The Audio Foundation & Artspace Aotearoa present: Seth Kim-Cohen, Bargeld ist die neue Liebe (Cash is the New Love)
The Audio Foundation & Artspace Aotearoa present:
Seth Kim-Cohen, Bargeld ist die neue Liebe | Cash is the New Love
Wednesday 14 August
Doors open 7pm - 9pm | koha
Level 1, Karangahape Road
Tāmaki Makaurau Auckland
The Audio Foundation is very proud to announce a one-off Auckland event for Chicago-based theorist, author, educator and artist, Seth Kim-Cohen.
Seth Kim-Cohen is a key figure to the contours of discourse around sound in contemporary art and culture. Turning away from materialist proclamations, Kim-Cohen’s celebrated writing responded to the largely experiential understanding of sound in art common at the time, unpacking the semiotic potential of sound while linking figures disparate as John Cage and Muddy Waters. Amid the boom of theoretical texts reevaluating sound’s standing in contemporary culture, Kim-Cohen's historical rigour and post-phenomenological focus opened new pathways for understanding and critique.
With the energy of his past work, Kim-Cohen's new 'investigative performance', Bargeld ist die neue Liebe | Cash is the New Love, comprises video, music and slapstick comedy, taking the audience on a joy ride through the physical and financial violence of late-stage capitalism, careening like a tech stock IPO from krautrock, to investment banking, to Marxist terror.
Kim-Cohen's 'investigative performance', Bargeld ist die neue Liebe | Cash is the New Love, will be presented at and in association with Artspace Aotearoa, with support from Liquid Architecture.
Kim-Cohen is the author of Against Ambience (2013), In The Blink of an Ear: Toward a Non-Cochlear Sonic Art (2009), and One Reason To Live: Conversations About Music (2006). His writing appears in edited volumes including, The Routledge Companion to the Sounding Arts (forthcoming), Sound: Documents of Contemporary Art (2011), Word Events: Perspectives on Verbal Notation (2011). He has published in Artforum, Art Review, Critical Quarterly, Polygraph, Array, Leonard Music Journal, Tacet Experimental Music Review, Pitchfork, and Pop Stock.
He is Assistant Professor of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. He received a PhD from the London Consortium, University of London in 2006. He has also taught at the School of the Museum of Fine Arts, Boston, the Institute for Doctoral Studies in the Visual Arts, Pratt Institute, and Yale University.