Podcasts about architecture biennale

The Unfrozen squad descends on Venice to experience inperson the full blunt force of the Biennale. Special guests include: Carlo Ratti, the curator of the 19th Architecture Biennale, Anastasia Sukhoroslova, CEO of All Things Urban, and Michele Champagne, graphic artist and contributor to Volume magazine.--Intro/Outro: “Bounder of Adventure” by The Cooper Vane

ABOUT TREVOR BULLEN:LINKEDIN PROFILE:  https://www.linkedin.com/in/trevor-bullen-6b55b615/DUNWOODY COLLEGE OF TECHNOLOGY: https://www.linkedin.com/school/dunwoody-college-of-technology/TREVOR'S BIO:Trevor is the Dean of the School of Design at Dunwoody College of Technology. He is an award-winning architect with over 25 years of professional experience. He has significant international experience; working on a wide range of architecture, landscape architecture and planning projects in Europe, the Caribbean, and the United States. In addition to his role as Dean, Trevor has taught architectural design at the Boston Architectural College, the City College of New York as well as the University of Minnesota and is a frequent guest critic at schools of architecture nationwide.Prior to joining Dunwoody, he was a Senior Associate and Director of Operations at Snow Kreilich Architects, the recipient of the 2018 AIA Architecture Firm Award. From 2000 to 2016, he co-founded and led an architecture and planning studio on the island of Grenada, completing more than 30 built projects. The work of his firm has been published extensively in journals and books as well as being exhibited at the 2021 Architecture Biennale in Venice. SHOW INTRO:Welcome to the NXTLVL Experience Design podcast.EPISODE 74… and my conversation with Trevor Bullen. On the podacast our dynamic dialogues based on our acronym DATA - design, architecture, technology, and the arts crosses over disciplines but maintains a common thread of people who are passionate about the world we live in and human's influence on it, the ways we craft the built environment to maximize human experience, increasing our understanding of human behavior and searching for the New Possible.    The NXTLVL Experience Design podcast is presented by VMSD Magazine part of the Smartwork Media family of brands.VMSD brings us, in the brand experience world, the International Retail Design Conference. The IRDC is one of the best retail design conferences that there is bringing together the world of retailers, brands and experience place makers every year for two days of engaging conversations and pushing the discourse forward on what makes retailing relevant. You will find the archive of the NXTLVL Experience Design podcast on VMSD.com.Thanks also goes to Shop Association the only global retail trade association dedicated to elevating the in-store experience. SHOP Association represents companies and affiliates from 25 countries and brings value to their members through research, networking, education, events and awards. Check then out on SHOPAssociation.orgTrevor is the Dean of the School of Design at Dunwoody College of Technology. He is an award-winning architect with over 25 years of professional experience who believes that design and teaching architecture is synonymous with discernment.We'll get to all of that in a moment but first though, a few thoughts…                 *                                  *                                  *When I think back to my architecture education, it seems like another universe to today's practice. And then again, in some ways it is much the same.Architecture school was 4 long years of hard work and all-nighters that, at the time, we wore as a badge of honor. It seemed that there was never enough time to do what we were being asked to accomplish. Or maybe I was trying to do more than was necessary to fulfill the learning objectives. I certainly felt I had a lot to prove since it had taken me a couple of years to finally get accepted into the program after not doing particularly well at calculus and linear algebra in junior college. I also took extra math in fifth grade. Yeah… math wasn't my thing.Or at least it wasn't my thing until I had a good tutor in second year who helped me understand that I was visual spatial learner and if I could draw or make models of the problems they would all make sense. Seeing algorithms… my eyes would roll back in my head.Anyway…I stuck with it, took every drawing class I could, loved design studio and managed the engineering. I was proud to graduate from the McGill School of Architecture school, go on to study for my licensing exams - another series of all-nighters – pass and be able to enter the profession of reserved title and call myself an “Architect.”I was proud to wear the traditional pinky-finger white gold ring with 7 notches in it representing the 7 Lamps of Architecture by John Ruskin. Ruskin was an English polymath – a writer, lecturer, art historian, art critic, draughtsman and philanthropist of the Victorian era. The Seven Lamps were seven principles which Ruskin viewed should be reflected in a building: Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. The white gold ring was a tradition of McGill 4th year architecture graduates, as symbols of having legitimately put the time in, done the work on the design thesis and survived it. In those days we drew our projects by hand and built models in the workshop. We got our hands dirty. There were 4 years of design studio projects that, in the real world, would take months or more, and we were trying to get them done in weeks. Back in those days, the mid 80's, Computer Aided Design was emerging as a new tool. I remember that we had to take a class in computer programming – I think it was Fortran or something – and we had dinosaur computers that some students were playing around with to create drawings.In the mid-80's email didn't exist, or not to students in any case,Cell phones had just arrived with the Morotrola DynaTec 8000 which was the size of a brick and weighed almost the same, We used this thing called a fax machine that magically sent images across the telephone wires and could print it out on the other end on thermal paper (which you didn't want to leave on the window sill, because it would fade away),The blue print shop was an ammonia fumigated workplace where diazo prints, as they were technically called,  were actually blue hence the term “blue prints.”We used pencils or ink pens on paper or mylar, and if you screwed up you actually used an eraser to rub the error out and you drew it again.I remember one of my first summer jobs in an architecture office, I was quickly assigned renderings due to my love of drawing. I had made some mistakes when plotting out a perspective using the Plan Projection Method, and I was erasing what I had drawn. One of the principals came by my desk, stopped, watched and then remarked “hey… we hired you to draw not erase…” and then walked away.Nice…Our go to reference books were by Francis D.K Ching – ah… the drawings and hand lettering in “Architecture Construction Illustrated”, or “Form Space and Order”And… the social media, google, Ai and computer generated 3D modeling didn't exist.It wasn't until around 2005 or so that Facebook became popular and the iPhone came out in 2007.Then the world seemed to shift on it axis and life as we know it was on the path towards Artificial General Intelligence and all of the miraculous - and scary - things we are now so familiar with shaped our everyday lives. The world sped up and the way I learned in university was both a thing of the past and then again it wasn't.Many of the ways architecture is taught are similar to my experience. Courses are taught as individual, disaggregated subjects, that graduates have to piece together in actual life experience. A wholistic approach to learning the discipline of architecture is not generally the norm. Which when you consider all of the components of a building it is a challenge since everything is connected to everything and the amount of ‘everything' in a building can indeed be overwhelming if you try to consider it all at the same time.The number of professional and skilled labor disciplines is enormous. And most of us simply