Skip to main content

Ross Simonini – Subject, Object, Verb

Ross Simonini began his podcast, Subject, Object, Verb, in 2020, with the desire to “express the sonic dimension of contemporary art, and an audio show seemed like the best format for doing that.” 

 Produced by ArtReview magazine, the show’s title is a kind of manifesto that joins the dots between artist, art, and the life driving them.

 

“Art is not created in a vacuum,” Simonini says. “The personality and the life of the artist are connected to the work. We live in an era where people want to understand those connections more than ever - the rise of social media, activism, the #MeToo movement, identity politics.

 

“Even if an artist wants to stay out of the work and hides in the woods, and completely rejects the capitalist system, their hermetic life is reflected in the work, and people will consider the artist’s refusal when they see the work. Think about Lee Lozano or David Hammons or Thomas Pynchon or JD Salinger - known as much for their work as their obscurity. 

 

“This desire is in all of us. Who can consider the work of Van Gogh or Kahlo, James Baldwin or Joan Didion, Beethoven or Beyonce without thinking about the way they lived, the time in which that created the work, and how they presented themselves to the world? For me, the show is a way of reconciling all of it.”

 

Over its two series’ so far, Subject, Object, Verb has seen Simonini engage with sound in various ways, with the likes of Ariel Pink, jazz guitarist Pat Metheny, and Flying Lotus featured alongside others more recognisably rooted in the art world. Given its investigations of sound, the aural tone of the podcast itself is key.

 

“For me, listening to a podcast is intimate experience. It’s a way of temporarily replacing the voice in your head. It's an honour to have that kind of close communication, so I try to create the voice I would like to hear.”

 

Like his interviewees, Simonini is something of a polymath.

 

I like variety,” he says, “so I work in different forms: painting, music, essays, novels, dialogue, audio design, performances, and pedagogy. It feels right to keep trying new things. I try to break up these activities to be both inward facing, like art, and outward facing, like dialogues, to keep things balanced.” 

 

With attitude in placeSubject, Object, Verb looks set to continue pulsing its way onwards. As Simonini puts it, Into ears, into minds, into hands.”

 

https://uk-podcasts.co.uk/podcast/subject-object-verb

 

The List, June 2022

 

ends

 

 

 

 

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...