Look Who's Talking Now!

This month we introduce, Look Who’s Talking Now! In this series, the identity of the participating artists is undisclosed until the following month’s post. We invite artists from different backgrounds who previously do not know each other to hang out together and record their first meeting. Perhaps they will be people you know! This experiment is a getting to know you first date, for the arts. This approach explores encounters through language, as a means to learn from each other. 

The artist's names are revealed at the end of this conversation. 


Artist 1: So what kind of work do you make?

Artist 2: Ok… [both laugh]. Cheers! [clinking glasses]. We’re drinking wine. [drinking] And we’re eating some cheese and crackers, so there will be some noise here… I’m mainly a writer and I started writing plays a long time ago. And I used to live in Santiago, Chile where I’m from. And I worked in theater. First I worked doing production and then as I started to write I started producing my own plays and working with a team of people there. And I would be producer but also assistant director with a very good friend. We would orchestrate plays and we did two together, then I moved to Germany.

A1: Where in Germany?

A2: To Berlin. Two things happened and my work changed. One was that I was always from my natural environment and all my friends that were actors and doing music, that team wasn’t there for me. But also I got a bit tired of the play as a format and it became too constrictive or I felt that I needed too many resources…

A1: Right. Like money?

A2: Like money…

A1: Time space…

A2: Time and space- and also to be in charge of these groups of people, so I started to think about myself onstage reading the stuff I write.

A1: [door opens] That’s Andy, my boyfriend.

A2: Hi! I’m [says name]. We’re talking about stuff. [all laugh]

A1: So you started reading?

A2: Reading live and sometimes with some simple staging, and sometimes with music. Both the plays I did in Chile were musicals. So then I started to think what if I’m onstage and I have a little keyboard and I’m this orchestra woman who’s reading and then singing where I’m telling a story but of course more fragmented and it wasn’t anymore like a play. That’s what I’ve been doing, and also since I moved to New York three years ago. I’ve been playing around with that. Performance that is text-based or story-based with me onstage, what about you?

A1: I have been making performances. I come from a dance background which is how I know Tess and… what do I make? I make dance-based performances. I’ve made two pieces that have been produced and the first one was two years ago. It was kind of about beliefs [laughs]. Spiritual beliefs kind of veering into conspiracy theory, or political beliefs. The impetus came from thinking about dance companies, dance performances and the choreographer as a cult leader who’s kind of creating this system with people. It’s dance-based in the sense that it came out of a concept from dance— a choreographer, how they relate to their dancers, it expanded from there. This new piece that I’m working on is more focused on marketing and branding and money in dance, but there is some dancing in it. [both laugh]

A2: So in the first one it’s reflecting on the director as cult leader. Was the methodology of creating the performance kind of trying out how this cult leader is like, or what this cult is about?

A1: Yeah, well, in my mind I’m making a collage of different things and so one of the things that I do is— I give a sermon (kind of) that’s completely taken from this guy named Kryon. Kryon is a spiritual guide, and so that was a part of it and the dancing that we do is on this hexagram— kind of bringing sacred geometry and then also the colors of the costume were coming from ceremonial magic where you have the opposite colors— like blue and orange, red and green, and they have different meanings. None of things in the show has any sort of substance. It’s all the image of the thing. I’m playing with different ideas.

A2: That’s nice. So you’re rehearsing the new one now or thinking about it? Or at what stage?

A1: It will have it’s premiere in January, so it’s near the end of the process….Should we go to the next question? [both laugh]

A1: What do you wish you made instead?

A2: [pause] No…

A1: You don’t have to answer that question.

A2: I’m thinking about it! No, I think that I’ve been lucky in the sense that besides what could be called my work I’ve also collaborated a lot with people and I’ve been involved in many different forms of creation or artistic practice. I’ve worked in film and I’ve done music and… I’ve been working with this collective called (I don’t even know how we’re called, but I think) The Gels Collective. I think we’ve changed the name several times. These are friends of mine who are film makers and they’re very into the analog techniques of filmmaking. They made this film in 16mm. instead of using a camera they work with the film strip and make a collage directly on the film strip... with color gels. So it’s an abstract collaged animation once it gets projected. They did one project, the two of them with Annette who’s a visual artist. Annette Knoll, Mat Fleming, Debbie Bower did that one. For the second project they wanted it to have a script so that people would be looking at these shapes and colors moving very quickly and that in the background there would be a narration. We went to Rotterdam and had a residency there so I wrote and they were doing the film. I also helped with the making of the film and they were helping with the writing. We did a lot of collective…

A1: So you were also filming?

