Ch: The Radio show is an on going project. The beginning is about 2009 in Copenhagen Gallery (missing the name) and initially the idea of the project was to transform the space in the way of communicating with the broad community. The space convert into a Radio Station and I spend about 10 hours day into the space for 6/7 weeks running the radio station inviting the people to come local people.
L: You was the one curating the context, was you?
Ch: Very roughly. I wouldn't even called curation. It was very,very free form pretty much everyone who wanted to come on, come on if you walked to the space. That was an interesting project intensive and very performative which was something I haven't thought about was more about structure, communication and having the space for a really long period of time. The radio station is attempted to reflect on how it function and see if there is a new way of remodeling the work. The idea behind the show from 2010 was more focused on the audience instead of just a radio boots there was also a stage - alive sound stage. The stage needed a viewing space so there was an audioce space as well.
L: What was the look/program of the radio station?
Ch: The way of engaging was really ….There wasn't involving in the gallery space The idea of having this the three spaces: The radio space , the performative and the audience space and the the forth which is the virtual audience. What became interesting with the performance with function propose a life audience and a listening audience. Trying to introduce works into that space that would be visually interesting as well as in the sound. That was another quite intensive experience as well in the mode of everyday with the exception of take everyday by the small institutions ….That was the base for the next version of the show where the ended the radio show to the institutions and allows groups of people to run it. My relationship with the radio is almost a traditional one - you build an art work that has pretentiously interactive function and you allowed people to interact with that - the performative element on my behalf and hopefully some of your tutorial relationship with the work is removed as well. The radio therefore should became a platform for collaborative practice where group of people will understand and operate within.
S/G: How do you deal with the recordings? How is the actual radio show? Is it a sort of archive? Who is your audience? Is it a life radio?
Ch: Has been life on the web
G: So is it a web radio?
Ch: Well, thats interesting because there is not language for it. It is not a radio it is some sort of a vocal streaming media. It seam to me from the beginning that if I can to reach a lot people it could be a much more interesting project. I was trying to communicate as many people as possible and it depends of where you are doing it your audience diverse. The firs was a commercial gallery in Copenhagen - was there for a couple of months at that stage. So the audience initially there in Copenhagen was very, very small but the international audience was… I think that most of our listeners were in America and England because most of my friends were in America and England i suppose and next you extended out. When you are in an institution it's really different because you have a preview audience the real audience a sort of pre build community. This is kind of interesting negotiation. The archive itself has never been exposes publicly yet. There are thousands of hours of recordings. I'm not sure how to deal with them. Firstly, I thought that they became more interesting if they went on. Part of me think that It is not the content itself interesting but the action because a lot of the content is actually quite a lot dull. But then again I quite like it to be accessible. I was appreciate by institution enquiring the entire archive and that led to six months of real difficult meetings, pleasant but difficult. It was really hard to understand what format to take.
S: How the recedes are at the moment? Are they on line?
Ch: On the hard drive.
S: The problematics to contain someone voice when you did the radio show for instance, did the people knew that they will be recorded and the record will be store eventually. When is into the collection who owns that voice?
Ch: At the beginning not at all. The idea was life and who was records, probably was been told to most people involved. The question of the legacy didn't came out until much later especially now that is toward the institutions if those institutions themselves have questionable politics or fundings. Some people have been asked to be withdrawn from the archive but would be happily speak life but not be remaining in the archive. Also there were some issue of some performances. They cannot be part of the archive. They can only be remain in the life state. They have to be revved from the recording. One of the performances have been already owned from another collection and can't be both - part of the archive and part of the collection. A part that come down to preferences rather then make legality I am not sure where you can argue. The way I started with the last institution was with a group of 17 curating students from Goldsmiths and The Royal Collage of Art. Each one of those students involved in the project will be given an addition of the work which consist one compete set of all the recordings from the entire weekend and each of them owned and had the certificate like in a addition art work. But at the same time the entire work was only as well on the archive. So there is a kind of model way where is completely free and accessible but on the other hand there is a legal policy as well. But haw this negotiated with the artist that have been involved whether they get recording of just there piece or not? We are still talking about.
S: But then also if you are going to post the recordings on the archive to an object will come the issue with the actual physical object. It is interesting relationship with the object and the notion of the ownership.
Ch: I think it is about the fragility of the market and how the same think can have the value on one place and no value on another. At the moment for me rather than being part of the work it's a complication of the work. Maybe that will be to focus in the future but for now the records remain in the hard drive.
L. Did you think about the content as a common? Legacy behind it voice?
Ch: Well, the problem is that I don't own the content. In the space of radio there is a kind of contract that you are entering by listening to, by engaging so you are giving away your voice you allowed your voice to enter in a larger structure. It is a complicate problem.