see buildings as ‘fait a complis' – completed works - with no idea what actually had to be wrangled to go from concept to completed construction.Going back to social media and the internet for a moment, students now have never known a time without ubiquitous access to the world's information through the internet. The tools for designing buildings have changed.One could say it is easier to some degree now. Computer programs manage all of the interrelationships between engineering, architecture, building systems, interior design elements, as well as the cost estimating, construction management and more.It is also easier to rely on tools to think for you and disconnect you from discernment – one of the key features of the architects' role in puting a building together.And this is where my guest on this episode comes into the frame. Trevor Bullen is the Dean of the School of Design at Dunwoody College of Technology. Trevor is an award-winning architect with over 25 years of professional experience. He has significant international experience, working on a wide range of architecture, landscape architecture and planning projects in Europe, the Caribbean, and the United States.In addition to his role as Dean, Trevor has taught architectural design at the Boston Architectural College, the City College of New York as well as the University of Minnesota and is a frequent guest critic at schools of architecture nationwide.He believes in introducing real world problems into the architecture curriculum so that students begin to understand the relationships between theory and practice as well as that good projects are built on good relationships between architects and their clients.He suggests to students that new tools should not supplant their discernment – That key to their success as a professional will be their ability to consider the multitude of factors in building design, determine what matters and to not let the remarkable tools that are afforded us through the development of computer aided design relace their voice.Trevor pushes the idea that great advances in visualization with Ai should not be and end in itself but a means to that end. The tools should be a part of the process not the end point in the evolution of a concept and that their personal voice, point of view, vision should not be lost in the use of the app.And in Trevor's experience, oh what a voice students of today have. Projects are influenced by subjects of racial equity, restorative justice, indigeneity, political orientations, sustainability and climate change and more.And this, it seems to me, is what architecture has always been partly about – the 3-dimensional representation of cultural ideologies. Architecture and ideas are inseparable. Buildings stand as testaments to what we believe, want to influence and aspire to. They are much more than the materials that bring them into being or the space planning at accommodate human interactions. They are epicenters of human relationships imbued with stories and meaning. That said, it brings to mind the famous quote by Marshal McLuhan - "The medium is the message." McLuhan suggested that the way information or an idea is communicated, like in a television broadcast, newspaper, social media post or I dare say architecture, has as much impact on the message itself as the content of the message.I think that this suggests that the form of communication, even if the form of architecture, significantly influences how the message is perceived by the audience.In architecture parlance – I think Mies van der Rohe phrased it as “Form Follows Function.” If beyond utility, architecture is made to convey ideas, then its Form, Space and Order are brought together as a 3-dimension embodiment of them.Thinking back to my architecture education, the tools of today's professional practice have drastically changed and some of my classmates when on to other careers other than being architects, but the education we got then gave us a understating of the interconnectedness of things and the ability to solve multilayered challenges while wielding stone, steel, glass, light all forged into a unified whole by learned discernment. Teaching discernment is not just in the service of good building design and construction, it is a life skill as emerging students navigate the volatile, unpredictable, complex and often ambiguous world that face them beyond their architecture degree.             *                         *                         *ABOUT DAVID KEPRON:LinkedIn Profile: linkedin.com/in/david-kepron-9a1582bWebsites:  https://www.davidkepron.com    (personal website)vmsd.com/taxonomy/term/8645  (Blog)Email: david.kepron@NXTLVLexperiencedesign.comTwitter: DavidKepronPersonal Instagram: https://www.instagram.com/davidkepron/NXTLVL Instagram: https://www.instagram.com/nxtlvl_experience_design/Bio:David Kepron is a multifaceted creative professional with a deep curiosity to understand ‘why', ‘what's now' and ‘what's next'. He brings together his background as an architect, artist, educator, author, podcast host and builder to the making of meaningful and empathically-focused, community-centric customer connections at brand experience places around the globe. David is a former VP - Global Design Strategies at Marriott International. While at Marriott, his focus was on the creation of compelling customer experiences within Marriott's “Premium Distinctive” segment which included: Westin, Renaissance, Le Meridien, Autograph Collection, Tribute Portfolio, Design Hotels and Gaylord hotels. In 2020 Kepron founded NXTLVL Experience Design, a strategy and design consultancy, where he combines his multidisciplinary approach to the creation of relevant brand engagements with his passion for social and cultural anthropology, neuroscience and emerging digital technologies. As a frequently requested international speaker at corporate events and international conferences focusing on CX, digital transformation, retail, hospitality, emerging technology, David shares his expertise on subjects ranging from consumer behaviors and trends, brain science and buying behavior, store design and visual merchandising, hotel design and strategy as well as creativity and innovation. In his talks, David shares visionary ideas on how brand strategy, brain science and emerging technologies are changing guest expectations about relationships they want to have with brands and how companies can remain relevant in a digitally enabled marketplace. David currently shares his experience and insight on various industry boards including: VMSD magazine's Editorial Advisory Board, the Interactive Customer Experience Association, Sign Research Foundation's Program Committee as well as the Center For Retail Transformation at George Mason University.He has held teaching positions at New York's Fashion Institute of Technology (F.I.T.), the Department of Architecture & Interior Design of Drexel University in Philadelphia, the Laboratory Institute of Merchandising (L.I.M.) in New York, the International Academy of Merchandising and Design in Montreal and he served as the Director of the Visual Merchandising Department at LaSalle International Fashion School (L.I.F.S.) in Singapore.  In 2014 Kepron published his first book titled: “Retail (r)Evolution: Why Creating Right-Brain Stores Will Shape the Future of Shopping in a Digitally Driven World” and he is currently working on his second book to be published soon. David also writes a popular blog called “Brain Food” which is published monthly on vmsd.com.  The next level experience design podcast is presented by VMSD magazine and Smartwork Media. It is hosted and executive produced by David Kepron. Our original music and audio production by Kano Sound. The content of this podcast is copywrite to David Kepron and NXTLVL Experience Design. Any publication or rebroadcast of the content is prohibited without the expressed written consent of David Kepron and NXTLVL Experience Design.Make sure to tune in for more NXTLVL “Dialogues on DATA: Design Architecture Technology and the Arts” wherever you find your favorite podcasts and make sure to visit vmsd.com and look for the tab for the NXTLVL Experience Design podcast there too.