A2: Never filming with a camera. Always just literally cutting and pasting pieces of colored filters used for lamps like in the theater. I don’t know how they’re called… gels!

A1: And you put them directly on the…

A2: Directly on the film and they would create these patterns. This film was called Two Lakes and it was about this teenage girl coming into the big city and finding…

A1: A non-descript big city?

A2: A non-descript big city and getting jobs and you know, having friends and half falling in love and then doing crazy stuff and then shoplifting and working at the children’s hospital or washing dishes. Then at the same time we would have fragments of the I-Ching and this more grandiose narrations about destiny and love and life. We worked really well together on that film and we worked together again on a four channel installation. It was two films done with the same technique and a slide projector with lights created with the same technique and then the fourth projector just had the text that we also wrote.

A1: So it was a performance when it was projected?

A2: It wasn’t a performance. In fact, Annette and I were in New York and it was exhibited in Newcastle in England and we sent the slides. They made the two films. So it was like onto a wall, two projectors, 16mm projectors with this film, one slide projector with slides with these colored filter shapes, and the fourth slide projector had the text which we created collectively sending text back and forth and then I edited it into a story. [A1: Oh wow.] Going back to the question [both laugh]— I feel that I’ve done a lot of stuff. In fact, sometimes I wish I had more focus into one thing. There’s not stuff that I haven’t tried or done that I feel I wish I would have done that. I don’t know, how do you feel?

A1: You wish you had more focus in something that you don’t have experience in?

A2: No, sometimes some friends make fun of me because I would be like, “I’m doing a play. I’m writing a book. I’m doing a film. I’m performing. I’m a teacher.” I also did some songs and I think with the years it all makes sense. When I was younger it all felt more dispersed. Like what is my destiny in all of this? I think writing or saying to myself, “I am a writer” helped because I felt I could write for a play, I could write in poem or fiction form, I could write a script for film, I could write a song lyric.

A1: Yeah it makes perfect sense.

A2: It made perfect sense to say, “This is what I do—I write.” But I feel that if I had come to that conclusion earlier and saying “I’m a writer” instead of picking from everywhere… I don’t know if it would have been better actually. I have no idea. [both laugh]

A1: For me… I asked what do you wish you were making instead of what you’re making. The only thing I would say is I wish I was making… In a lot of ways I don’t know if I can really… sorry. The big projects I’ve been doing involve a lot of people. So that can be all encompassing in a way that’s really intense because I’m doing my best to pay people. I’m doing that both by getting some support but by working at restaurants. It’s nice that when I frame it in the sense that it’s great to have opportunity to make money I can direct it towards things I want to make. That’s nice but also when I have shows where if somebody asks me to perform somewhere where there’s no budget or something like that then I can pare it down and be like, I’m just going to do something with just me and Andy, my boyfriend, who does the music for a lot of stuff. And I’m interested in maybe having more visual art kinds of things. I’d like to be able to take my practice into places like galleries where people don’t necessarily have to come sit and watch something. Yeah, that’s what I would say.

A2: Do you feel like you would like to have more financial support—that kind of freedom that comes from that? Not to have to work for restaurants or…

A1: Yeah. I would [laughs]. But I don’t see that happening in New York anytime soon.

A2: Yeah. I think going back to that question for me — I guess what I suffer from here in New York is the lack of money. Because of having to work for real to afford to live here...[A1: Right] Because in Berlin it was very different. In Berlin, at the same time, I felt the rhythm was so slow and there would be months and months where nothing was happening and there’s always stuff going on, friends to hang out with, shows to go see but in terms of the projects— sometimes I would be like, “Oh I want something to happen.” I would be at home with a lot of time to write and be like, “Ok what’s going to happen? When?...” So there’s something about being here. It’s financially difficult but it also has a rhythm that is stimulating.

