The Ö1 summer schedule celebrates 55 years of Ö1 and 35 years of Kunstradio.

To celebrate this occasion, Kunstradio is highlighting some of Kunstradio's projects and productions of the past decades in its July program.

Since 2001, the on-air exhibition series curated by on current trends in radio art has been running at irregular intervals.

As part of FREQUENCitY curated by Steve Bates, the Canadian radio artist Anna Friz developed "The Clandestine Transmissions of Pirate Jenny" in 2002.

curated by …

Since May 2001, international artists with a wide variety of artistic and theoretical backgrounds have been invited to develop a series of up to 5 radio art pieces as an on-air exhibition, dealing with current trends in radio art.

In their project, each of the artists = curators, together with the artists they have selected, will present an aspect of radio art that they consider important and interesting.

Kunstradio thus largely gives up its own curatorial functions and consciously takes the risk that definitions of radio art will find their way into its program that are at odds with the views of the editorial team.

The Kunstradio series was developed to make a stimulating contribution to the discussion about the role of the institution of public radio and the institutions of the art business in defining radio art.

FREQUENCitY curated by Steve Bates: "The Clandestine Transmissions of Pirate Jenny"
von Anna Friz

Canadian radio artist, theorist and performer Anna Friz compiled the curated by series "Reception Is Interception" on the one hand and also contributed "The Clandestine Transmissions of Pirate jenny" to FREQUENCitY curated by Steve Bates.

The Canadian radio artist, performer and radio producer resurrects the childhood notion of "little people on the radio" with the character of "Pirate Jenny." Friz makes Jenny the sad protagonist, locked in the "black box" of radio, which is both utopia - especially in the sense of 'no place, nowhere' - and a place of technological determinacy. A lonely person who slavishly has to serve the ignorant, authoritarian listener:inside ear. Instead of being a medium of communication, radio has degenerated into a service function. We have subjected ourselves to the one-sided sender-receiver model and Pirate Jenny must therefore attempt a return to a dialogical situation. She reverses the model, turns the sender into the receiver - and launches an attempt to establish clandestine networks with other radios and broadcasters in the anonymous city.

Radio itself as a communication model comes to the fore with these "clandestine broadcasts" and becomes an expression of a social reality. Friz asks about the form of connections between people and communities that media make possible and to what extent the nature of communication technologies promote our isolation - combined with a call for subversion.

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