We report from the Tallinn Architecture Biennale and meet one of the designers behind Cathay Pacific's new Business Class suites. Plus: an exhibition in London explores the role of ceramics in furniture design.See omnystudio.com/listener for privacy information.

Oana Bogdan and Olaf Grawert discuss about the possible ways of political commitment in architecture. They share ideas and professional experiences confronting the rhetoric of conventional politics that keep citizens away from the debate and from the design and construction of the city. Oana Bogdan is a Belgium-Romanian architect. She founded the architectural firm Bogdan & Van Broeck, now reconfigured as &Bogdan which stands for cooperation. Her problem-solving mentality and cooperative ethos questions the architect's traditional role, believing that the profession's skills can be used to navigate the complexity of many areas of life. She took the role of Secretary of State for cultural heritage in the Romanian Government which assumed leadership of the country in 2016. In 2021 she was appointed Chairwoman of the ‘Good Living' Expert Committee in charge of the reform of Brussels Region's building code. Olaf Grawert works as a partner at the collaborative architecture practice bplus.xyz (Berlin), as a lecturer at station.plus (Department of Architecture, ETH Zurich) and in spring as an Adjunct Professor at the Politecnico in Milan. In 2021, he was co-curator of 2038 - The New Serenity, the German Pavilion at the 17th Architecture Biennale in Venice. As part of HouseEurope! a non-profit organization, he is currently co-organizing an European Citizens' Initiative aimed at boosting the renovation of existing buildings, to stop their demolition driven by speculation. bplus.xyz is known for its adaptive reuse projects of building ruins and industrial facilities that have fallen out of use.

Transdisciplinary artist and biohacker Heather Dewey-Hagborg shares her latest work on future pigs and hybrids.Keep up with Heather Dewey-HagborgWebsite | InstagramAbout Heather Dewey-HagborgDr. Heather Dewey-Hagborg is a New York-based artist and biohacker who is interested in art as research and technological critique. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places.Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, the Guangzhou Triennial, and the Shenzhen Urbanism and Architecture Biennale, Transmediale, the Walker Center for Contemporary Art, the Philadelphia Museum of Art, and PS1 MoMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, SFMoMA, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired.Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. She is a founding board member of Digital DNA, a European Research Council funded project investigating the changing relationships between digital technologies, DNA and evidence.

Heather Dewey-Hargborg, American artist and bio-hacker most knowned for the project Stranger Visions. Ana Brígida for The New York Times Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, the Daejeon Biennale, and the Shenzhen Urbanism and Architecture Biennale, the Van Abbemuseum, Transmediale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, the Wellcome Collection, and the New York Historical Society, among others, and has been widely discussed in the media, from the New York Times and the BBC to Art Forum and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute. She is a visiting assistant professor of Interactive Media at NYU Abu Dhabi, an artist fellow at AI Now, an Artist-in-Residence at the Exploratorium, and is an affiliate of Data & Society. Hybrid (Trailer) from Heather Dewey-Hagborg on Vimeo. Installation view, Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery. Still from Heather Dewey-Hagborg, Hybrid: an Interspecies Opera. Courtesy of the artist and Fridman Gallery.

Hey! This episode wraps us the Global Architects theme and this years episode releases. We're closing the podcast early this year to wrap up projects behind the scenes. I'd like to say a big thank you to our listeners, supporters and sponsors for tuning in throughout the year and I hope you enjoyed our conversations! I'm looking forward to exciting plans for next year but in the meantime, don't hesitate to catch up on any episodes you may have missed. Our guest today is Trevor is the Dean of the School of Design at Dunwoody College of Technology. He is an award-winning architect with over 25 years of professional experience. He has significant international experience; working on a wide range of architecture, landscape architecture and planning projects in Europe, the Caribbean, and the United States. In addition to his role as Dean, Trevor has taught architectural design at the Boston Architectural College, the City College of New York as well as the University of Minnesota and is a frequent guest critic at schools of architecture nationwide. Prior to joining Dunwoody, he was a Senior Associate and Director of Operations at Snow Kreilich Architects, the recipient of the 2018 AIA Architecture Firm Award. From 2000 to 2016, he co-founded and led an architecture and planning studio on the island of Grenada, completing more than 30 built projects. The work of his firm has been published extensively in journals and books as well as being exhibited at the 2021 Architecture Biennale in Venice. This episode was refreshing! I appreciate Trevors honesty in navigating the worlds of architecture practice and academia as a Global Architect. He gave us insight on practicing in different countries, why he had to break out of the crowd and differences between practice and academia.

The Venice Architecture Biennale is one of the most important building exhibitions in the world. For the first time, Ghanaian-Scottish architect Lesley Lokko dons the curatorial hat.

Today our guests are Ivi Diamantopoulou and Jaffer Kolb of New Affiliates an architecture practice working between Athens and New York. Ivi Diamantopoulou is a graduate of Princeton University, where she was awarded the Suzanne Kolarik Underwood Prize for excellence in design and the Stanley J. Seeger fellowship; and a Diploma with honors graduate of Architecture and Engineering from the University of Patras, Greece. She is a registered architect in NY and Greece, with over a decade of experience in design and built work. Ivi frequently teaches design, history and theory of architecture, among others at Columbia and Syracuse Universities. Jaffer Kolb is a graduate of Princeton University, with a Master of Urban Planning from the London School of Economics, and a Bachelor of Arts in Film Studies from Wesleyan University. Jaffer worked on the 13th Architecture Biennale of Venice under David Chipperfield and was the US editor for the Architectural Review. Jafer teaches at Yale School of Architecture and Columbia GSAPP. Ivi and Jaffer joined us as speakers at the ESO Conference in June in Athens, Greece organized by Vasilis.