A1: The next question is how do you feel about regrets?

A1: Ok, uch, I kind of hate this question because the obvious answer is “There’s no regrets. You learn from things”. [both laugh] So I don’t know, I think I’ve been thinking a lot about failure and what failure means. I was eating these grapes recently…[A2: Grapes?] I was eating grapes and I was taking them off the stem and I was looking at the stem and I was thinking about different paths that you take in your life. You always wonder, did I take the wrong path? Did I do the wrong thing? But with a grape if you follow the vine at the end of every little stem there’s a grape— you know, there’s something at the end of each path. I feel like, maybe the grape is sour but… [laughs]

A2: But it’s still there.

A1: I don’t know. I don’t feel like I have any...well, the only regret is that I didn’t really get into an artistic community until about two years of living in New York. It felt very lonely and very dead. It was really nice to discover that there’s a world outside of you and your boyfriend (at the time). [laughs] But that’s not really a regret because I’m just glad that I discovered it.

A2: Yeah , and it wasn’t your fault.

A1: Yeah [both laugh].

A2: I feel similarly. I think I’ve moved a lot in my life, I’ve lived in different cities and I think I have a lot of anxiety or fear related to, “Am I in the right place?” I’m from Chile and my girlfriend is from Holland. We’ve lived in Germany and we’ve lived here and then we’re often thinking, “Can we stay here?” I’ve often thought, “Am I in the right place? Did I move just because I had fear and anxiety of things not happening?” Yeah, I think I have a lot of an itch to move from places. In moments I wonder, has this been the right decision at any particular time. But I agree with you it’s very hard to control. Then I would have the regret of staying or whatever. I lived in New York as a younger person in between 2000 and 2004. In 2004 I moved back to Chile, that’s when I started doing theater and I found a really nice group of people to work with. I would have these dreams at night about being in New York and wanting to see my friends in New York. Having a phone, an older phone and trying to find their contact numbers in my phone. The numbers were not there anymore. At that point, which was 2005 or 2006 I had a lot of nostalgia for New York and I really wondered if I'd made the right decision. I regretted some decisions when I moved back. In the end, it was all good of course but I think that’s when I felt that.

A1: I’ve been looking at Berlin just from meeting people in Europe or that there’s such a connection between Berlin and New York City. My friend moved there for three months and then came back. What’s striking to me when I visited Berlin, partially to see if I could live there—and I kept thinking of it as a full move like cutting myself off from the rest of the world and going to Berlin. Which I don’t think it has to be. I feel like I just met people who really wanted to live in New York.

A2: It happens though. [both laugh]

A1: Part of me was just like, if you’re in Berlin and you want to be in New York and if I’m in New York and I want to be in Berlin then maybe it’s not so…

A2: Yeah. I can really testify for that for sure. There’s amazing things about Berlin and there’s really annoying things about it—the same with New York, they’re very different things. The things that are good about Berlin are the things I miss. It’s another rhythm, It’s slower, It’s cheaper. There’s a lot of infrastructure, like space, actual physical space to rehearse to do work to show work, there’s a really nice big community of people doing fun things there. At the same time it’s in Germany and the language is German. As much as you can socialize in English or you know, it’s hard to get a job. I studied German for a long time and learned it sort of but not really. The economy is more depressed in that sense— it was harder for me to find work there that would be just a tiny bit ok or stimulating. The bureaucracy of it is a bit insane sometimes. The winter there is very long and very grey.

A1: Yeah, I visited in November. [laughs]

A2: You know, all my friends lived in a small area and we were bicycling everywhere and it feels easy in your everyday.

A1: Sounds incredible. [both laugh]

A2: You can go for a little bit.

A1: I know— I wanna live there for like three months and just…

A2: In the summer…

A1: Exactly. I was working at this coffee shop for two years and I slowly went into a really dark hole and I couldn’t do it anymore. I stopped working there and I was just going to live off the money I made from performing or little odd jobs. It was nice to have time but I couldn’t go anywhere and I couldn’t do anything because I couldn’t afford to go see shows. On top of that, everyone else was always working because you have to be working in New York so there wasn’t a group of people hanging out to go hang out with. So that’s not really an option. It’s pretty isolating to not be working.

