METASENTA PTY. LTD.
VENICE AGENDAS 2009
Metasenta with University of The Arts London; 53rd Venice Biennale
Archived text and images from original Metasenta website (2008 – 2012)
This is the sixth consecutive Agendas to take place at the Venice Biennale. Venice Agendas is now regarded as a crucial forum for the exchange of ideas generated by the Biennale. For Venice Agendas 2009, postgraduate students from the newly formed Graduate School at Camberwell, Chelsea and Wimbledon Colleges of Art and UK and international academic partners including Edinburgh College of Art, Sheffield Hallam University, RMIT University Melbourne and University of the West of England, will participate in a collaborative city-wide audio project that will listen for responses to Daniel Birnbaum’s ‘Making Worlds’ exhibition.
The Venice Agendas symposium has featured at every Venice Biennale since 1999, and has been developed out of Professor Bill Furlong’s ‘Audio Arts’ cassette magazine of interviews with artists, first published in 1973. Furlong has made recordings at the Biennale since 1984, which has included the British representative on each occasion. The ‘Audio Arts’ archive has been acquired by Tate Britain, and was the subject of an exhibition ‘Audio Arts: Bill Furlong’ in 2007. On this tenth anniversary of Venice Agendas, we are returning to the origins of the project in ‘on the hoof’ recordings at the Biennale, but using a greater critical mass of participants than ever before. We have worked with Tate Audio Arts archive to develop a training programme for participants in Venice Agendas 2009 around the archive, interview ethics and the Venice Agendas ethos. (extract from http://venice.wimbledon.ac.uk/)
Irene Barberis, Phillip Samartzis and Sarah Duyshart, took part in Venice Agendas at the 53rd Venice Biennale through Metasenta @ RMIT. The project was funded by Metasenta, The Design Research Institute (fares) and Sarah Duyshart (fares). All participants made sound recordings of the Venice landscape over the eight days which are in the Tate Britain’s repository. As well as field recordings Irene Barberis interviewed Russian curator Vladimir Levashov at The Accademia.
This is the sixth consecutive Agendas to take place at the Venice Biennale. Venice Agendas is now regarded as a crucial forum for the exchange of ideas generated by the Biennale. For Venice Agendas 2009, postgraduate students from the newly formed Graduate School at Camberwell, Chelsea and Wimbledon Colleges of Art and UK and international academic partners including Edinburgh College of Art, Sheffield Hallam University, RMIT University Melbourne and University of the West of England, will participate in a collaborative city-wide audio project that will listen for responses to Daniel Birnbaum’s ‘Making Worlds’ exhibition.
The Venice Agendas symposium has featured at every Venice Biennale since 1999, and has been developed out of Professor Bill Furlong’s ‘Audio Arts’ cassette magazine of interviews with artists, first published in 1973. Furlong has made recordings at the Biennale since 1984, which has included the British representative on each occasion. The ‘Audio Arts’ archive has been acquired by Tate Britain, and was the subject of an exhibition ‘Audio Arts: Bill Furlong’ in 2007. On this tenth anniversary of Venice Agendas, we are returning to the origins of the project in ‘on the hoof’ recordings at the Biennale, but using a greater critical mass of participants than ever before. We have worked with Tate Audio Arts archive to develop a training programme for participants in Venice Agendas 2009 around the archive, interview ethics and the Venice Agendas ethos. (extract from http://venice.wimbledon.ac.uk/)
Irene Barberis, Phillip Samartzis and Sarah Duyshart, took part in Venice Agendas at the 53rd Venice Biennale through Metasenta @ RMIT. The project was funded by Metasenta, The Design Research Institute (fares) and Sarah Duyshart (fares). All participants made sound recordings of the Venice landscape over the eight days which are in the Tate Britain’s repository. As well as field recordings Irene Barberis interviewed Russian curator Vladimir Levashov at The Accademia.