Vuslat Doğan Sabancı is a business leader, a philanthropist and a leading voice on human rights, gender equality and freedom of expression both in Turkey and globally. In her 22 years at Hürriyet Publishing, the leading newspaper in Turkey, Ms. Doğan Sabancı served as the CEO between 2004-2008 and as the Chair of the Board of Directors for the following ten years. She left her position in May 2018 when the Doğan family divested from all of their major media assets. Under Ms. Doğan Sabancı’s leadership, Hürriyet not only succeeded to be the largest and most influential newspaper in Turkey, but also became the country’s largest digital content company, reaching one of every two internet user in Turkey. While leading this digital transformation, she also spearheaded an editorial policy for promoting gender equality and minority rights and played a major role in the improvement of such rights in the public perception as well as in the legal system. The "No! To Domestic Violence" initiative, which she established in 2004 to advance the social empowerment of women, was the first example of her efforts to use media in order to create major positive social change. Through this initiative, which now continues under the umbrella of the Aydın Doğan Foundation, a major taboo was broken in Turkey through widespread educational programs geared at the general public, including everyone from imams to policemen. Launched as part of the initiative, Turkey's first ever 24/7 domestic violence hotline remains in operation today, and is also accessible to Turkish speaking communities around the world. In 2020, Ms. Doğan Sabancı established Vuslat Foundation (https://www.vuslatfoundation.org/en), Turkey’s first and only global philanthropic initiative. The foundation aims to put the skill of generous listening— hearing beyond words— to oneself, others and nature at the center of all our connections by 2030. In line with this mission, the foundation supports academic research regarding listening, creates awareness through work with artists and storytellers and develops generous listening practices for youth and civil society. The foundation was invited as a special project partner to the 17th Architecture Biennale which took place between May - November 2021, and presented a monumental installation 'The Listener' by globally acclaimed artist Giuseppe Penone. The artwork intended to draw attention to listening as a significant thread within the exhibition's theme, 'How Will We Live Together?' With the collaboration of Vuslat Foundation, a Generous Listening and Dialogue (GLAD) Center was launched at Tufts University. Housed at the Tisch College of Civic Life, the GLAD Center will collaborate with schools and departments across the entire university, building on the expertise of Tufts’ faculty, research centers and civic engagement programs. Its programming and interdisciplinary initiatives will help students, staff and faculty develop skills and awareness, address hard issues, and generate new knowledge. At the Massachusetts Institute of Technology, a ‘Vuslat Foundation Fellowship for Generous Listening’ was launched at The Transmedia Storytelling Initiative in the School of Architecture and Planning. Vuslat Doğan Sabancı holds a BA degree in Economics from Bilkent University and completed her graduate studies in International Relations and Media at Columbia University, in New York. Currently, she is a Member of the Board of Directors of Doğan Group, Hepsi Emlak and Hepsiburada. She is the Vice President of Aydın Doğan Foundation which promotes girls education and women empowerment in Turkey. She serves as a member of the Columbia Global Centers Advisory Board and the Columbia University Global Leadership Council. She is a member of the Board of Leaders at the Leaders for Peace. She is a Founding Board Member of Endeavor Turkey, an NGO cultivating high-impact entrepreneurship, a founding member of Turkish Businesswomen Association (TIKAD) and an active member of the Ashoka Support Network in Turkey. She is also a Board Member of Global Relations Forum (GIF/GRF), and a member of the Global Philanthropy Circle Members of Synergos.See omnystudio.com/listener for privacy information.

For Breezeblock 23, Charlie talks to fellow editors Chiara Dorbolò and Daphne Bakker about Stories on Earth, Failed Architecture's contribution to the public parallel programme of the Dutch Pavilion during the 17th International Architecture Exhibition of La Biennale di Venezia.

Continuing our theme of ‘futures', we are delighted to share a conversation between artist and writer Diann Bauer with writer and theoretician Suhail Malik about time. The focus of Diann's research is time outside of human experience and how it impacts how we live in relation to the anthropocene. With this in mind the conversation begins with an quote from a 2016 article by Malik and Armen Avanessian about the idea of ‘The Speculative Time Complex' where Suhail says: 'The main reason for the speculative reorganisation of time is the complexity and scale of social organisation today. Systems, infrastructures and networks are now the leading conditions of complex societies rather than individual human agents. Correspondingly, human experience loses its primacy, as do the semantics and politics based on it. The present as the primary category of human experience, which has been the basis for both the understanding of time and of what time is, also loses its priority in favor of what we could call a speculative time-complex. Complex societies — which means more-than-human societies at scales of sociotechnical organization that surpass phenomenological determination — are those in which the past, the present and the future enter into an economy where maybe none of these modes is primary, or where the future replaces the present as the lead structuring aspect of time.' Using this as a starting point, they speak about finance, insurance, risk, scale, climate collapse and our relationship to an unknown future that is none-the-less the conditioning force of our present. Read ‘The Speculative Time Complex': http://dismagazine.com/blog/81218/the-speculative-time-complex-armen-avanessian-suhail-malik/ Watch 'Rumsfeld Epistimology of Climate Change': https://vimeo.com/579819571 Diann Bauer is an artist & writer based in London. She is currently a researcher at Westminster University working on questions regarding the discrepancy between time at extra-human scale & the linear persistence of temporality focusing on what this discrepancy means for how we understand ourselves as a species in relation to the anthropocene. Much of her practice is collaborative & interdisciplinary with projects including Laboria Cuboniks, with whom she collaboratively wrote and published Xenofeminism, A Politics for Alienation in 2015. (laboriacuboniks.net) & A.S.T. (the Alliance of the Southern Triangle), a working group of artists, architects & curators who's focus is urbanism & climate change. Bauer has screened and exhibited independently at Tate Britain, The ICA, The Showroom & FACT Liverpool, Deste Foundation, Athens, The New Museum, & Socrates sculpture park, New York. She has done projects with Arts at CERN & recently worked as part of a team on the German Pavilion for the 2021 Architecture Biennale in Venice. She has taught & lectured widely at universities & cultural institutions including: Cornell University, Yale University, the New School and Cooper Union (US), HKW (Germany), ETH (Switzerland), DAI (Netherlands), Ashkal Alwan (Lebanon), The Tate & the ICA London. Suhail Malik is Co-Director of the MFA Fine Art, Goldsmiths, London, where he holds a Readership in Critical Studies. Recent & forthcoming publications include, as author, ContraContemporary: Modernity's Unknown Future (Urbanomic) & 'The Ontology of Finance' in Collapse 8: Casino Real (2014). Malik is co-editor of The Flood of Rights (2017), a Special Issue of the journal Finance and Society on 'Art and Finance' (2016), Genealogies of Speculation (2016), The Time-Complex. Postcontemporary (2016), & Realism Materialism Art (2015). Royalty free music generously shared by Steve Oxen. FesliyanStudios.com The technecast is run by Julien Clin (@ClinJulien) & Polly Hember (@pollyhember). Please email technecaster@gmail.com if you would like to be featured on the podcast. Follow us on twitter @technecast to keep an eye out for the latest themed call for papers.

