p r y' (1985), the two works by Barry in the MACBA
Collection, are, in fact, good examples of this superimposition of
audiovisual materials that favours the multiplicity of readings that is a
characteristic of all her installations. Barry’s non-linear compositions
invite spectators to constantly change their viewpoint, and urge them
towards critical analysis, to question their own position in respect to the
work and their conceptual and narrative baggage. In this dense fog of
analogies, popular iconography, film culture and formal elements from
advertising, Barry builds multi-stable structures: plays on perspective
that are more ideological than visual, in which nothing is what it seems,
and where the collision between images, sounds, signs and symbols can
always be reinterpreted from another point of view.

Previous episodes:*
FONS ÀUDIO #12. Kristin Oppenheim*

*FONS ÀUDIO #9. Rita McBride*

*FONS ÀUDIO #7. The Otolith Group*

*FONS ÀUDIO #4. Jef Cornelis*

*FONS ÀUDIO #3. Deimantas Narkevicius*
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