A2: Yeah, I had a reading earlier this year and then I read with a friend and it was great— a lot of people came. It was a very beautiful evening. It ended early— I don’t know, maybe 9:00, it was a weekday but after the reading we were all standing outside and everyone left. This would never happen in either Berlin or Santiago— that after something fun you wouldn’t just go and hang out for a bit longer, grab something to eat or have a drink or something. We were standing outside and we were like, “Alright let’s go home then.” [laughs]...

A1: Was it a weekday?

A2: It was a weekday, but it was early. In Santiago, people would be like “Let’s go get beer!” Immediately, there’s such an urge for the socializing or social life is also so alive and in Berlin.

A1: Why do you think New Yorkers are more prone to go their separate ways?

A2: I think time is more precious here. I mean, I wake up at six in the morning now and I commute for an hour and a half. [A1: Oh my God, that’s so crazy.] I want to be in bed by 10:30. I think people think that their time is precious, everyone is trying to do something that needs concentration but we also all have to work a lot. I see that even on the weekend where I really separate either Saturday or Sunday to do my own work and not going to brunch and to hang out and stuff like that.

A1: I feel like New York’s not the kind of city that’s worth living in if you just want to hang out. Because if you want to hang out with friends and spend time with people there are plenty of other cities where it’s so much easier. [laughs] In New York, it’s like you’re going to be working all the time just so you can have some time off to hang out. I don’t know, I’ve always thought that if you didn’t have a very intense goal of some kind then…  Where else have you lived besides New York? We kind of talked about that already.

A2: I have lived in Santiago and in Berlin. So this is the timeline of my life; I was born in Washington D.C. My parents are Chilean and they came in ‘75 because there was the military coup in Chile and they were both political activists and they had to leave the country in ‘74. They went to Argentina and Puerto Rico and then ended up in the United States, I was born here.

A1: Like through asylum? Or …

A2: Yeah, but they weren’t exiled. They just left, because it was risky to stay. My mom’s older brother was a prominent student activist at the time. He was the president of the student council of the big University in Santiago. So they decided to leave before anything could happen. My mom left and they went to Buenos Aires and because my grandfather lived in Puerto Rico then, they got visas to go visit my grandfather. Getting a visa to Puerto Rico is getting a US visa. So through that they came to New York City in ‘74 and it was a bit crazy here. My mom took Spanish classes at Queens Community College. They then decided to go to Washington where through the asylum process they enrolled in university. My dad had studied in the University of Chile and his department got closed, a lot of the schools got closed, kind of forbidden, for a little while so he and my mom finished their studies in the American University in Washington. Then I was born, and in ‘79 we moved back to Chile, I was a baby. I was one year old. And then I lived all my life in Santiago, I grew up there. In 2000 I came to New York. The thing is I had the passport so I always had this fantasy of moving to the United States. I’m the only person in my family to have one, because I’m the only one who was born here. So, I just came when I was 23, 22. I lived here for four years and then I went back. I lived in Santiago for four years and in 2008 I moved to Berlin and in 2013 I moved back here. There’s like a triangle. How bout you?

A1: I grew up in Ohio. In a city called Lima, Ohio. From there I went to college in upstate New York at Vassar College. When I was there I got really obsessed with dance, so I would take the train to the city during school, to go see dance performances. Immediately after [Vassar] I moved here. I never left so I haven’t lived in my adult life in any other city, I don’t know what life is like outside of it. [laughter]

A2: How was the city you grew up in? Was it a proper city or, what size is it?

A1: The size is like 45,000. It’s small but it was the biggest city in that area of Ohio, so a lot of cities are much much smaller and they’re more like villages. My dad is from a village that’s near by. [Lima] is kind of the only city in the area, it has two major hospitals it has an oil refinery, it’s much more diverse than lot of the other places around there. It’s a microcosm of the larger America in a way. It’s been written about for being conservative, it’s just struggling economically. When I graduated from high school, a lot of people who went to school outside of Ohio, moved away, there’s a process of young people moving away from the city. Some people do move back....that’s where I’m from.