Quando diciamo 'noi' in effetti cosa intendiamo? O meglio, cosa escludiamo? Quando diciamo noi spesso non solo escludiamo determinati gruppi marginalizzati, ma escludiamo anche tutta una serie di elementi non umani che invece fanno parte dell'ecosistema e del mondo urbano che ci circonda. Parte da questa riflessione l'esposizione del Padiglione Olandese alla Biennale di Architettura 2021. Una conversazione interessantissima. LINKhttps://www.dezeen.com/2021/05/20/dutch-pavilion-venice-architecture-biennale-who-is-we-exhibition/This podcast with English subtitles / Il podcast con sottotitoli in inglesehttps://youtu.be/OHE4VRhuD1UTESTO TRASCRITTO (English below)Quando diciamo 'noi' in effetti cosa intendiamo? O meglio, cosa escludiamo? Quando diciamo noi spesso non solo escludiamo determinati gruppi marginalizzati, ma escludiamo anche tutta una serie di elementi non umani che invece fanno parte dell'ecosistema e del mondo urbano che ci circonda. Queste considerazioni profonde e molto interessanti non sono mie ma sono quelle da cui parte il padiglione olandese alla Biennale di Venezia. Sì torno ancora alla Biennale di Venezia perché quando vedi una cosa che ti ispira, poi appunto è questa la cosa bella del vedere l'arte, che l'arte ti ispira e rimane con te e ti fa pensare ben oltre i momenti in cui l'hai vista. Ricordo che il tema generale della Biennale quest'anno, che è la Biennale di Architettura, è How will we live together - come è che potremo vivere insieme, è appunto nel padiglione olandese hanno elaborato questa questa domanda chiedendosi a loro volta 'who is we'? chi è, chi siamo noi quando parliamo al plurale? Di chi stiamo veramente parlando? In effetti stiamo parlando probabilmente del 10% delle cose, delle persone degli, esseri viventi che popolano la Terra perché a progettare le città a parlare del discorso urbanistico poi è sempre una ristretta cerchia di persone. Invece appunto gli architetti del padiglione olandese cercano di ribaltare questo paradigma e di pensare in termini molto più ampi, dove il noi include non solo le persone solitamente lasciate ai margini ma anche importanti entità non umane come ad esempio le piante e come gli animali, e fanno tutta una serie di considerazioni che porteranno avanti fino a novembre, finisce a novembre la Biennale di Architettura, portano avanti tutta una serie di considerazioni appunto sullo spazio, sull'uso di spazi urbani che siano più accoglienti di tutte le specie di tutti i generi e di tutte le persone, insomma una riflessione che fa ben sperare diciamo su quello che può essere il futuro delle nostre città dei nostri luoghi e permettetemi di usare una parola che non mi piace per niente usare ma quello delle comunità resilienti, delle comunità che resistono non solo resistono ma resistono benissimo e fioriscono fanno delle diversità il loro punto di forza. Ecco vi voglio lasciare oggi con quest'immagine: quando vi guardate intorno la prossima volta pensate a noi ma pensate a un noi che include anche le piante anche gli animali e tutto quello che ci circonda.ENGLISH TRANSLATIONWhen we say 'we' what do we actually mean? Or rather, what do we exclude? When we say ‘we' we often not only exclude certain marginalized groups, but we also exclude a whole series of non-human elements that are part of the ecosystem and the urban world that surrounds us. These profound and very interesting considerations are not mine but they are the ones from which the Dutch pavilion at the Venice Biennale starts. Yes, I go back to the Venice Biennale because when you see something that inspires you, then precisely this is the beautiful thing about art, art inspires you and stays with you and makes you think far beyond the moments in which you have seen it. I remind you that general theme of the Biennale this year, which is the Architecture Biennale, is ‘How will we live together' and specifically in the Dutch pavilion they process this question asking themselves 'who is we?' who are 'we' when we speak in the plural? Who are we really talking about? In reality, we are probably talking about 10% of things, of people, of living beings that populate the Earth because it is always a small circle of people who design cities, who talk about urban planning. But instead, the architects of the Dutch pavilion try to overturn this paradigm and to think in much broader terms, where ‘we' includes not only those people usually marginalised, but also important non-human entities such as plants and animals, and they make a whole series of considerations that will carry on until November, the Architecture Biennale ends in November, they carry out a whole series of considerations precisely on space, on the use of urban spaces that are more welcoming of all species, of all kinds, of all people, in short, a reflection that bodes well, let's say on what the future of our cities and our places can be and allow me to use a word that I do not like to use at all but that of ‘resilient' communities, communities that resist, that not only resist but that resist very well and flourish making of diversity their strong point. Here I want to leave you today with this image: when you look around next time do think of ‘us' but think of us that also includes plants, animals and everything around us.

Prosecutors begin a criminal probe into Donald Trump’s business interests. Plus: Nato’s role in Kosovo; Australia’s reluctance to reopen to the rest of the world; and the Monocle team on the significance of Venice’s Architecture Biennale.

There are no swarms of tourists in Venice this year. Large cultural events like the Architecture Biennale have been cancelled, and there is no sign of ocean liners or cruise ships. This unusual stillness is giving Venice a chance to enjoy itself as the fish return to the canals.

