BEN GOULD


      


Mark

Twilight Talks – conversation with Kevin Moore 





Something from Nothing. Conversations with artists Ben Gould and Hugo Montoya. Gould tells how a recent diagnosis of Tourette Syndrome precipitated a career shift to performance art, through which he mines the expressive potential of his body's unpredictable energies. Montoya details how a lifestyle of beachcombing and photographing led to a discipline of making simple, gestural sculptures out of common materials and found objects.

Twilight Talks is a series of conversations with arts and culture professionals about their work and unique perspectives on contemporary life. This monthly show airs the fourth week of the month on Thursday at 9pm; Friday at 10am & 3pm; Saturday at 11am; Sunday at 5pm and Tuesday at 4pm. For Podcasts version click here.
Host Kevin Moore (PhD Princeton, 2002) is a curator and writer specializing in modern and contemporary art. His most recent projects include Old Paris and Changing New York: Photographs by Eugène Atget and Berenice Abbott (Taft Museum of Art/Yale University Press, 2018), and “Emulsion Society,” in Lincoln Kirstein’s Modern (Museum of Modern Art, 2019). Moore is also the Artistic Director and Curator of FotoFocus, Cincinnati, and Curator of the McEvoy Collection, San Francisco.
Producer Wilson Reyes is a NY Emmy Award-winning director, producer and editor. He has produced and directed films and documentaries in the U.S. and overseas, and also has several years of experience in commercial as well as not-for-profit television. His most recent credits include producing for Nueva York and LATiNAS.







“Carriage,” a book by Ben Gould and Matty Davis, co-published by Wendy’s Subway and Carnegie Mellon’s Miller ICA, is now available here.


Created in collaboration with designers Ayham Ghraowi and Matt Wolff, this publication includes writing, photographs, and drawings to evoke the urgent physical and interpersonal landscape of Carriage. The artists bear witness to themselves and to each other as they undergo a wide range of physical and emotional dynamics that navigate trust, need, difficulty, and joy. The temporal and spatial experience of Carriage is resituated on the page, as are Davis and Gould's voices, which build off of each other, overlap, and merge as first person singular and plural meet. Their voices are joined by reflections from audience members who attended Carriage in its various locations— aboard a moving vessel on the Chicago River, in a limestone cave network in Kansas City—which offer insight into the viewers’ own bodies and unique physical and psychological spaces.  As these voices combine and accumulate, a broader portrait emerges, not only of a performance, but of the intricacies of human vulnerability, challenge, and care.