Sendungen

New and forgotten ways of making radio

1) Light Hesitates is a text-voice piece and a contemplation on hesitation. [glitch, interval, this way-that way dubiousness, slight delay, sharp intake, split second gap] Hesitancy being present in the body and perhaps a useful tactic to disrupt linear progression and certainty, to notice other ways of seeing. Ideas of partial visibility and translucency (mist, tracing paper, dusk) and of navigation in relation to light (moth, dung beetle, ear) crept into the work from the periphery. The texts stem from a summer artist residency at Hospitalfields Arbroath Scotland in 2023.
2) This final sonic and experiential conversation navigates the myriad topics raised over the course of Nomadic Cosmologies and Fugitive Power, weaving climate struggles with environmental justice and transformative futures. This closing is also an opening and an invitation to engage with the socio-ecological dimension of energy and people’s resistance against the epistemic injustice that is present in extractivism, datafication and a narrative that claims it cannot be otherwise. With Sezgin Boynik, Alberto Torres, Giovanna Esposito Yussif and Sónia Vaz Borges, Sonic Intervention with DJ Zhao … more radias…

New and forgotten ways of making radio

New and forgotten ways of making radio

Gerarda Monster grew up in the hamlet of Mookhoek in a liberal Christian family of 12 children. A dominant, cigar-smoking mother and a father whose fervent nudism did not go down well in the small Mookhoek community, not to mention his tendency to sometimes disguise himself as a woman. Mother had a clothing repair service in Strijen, father worked at the office of Piet Klerkx in Waalwijk. In his spare time he supported refugee work in the Netherlands and was conductor of the choir ‘De Zevende Hemel’ (a project of Humanitas for mildly handicapped children). Gerarda went to study law in Leiden where she met her future husband, Gert Evenbeen at the law firm where she did an internship. Gert played an important role in her decision to hang up her robe and devote herself to creating avant-garde compositions for a very select audience, acting as a kind of manager and generating some interest in her work, despite the fact that Gerarda was self-taught and was driven more by an inner urge than by a desire to show her work to an audience.