One of the biggest Covid-19 casualties in the art world is the postponement of the Venice Art Biennale from 2021 until 2022. Italy has been one of the country's hardest hit by the pandemic, forcing it to postpone both the Contemporary Art Biennale and the Architecture Biennale that was to open later this year. For some it could be a blessing having more time, for others a disappointment because of all the work that goes into representing your country. Yuki Kihara the multi disciplinary artist representing NZ at Venice talks about the implications for her; and Michael Moynahan (Arts Council Chair) says the postponement was a good call.

This week bad at sports presents a panel on making and being presented at Hauser and Wirth by our partners BFAMFAPhD. Event 2: Artist-Run Spaces How do artists create contexts for encounters with their projects that are aligned with their goals? Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   Upcoming Event: Building Cooperatives What if the organization of labor was integral to your project? Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light RSVP https://www.eventbrite.com/e/making-and-being-building-cooperatives-tickets-54313881281?aff=ebdssbdestsearch   BFAMFAPhD Making and Being is a multi-platform pedagogical project that offers practices of contemplation, collaboration, and circulation in the visual arts. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi. Bio BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. BFAMFAPhD received critical acclaim for Artists Report Back (2014), which was presented as the 50th anniversary keynote at the National Endowment for the Arts and was exhibited at the Brooklyn Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell University, and the Cleveland Institute of Art. Their work has been reviewed in The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Sullivan’s The Dish, WNYC, and Hyperallergic, and they have been supported by residencies and fellowships at the Queens Museum, Triangle Arts Association, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members Susan Jahoda and Caroline Woolard are now working on Making and Being, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists.