The people who live there are incredible, they put up with a lot of struggles, I think. Because it’s a lot of families. So there was a downtown that was the central focus of the city for a long time and then there was kind of the decline of the downtown as Walmart, and other places in the suburbs kind of started growing outside of it. Lima has this situation where (in many cities), if the suburbs got water from the city they would annex it so that they could tax people to support the city but Lima didn’t do that. So there is the downtown area that is declined and the suburbs have been kind self-contained and they take care of themselves. I haven’t lived there so I don’t really know.

I’m thinking about the times that I’ve visited but there’s a lot of things that have started opening in the downtown area just like nicer restaurants, cupcake shops, and yoga studios. So there’s been some kind of revitalization, but Lima was rated one of the top ten worst places for African Americans to live, so there’s…

It’s very segregated. There’s a very poor area that is primarily African Americans and it’s a very conservative area so there’s a culture of putting down people who get government assistance and a lot of shootings in one particularly area; they’re struggling,

A2: Sorry to quiz you on this, it interests me because I’ve only lived in New York. I think that the political scenario now in the United States is very tragic and also I wonder what it’s like in different areas of the country because I think it changes so much. I think there is such a big division where you can so easily hang out or be in touch with people that only think similarly to you, and then you perceive other people to be like aliens or crazy. That type of rhetoric is used to so much like oh they’re just crazy, or Trump is just a clown, that you separate yourself so much from the other, the opposite vision or the other vision, that it almost makes it look like oh it’s unreal, but at the same time it’s very real. It really happens and it really also shapes the way the country runs and the laws are written and etc. etc., there’s a big chunk of this country that actually thinks these things.

A1: Totally, I grew up in a conservative family. My dad is, was, I don’t know if he still is, but he was the co-chair of the republican party in Allen County, where I’m from. This whole election has been a struggle, like ok well we have all these very conservative values of small government and the family’s important, those two things are probably the most important. And then you have Trump who is not the best candidate for the conservative movement. Then there’s a struggle, can I vote for Hillary because Hillary is probably one of the most hated politicians for republicans. So they’re stuck between this person they’ve hated for decades and Trump who is just, like a cesspool. I don’t envy them and I really hope they don’t go with Trump.

A2: Do you have conversations about politics with your family or is it better to like...

A1: With my sisters and with my mom but not with my dad so much.

A2: I was texting with my father yesterday and in Chile there is now a female president, she is called Michelle. She is from the socialist party but the socialist party 2016, which is not, it’s kind of very liberal economics anyway it’s not socialist per se. She started bybeing the most loved politician…

A1: Wait who is it?

A2: She’s called Michelle Bachelet. And now in her second term, her son got involved in some corruption scandals and now people really don’t believe her. Her approval rates are horrible and everyone is almost waiting for her to just finish and the next person to come. This guy who was the president in the early 2000s is running again for re-election and it makes me so depressed that we’re bringing back someone who did so-so ten years ago and that’s the only option. And my dad was just trying to make it rational, like “It’s a strategy you know, we have to blah blah.” And I was like, “I’m sorry I just can’t share this view.” He said “Ok we’ll talk more when we see each other” and I’m like “Ok maybe.” I feel very disheartened by everything that’s happening everywhere.

A1: Yeah I feel like there’s been this global— I’m not a scientist— but after the economic collapse in 2007, 2008 there’s been this kind of action that affected the entire world.Some more than others and there’s been this resurgence of these right-wing, Trump-like characters, that are isolationists and are sort of like ok if we just focus on our country and kick out all the people who are not our country, and if we just get back to what we were like before globalization took over everything we will get better. Which is just like this fantasy, which is really horrifying in a lot of ways.

A2: It’s horrifying, I think it’s also surprising, I didn’t think I was going to live to see a...do you say regress? [A1: Regression] Like go back, go back. It makes me really think about politics and what a lot of people experienced with the Nazis coming into power, that is was this belief in the thirties…

A1: Should we get back to the questions?

