Samplear la cultura ahora (Tate Modern –Noviembre 2007)
Sample Culture Now:
Featuring five leading artists and theorists in the field of contemporary sample culture, this symposium will mix talks, discussions and performances to investigate the practice of sampling, an emerging form of art practice where artists cannibalize fragments of sound, image, music, dance and performance to create new spaces of possibility. Participants will include sound-artist and cultural collagist Vicki Bennett (aka People Like Us), German art and music theorist Diedrich Diederichsen, cultural critic Kodwo Eshun, and artists Mark Leckey and Christian Marclay. (…extract from the programme: “Since the advent of collage in the early twentieth century artists have sought to reprocess cultural residue from the past to create new systems of representation. Whereas much of the discourse around sampling still relies on theories of appropriation developed twenty years ago, sampling can be distinguished as a distinct aesthetic strategy, and one more relevant to many cultural practices today. Sampling both quotes and challenges notions of authorship, originality, and intellectual property, while creating new narratives and new ways of reactivating the archive of art, and representing the everyday”.)
Featuring five leading artists and theorists in the field of contemporary sample culture, this symposium will mix talks, discussions and performances to investigate the practice of sampling, an emerging form of art practice where artists cannibalize fragments of sound, image, music, dance and performance to create new spaces of possibility. Participants will include sound-artist and cultural collagist Vicki Bennett (aka People Like Us), German art and music theorist Diedrich Diederichsen, cultural critic Kodwo Eshun, and artists Mark Leckey and Christian Marclay. (…extract from the programme: “Since the advent of collage in the early twentieth century artists have sought to reprocess cultural residue from the past to create new systems of representation. Whereas much of the discourse around sampling still relies on theories of appropriation developed twenty years ago, sampling can be distinguished as a distinct aesthetic strategy, and one more relevant to many cultural practices today. Sampling both quotes and challenges notions of authorship, originality, and intellectual property, while creating new narratives and new ways of reactivating the archive of art, and representing the everyday”.)
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