Duncan catches up with two of the members of BFAMFAPhD for a chat about the upcoming event series, which for those of you in NYC starts friday with MAKING & BEING.   Conversations about Art & Pedagogy co-presented by BFAMFAPhD & Pioneer Works, hosted by Hauser & Wirth, with media partners Bad at Sports and Eyebeam.   image credit... BFAMFAPhD, Making and Being Card Game, print version, 2016-2018, photograph by Emilio Martinez Poppe. Full details below... ____________________________   Hauser & Wirth   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States.   Pioneer Works is a cultural center dedicated to experimentation, education, and production across disciplines.   Contemporary art talk without the ego, Bad at Sports is the Midwest's largest independent contemporary art podcast and blog. Eyebeam is a platform for artists to engage society’s relationship with technology.   Access info:   The event is free and open to the public. RSVP is required through www.hauserwirth.com/events.   The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including: folding plastic chairs and wooden chairs, some with cushions.   This event begins at 6 PM and ends at 8 PM but attendees are welcome to come late, leave early, and intermittently come and go as they please. Water, tea, coffee, beer and wine will be available for purchase. The event will be audio recorded. We ask that if you do have questions or comments after the event for the presenters that you speak into the microphone. If you are unable to attend, audio recordings of the events will be posted on Bad at Sports Podcast after the event.   Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. ____________________________ "While knowledge and skills are necessary, they are insufficient for skillful practice and for transformation of the self that is integral to achieving such practice.” - Gloria Dall’Alba BFAMFAPhD presents a series of conversations that ask: What ways of making and being do we want to experience in art classes? The series places artists and educators in intimate conversation about forms of critique, cooperatives, artist-run spaces, healing, and the death of projects. If art making is a lifelong practice of seeking knowledge and producing art in relationship to that knowledge, why wouldn’t students learn to identify and intervene in the systems that they see around them? Why wouldn't we teach students about the political economies of art education and art circulation? Why wouldn’t we invite students to actively fight for the (art) infrastructure they want, and to see it implemented?   The series will culminate in the launch of Making and Being, a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.   ____________________________   SCHEDULE ____________________________ Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   __________________________   Artist-Run Spaces   How do artists create contexts for encounters with their projects that are aligned with their goals?   Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   ____________________________   Building Cooperatives   What if the organization of labor was integral to your project?   Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light   Meerkat Media Collective is an artistic community that shares resources and skills to incubate individual and shared creative work. We are committed to a collaborative, consensus-based process that values diverse experience and expertise. We support the creation of thoughtful and provocative stories that reflect a complex world. Our work has been broadcast on HBO, PBS, and many other networks, and screened at festivals worldwide, including Sundance, Tribeca, Rotterdam and CPH:Dox. Founded as an informal arts collective in 2005 we have grown to include a cooperatively-owned production company and a collective of artists in residence.   Friends of Light develops and produces jackets woven to form for each client.  We partner with small-scale fiber producers to source our materials, and with spinners to develop our yarns.    We construct our own looms to create pattern pieces that have complete woven edges (selvages) and therefore do not need to be cut. The design emerges from the materials and from methods developed to weave two dimensional cloth into three dimensional form. Each jacket is the expression of the collective knowledge of the people involved in its creation. Our business is structured as a worker cooperative and organized around cooperative principles and values. Friends of light founding members are Mae Colburn, Pascale Gatzen, Jessi Highet and Nadia Yaron.   ____________________________   Healing and Care (OFFSITE EVENT)   How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?   Thursday 2/28 from 6-8pm Adaku Utah and Taraneh Fazeli NOTE this event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001   Adaku Utah was raised in Nigeria armed with the legacy of a long line of freedom fighters, farmers, and healers. Adaku harnesses her seasoned powers as a liberation educator,healer, and performance ritual artist as an act of love to her community. Alongside Harriet Tubman, she is the co-founder and co-director of Harriet's Apothecary, an intergenerational healing collective led by Black Cis Women, Queer and Trans healers, artists, health professionals, activists and ancestors. For over 12 years, her work has centered in movements for radical social change, with a focus on gender, reproductive, race, and healing justice. Currently she is the Movement Building Leadership Manager with the National Network for Abortion Funds. She is also a teaching fellow with BOLD (Black Organizing for Leadership and Dignity) and Generative Somatics.   Taraneh Fazeli is a curator from New York. Her multi-phased traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health. It showcases the work of artists and groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. The impetus to explore illness as a by-product of societal structures while also using cultural production as a potential place to re-imagine care was her own chronic illnesses. She is a member of Canaries, a support group for people with autoimmune diseases and other chronic conditions.   ____________________________   When Projects Depart   What practices might we develop to honor the departure of a project?  For example, where do materials go when they are no longer of use, value, or interest?   Thursday 3/14 from 6-8pm Millet Israeli and Lindsay Tunkl   Millet Israeli is a psychotherapist who focuses on the varied human experience of loss.  She works with individuals and families struggling with grief, illness, end of life issues, anticipatory loss, and ambiguous loss.  Her approach integrates family systems theory, cognitive restructuring, mindfulness, and trauma informed care. Millet enjoys creating and exploring photography and poetry, and both inform her work with her clients. Millet holds a BA in psychology from Princeton, a JD from Harvard Law School, an MSW from NYU and is certified in bioethics through Montefiore. She sits on an Institutional Review Board for Human Subjects Research at Weill Cornell.   Lindsay Tunkl is a conceptual artist and writer using performance, sculpture, language, and one-on-one encounters to explore subjects such as the apocalypse, heartbreak, space travel, and death. Tunkl received an MFA in Fine art and an MA in Visual + Critical Studies from CCA in San Francisco (2017) and a BFA from CalArts In Los Angeles (2010). Her work has been shown at the Hammer Museum, LA, Southern Exposure, SF, and The Center For Contemporary Art, Santa Fe. She is the creator of Pre Apocalypse Counseling and the author of the book When You Die You Will Not Be Scared To Die.   ____________________________   Group Agreements   What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?   Friday 4/19 from 6-8pm Sarah Workneh, Laurel Ptak, and Danielle Jackson   Sarah Workneh has been Co-Director at Skowhegan for nine years leading the educational program and related programs in NY throughout the year, and oversees facilities on campus. Previously, Sarah worked at Ox-Bow School of Art as Associate Director. She has served as a speaker in a wide variety of conferences and schools. She has played an active role in the programmatic planning and vision of peer organizations, most recently with the African American Museum of Philadelphia. She is a member of the Somerset Cultural Planning Commission's Advisory Council (ME); serves on the board of the Colby College Museum of Art.   Laurel Ptak is a curator of contemporary art based in New York City. She is currently Executive Director & Curator of Art in General. She has previously held diverse roles at non-profit art institutions in the US and internationally, including the Guggenheim Museum (New York), MoMA PS. 1 Contemporary Art Center (New York), Museo Tamayo (Mexico City), Tensta Konsthall (Stockholm) and Triangle (New York). Ptak has organized countless exhibitions, public programs, residencies and publications together with artists, collectives, thinkers and curators. Her projects have garnered numerous awards, fellowships, and press for their engagement with timely issues, tireless originality, and commitment to rigorous artistic dialogue.   Danielle Jackson is a critic, researcher, and arts administrator. She is currently a visiting scholar at NYU’s Center for Experimental Humanities.  As the co-founder and former co-director of the Bronx Documentary Center, a photography gallery and educational space, she helped conceive, develop and implement the organization’s mission and programs.  Her writing and reporting has appeared in artnet and Artsy. She has taught at the Museum of Modern Art, International Center of Photography, Parsons, and Stanford in New York, where she currently leads classes on photography and urban studies.   ____________________________ Open Meeting for Arts Educators and Teaching Artists   How might arts educators gather together to develop, share, and practice pedagogies that foster collective skills and values?   Friday 5/17 from 6-8pm Facilitators: Members of the Pedagogy Group   The Pedagogy Group is a group of educators, cultural workers, and political organizers who resist the individualist, market-driven subjectivities produced by mainstream art education. Together, they develop and practice pedagogies that foster collective skills and values. Activities include sharing syllabi, investigating political economies of education, and connecting classrooms to social movements.Their efforts are guided by accountability to specific struggles and by critical reflection on our social subjectivities and political commitments.   ____________________________   Book Launch: Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts   What ways of making and being do we want to experience in art classes?   Friday 10/25 from 6-8pm Stacey Salazar in dialog with Caroline Woolard, Susan Jahoda, and Emilio Martinez Poppe of BFAMFAPhD   Stacey Salazar is an art education scholar whose research on teaching and learning in studio art and design in secondary and postsecondary settings has appeared in Studies in Art Education, Visual Arts Research, and Art Education Journal. In 2015 her research was honored with the National Art Education Association Manuel Barkan Award. She holds a Doctorate of Education in Art and Art Education from Columbia University Teachers College and currently serves as Associate Dean of Graduate Studies at the Maryland Institute College of Art, where she was a 2013 recipient of the Trustee Fellowship for Excellence in Teaching.   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. Susan Jahoda is a Professor in Studio Arts at the University of Amherst, MA; Emilio Martinez Poppe is the Program Manager at Fourth Arts Block (FABnyc) in New York, NY; Caroline Woolard is an Assistant Professor of Sculpture at The University of Hartford, CT. Supporting this series at Hauser and Wirth for Making and Being are BFAMFAPhD collective members Agnes Szanyi, a Doctoral Student at The New School for Social Research in New York, NY and Vicky Virgin, a Research Associate at The Center for Economic Opportunity in New York, NY. Making and Being is a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.

Heather Dewey-Hagborg is one of the most creative people and orthogonal thinkers I have ever had the pleasure to know. I first met and learned of Heather’s work at the Contemporary Museum of Art in Chicago where she presented as a co-founder and co-curator of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of art, science, and technology. Heather has a BA from Bennington College, a Master of Professional Studies in Interactive Telecommunications from New York University, and a PhD in Electronic Arts from Rensselaer Polytechnic Institute. Heather’s work has been shown internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale, and PS1 MOMA, and her work is held in public collections of the Pompidou Center in Paris, the Victoria and Albert Museum in London, and the New York Historical Society.  Heather and her work have been widely discussed in the media, from the New York Times and the BBC to Art Forum, TED and Wired. She has won a number of grants, residencies, and awards for her work. She is a former Assistant Professor of Art and Technology Studies at the School of the Art Institute of Chicago, and is a Visiting Assistant Professor of Bio-Design at Parsons, the New School, an artist fellow at A.I. Now, and an affiliate of Data & Society. She is also a co-founder and co-curator of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology. Heather got into DNA Phenotyping that resulted her controversial project Stranger Visions, which allowed her to bring awareness to forensic DNA phenotyping and her concern that it could be the next version of racial profiling, which she addressed in “Sci-Fi Crime Drama with a Strong Black Lead” vis-à-vis the use and misuse of DNA data. Heather also worked with whistle blower, Chelsea Manning which resulted in the work, Probably Chelsea, which is an amazing odyssey and outcome. This was followed by a solo-exhibition Genomic Intimacy and her most recent project T3511. Our conversation in this episode is wide ranging, as is her work. There are too few people in the world today like Heather, which is a shame, and is why I am so happy to have had such a wonderful time talking with her and being able to share it with you. It is one thing to read about Heather and her work herein, it’s another to hear her story and thought process via our podcast conversation, but I strongly encourage you to visit her work in person or online via the links below. You won’t be disappointed.  