A2: Yeah totally.

A1: What do you think of the New York performance scene, or what do you think the New York performance scene will be like in ten years?

A2: I don’t know, what do you think.

A1: In ten years what do I think? In ten years I think it’s gonna be mostly solo work, unless barring the United States deciding that art is important to its national identity, if the funding stays where it is I think it will be mostly solos, think it will be people trying desperately to get tours outside of the United States because there’s not enough funding to have tours with in the United States. I think it will be more Europe-based, and I don’t think artists will live in New York, I think they will live in other places and they will perform in New York when they’re asked to. I don’t see how people are going to live in ten years if the rent keeps going up, I don’t see how living in New York will be worth it.

A2: Yeah it’s interesting because of what we were saying earlier, finding time to do work. It’s true, I see myself struggling to think big with my work. Struggling to think about team work, because how can I finance that, you know…[A1: Even find the time.]... Find the time for everybody to rehearse on a particular day, or you know pay people if it’s my project. Even if it’s a collaborative project, how that gets funded. It’s true it’s more manageable to do things alone on the little time that you have off. But I also see, what I see now with that, it’s not that the quality of the work is bad, I think that the quality of the work is excellent, but it dreams little. It kind of forces itself to be self-contained, in a smaller container than it should, than the person can dream of. Even in terms of visual presentation of the work, for example, I often collaborate with Annette, she’s a visual artist, and we dream a lot about her creating long scale sculptures or objects and then it always ends up being, “Ok let’s just do some projections.’ So there’s a lot of projectors being used I think as a way of practicality and you can still offer a visual something. I don’t know what’s going to happen in ten years. I wonder if the question is “How will people move out?”

A1: I think people will have apartments in New York,  they’ll sublet for most of the time or they’ll just sublet when they’re in New York. I have this fantasy of living somewhere else but not letting anybody know that I’ve moved away, so they’ll still contact me to make stuff, I’ll just fly back and pretend like I still live here.

A2: I was talking about this with a friend. Because she had an artist friend who moved out somewhere in Maine, in the countryside. I thought “How does that affect the work?” She said, “It doesn’t change so much because you feel unique to be here and be present” She has so much time to do work and when she has done the work she knows a couple of people she can contact about that work… for showing it somehow gets moving because so much is done online anyways. We were wondering if it was a fantasy, that you need to be here. Of course you feel like you get to know a lot of people doing similar things than I do, for example I like going out and seeing what other people are doing, I’m soaked in this environment. But I wonder if it’s true, that if you move out, people would stop contacting you or being interested in what you do.

A1: I don’t know. But I do think there is a thing that’s like oh this person doesn’t live here anymore, they live somewhere else. If you’re putting a show together, or an interview like this …. What is your pre-performance ritual?

A2: Oh cool I like this one more, it’s less grandiose. I find my feet on the floor. I do a lot of, do you know the Alexander Technique?

A1: I know of it, but I don’t really know it that well.

A2: I trained to be a teacher of that, a long time ago, that’s something else I’ve done in my life. Taught the Alexander Technique.I go somewhere that is a bit hidden and really try to find my ground and then I have a shot of whiskey or some alcohol.

A1: Right before you go on? Or like an hour before...

A2: No not an hour, like just before. Not really drunk, I’m not…

A1: It eases the…

A2: The nerves. Yeah, it also warms up my throat. What about you?

A1: I don’t really have a pre performance ritual. I do what I usually do when I get stressed out. Which is, I get really focused on goal oriented things. Where I’m like you need to be here, I need to be here, what’s this, a problem? Ok, great [laughter]. I get very chill, but more comatose. A lot of times before we perform, Andy is hooking things up to play music, so I’ll watch him do it. I’ll think that I’m helping but I’m just sitting there watching. I mean I also warm up, but…

A2: Do you get nervous?

A1: Oh I get extremely nervous, and I sometimes try to tell myself nobody cares, which is awful. It’s this feeling like nobody cares if you do a good job or a bad job, no one cares [laughter].

A2: That calms you down?

