This cassette includes contributions from Rachel Whiteread, Michael Landy, Lucia Nogueira and Zarina Bhimji

Audio Arts: Volume 12 No 1, Side A – Rachel Whiteread, Michael Landy

Audio Arts: Volume 12 No 1, Side B – Lucia Nogueira, Zarina Bhimji

Audio Arts Volume 12 No 1, Inlay 1

Inlay for Audio Arts Volume 12 No 1, Inlay 1 published 1992
Archive reference: TGA200414/7/3 Volume 12 No 1

© William Furlong

Side A

  • 00:00:01: An interview with Rachel Whiteread at documenta IX
  • 00:25:00: An interview with Michael Landy at Closing Down Sale, Landy’s latest one-person recession-inspired show at the Karsten Schubert Gallery, London

Rachel Whiteread

Rachel Whiteread’s first international exposure came in Harald Szeemann’s Einleuchten at Hamburg’s Deichtorhallen in 1989. Since then she has exhibited widely both in Britain and abroad. Notable in Britain was her inclusion in the 1990 British Art Show and her work Ghost, a plaster cast of an entire room, made initially for Chisenhale Gallery, London, and now in the Saatchi Collection. Whiteread talks here prior to going as one of the five British artists included in this summer’s documenta IX.

Michael Landy

Michael Landy finds the material for his art in everyday commercial life: the late-night groceries, street markets and bargain-basement stores of south east London. Costermongers’ barrows, temporary staging covered with artificial grass used by greengrocers, plastic crates stacked up or arranged into makeshift stalls have all appeared in his work. This interview was conducted during Closing Down Sale, Landy’s latest one person, recession-inspired show at the Karsten Schubert Gallery, London.

Side B

  • 00:00:01: Lucia Nogueira talks about an installation at the Anthony Reynolds Gallery, London, in Spring 1992
  • 00:21:53: An interview with Zarina Bhimji shortly after the artist’s one-person exhibition at the Ikon Gallery, Birmingham

Lucia Nogueira

Empty soft drink cans, bits of wire, rubber bands – Lucia Nogueira constructs her works from such commonplace items as these. In tune with the ordinariness of their materials they have an ad hoc, cobbled-together feel, yet underlying that there is always a strong sense of menacing tension too. They give the impression of power, often an explosive power, held barely in check, ready to be unleashed. Nogueira’s installation at the Anthony Reynolds Gallery, London, in Spring 1992 provides the focus for discussion in this interview.

Zarina Bhimji

Zarina Bhimji came to Britain with her family when they were forced to leave Ugandain the early seventies. In her work, which uses powerful autobiographical elements, she explores the multifaceted and sometimes contradictory nature of identity through reference to belief, displacement, culture, ritual and memory. The conversation takes place shortly afterher one-person exhibition at the Ikon Gallery, Birmingham.