PANELISTS: JASON BOBE Jason Bobe is Associate Professor and Director of the Sharing Lab at Icahn Institute at Mount Sinai. For the past 10 years, Jason has been at the forefront of innovative data sharing practices in health research. His work on the Personal Genome Project at Harvard, and now three other countries, pioneered new approaches for creating well-consented public data, cell lines and other open resources. These efforts led to important changes in the governance of identifiable health data and also led to the development of valuable new products, such as NIST's standardized human genome reference materials (e.g. NIST RM 8392), now used for calibrating clinical laboratory equipment worldwide. More recently, he co-founded Open Humans, a platform that facilitates participant-centered data sharing between individuals and the health research community. At the Sharing Lab, he attempts to produce health research studies that people actually want to join and works on improving our understanding of how to make great, impactful studies capable of engaging the general public and achieving social good. He is alsothe leader of the Resilience Project, an effort leveraging open science approaches to identify and learn how some people are able avoid disease despite having serious risk factors. Last year, he was selected to be in the inaugural class of Mozilla Open Science Fellows. He is also co-founder of two nonprofits: Open Humans Foundation and DIYbio.org. SOPHIE ZAAIJER Dr. Sophie Zaaijer is a Postdoctoral Researcher in the Erlich's lab at the New York Genome Center and Columbia University. Sophie is from the Netherlands, where she did her undergraduate in Music (viola) and Food Technology. For her Masters, she studied Medical Biotechnology at Wageningen University and went to Harvard Medical School to finish her thesis work in Monica Colaiacovo's lab. She next went on to do a PhD in Molecular Biology and Genetics in Julie Cooper's lab at Cancer Research UK, London (now the Crick Institute) and at the National Institutes of Health, Bethesda. Sophie focuses on genome technology and the growing impact of genomics on our daily lives. MODERATOR: HEATHER DEWEY-HAGBORG Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, Shenzhen Urbanism and Architecture Biennale, the New Museum, and PS1 MOMA. Her work has been widely discussed in the media, from the New York Times and the BBC to TED and Wired. She is an Assistant Professor of Art and Technology Studies at the School of the Art Institute of Chicago and a 2016 Creative Capital award grantee in the area of Emerging Fields. INTRODUCTION: DANIEL GRUSHKIN Daniel Grushkin is founder of the Biodesign Challenge, an international university competition that asks students to envision future applications of biotech. He is co-founder and Cultural Programs Director of Genspace, a nonprofit community laboratory dedicated to promoting citizen science and access to biotechnology. Fast Company ranked Genspace fourth among the top 10 most innovative education companies in the world. Daniel is a Fellow at Data & Society. From 2013-2014, he was a fellow at the Woodrow Wilson International Center for Scholars where he researched synthetic biology. He was an Emerging Leader in Biosecurity at the UPMC Center of Health Security in 2014. As a journalist, he has reported on the intersection of biotechnology, culture, and business for publications including Bloomberg Businessweek, Fast Company, Scientific American and Popular Science.

Studio Banana TV interviews Italian photographer Luisa Lambri on the occasion of her participation at the 12th Venice Architecture Biennale. Architecture is a favorite subject for the Italian photographer, who approaches the houses subjectively and patiently. ‘I am photographing myself being there,’ she says.

Philippe Rahm, born in 1967 studied at the Federal Polytechnic Schools of Lausanne and Zurich. He obtained his architectural degree in 1993. He works currently in Paris (France) and Lausanne (Switzerland). In 2002, he was chosen to represent Switzerland at the 8th Architecture Biennale in Venice and is one of the 20 manifesto’s architects of the Aaron Betsky’s 2008 Architectural Venice Biennale. He is nominee in 2009 for the Ordos Prize in China and was in 2008 in the top ten ranking of the International Chernikov prize in Moscow. In 2007, he had a personal exhibition at the Canadian Centre for Architecture in Montreal. He has participated in a number of exhibitions worldwide (Archilab 2000, SF-MoMA 2001, CCA Kitakyushu 2004, Frac Centre, Orléans, Centre Pompidou, Beaubourg 2003-2006 and 2007, Manifesta 7, 2008, Louisiana museum, Denmark, 2009). Philippe Rahm was a resident at the Villa Medici in Rome (2000). He was Head-Master of Diploma Unit 13 at the AA School in London in 2005-2006, Visiting professor in Mendrisio Academy of Architecture in Switzerland in 2004 and 2005, at the ETH Lausanne in 2006 and 2007 and he is currently guest professor at the Royal School of Architecture of Copenhaguen. He is working on several private and public projects in France, Poland, England, Italy and Germany. He has lectured widely, including at Cooper Union NY, Harvard School of Design, UCLA and Princeton. Matthias Böttger, born 1974, studied architecture and urban planning in Karlsruhe and London. He heads the Berlin-based think-tank “raumtaktik — spatial intelligence and intervention”. 2007/2008 he was Visiting Professor for Art and Public Space at the Academy of Fine Arts in Nuremburg. In 2008 he was commissioner and curator for the German contribution “Updating Germany— Projects for a Better Future” to the 11th International Architecture Exhibition in Venice. 2009 was a fellow at the Akademie Schloss Solitude in Stuttgart. Currently he teaches „Art + Architecture“ at the ETH Zürich and 2010 he runs the exhibition space aut - Architektur und Tirol - in Innsbruck and curates the series aut.raumproduktion.