A1: Yeah it does. I’m like oh right, this is not a big deal. OK. What is your favorite thing to do right after a performance?

A2: I think it’s just nice to talk to people that went and see the friends that are there. I’m not the kind of person that would be like, what did you think, you know?

A1: Yeah, no never.

A1: I’ve seen friends do that, what did you think?  What did you think about this…

A1: I have friends do that too…

A2: And they want to have a feedback and sometimes I’m like, should I do that? It’s probably really helpful. But I’m often just, want to follow some good energy.

A1: I don’t, I think I actually have a really hard time even having talk-backs. I feel like a lot of times, the first few people who talk about the work kind of set the tone, or it’s like when you read a review about something and then suddenly the thoughts you had about it take a back seat because you’re like oh I never thought about it that way. I feel like it colors the work in someway. Sometimes it’s nice to hear what other people think and it’s affirming, but sometimes it can be like, “I thought this was really great but now that I think about it from this perspective I guess you’re right, it’s not that great, or I didn’t really like this that much. But then from this perspective, oh maybe it wasn’t so bad,” you know? And I can’t trust my own opinions.

A2: Yeah. Well what do you like to do then, after a performance?

A1: Well, I do like seeing people. But usually I think I smoke a joint right after.

A2: I can’t smoke, but I would eat some weed [laughter]. Which is maybe a bit more intense. Because I can’t smoke, I’m now very good at dosing...

A1: The edibles?

A2: The edibles so it’s not like a crazy long…

A1: Like you’d take a little bit and see how you feel kind of a thing?

A2: I know the milligrams I need to feel like I want to feel. And now technology has gotten so good with it, that I know that for me it’s five milligrams would be like a three hour normal, kind of completely I can handle people and socializing.

A1: Right, right, right, it’s not fun when you’re… [laughter] How much time is left? Oh we’re done! Are there other questions?

A1: There’s two more.

A2: Should we do them?

A1: Ok what do you do if you aren’t working on a project?

A2: I have a job.

A1: Yeah same. What are some of your favorite things, for example a movie, an album, a day of activity, a restaurant or a snack? That’s a lot actually.

A2: That’s a lot to talk about.

A1: Ok choose one, movie, album, day of activity, restaurant or snack.

A2: I would say one of my favorite activities is cooking because it really relaxes me. It relaxes me, the chopping. It relaxes me the mental place…

A1: Like it feels meditative?

A2: Yeah where I’m like what am I going to make, and really I get very... sometimes I’ll be with friends and they will be like can I help you? I will be like, no because I just have it in my head, this idea of what I’m going to make. All of this gives me a lot of pleasure it’s going to be done in an hour and it’s going to be eaten 20 minutes after that. So it doesn’t have a sense of permanence, or it doesn’t worry me, it’s just for that moment. I enjoy that activity a lot. How bout you? You don’t have to say cooking though.

A1: No, I really, cooking does not make me feel comfortable. I really like discovering new music. Or rather, what’s come to me. Well thank god Solange came out with an album recently. It’s so amazing.

A2: It’s really good.

A1: Yeah, and I didn’t really listen to Bon Iver’s album until recently. I feel a connection to it, I feel like I spent all summer not really hearing any new music except for Work by Rihanna, which is a great song…

A2: It’s so good.

A1: But, I’ve been listening to Grimes on repeat for months, and I feel like thank God there’s something else I can listen to. Alright well that’s all the questions.

A2: Good we have done it.

A1: Closing statements? [laughter] Just kidding.

A2: I went to Jury Duty last month.

A1: Oh really?

[laughter]


A1 is Alex Rodabaugh

A2 is Amelia Bande 

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Amelia Bande

Amelia Bande is a writer working in performance, theater and film. Her plays Chueca and Partir y Renunciar were staged in Santiago, Chile. She is part of the Gel Film Series (2012- present) and she co...
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Alex Rodabaugh

Alex Rodabaugh is a dancer, choreographer and performer. He has worked with artists such as Buffalo Bailey Williams, Sigrid Lauren and Miguel Gutierrez. He has shown work at Center for Performance Res...
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