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Have you ever been to an exhibition that changes your heart rate, slows you down, and inspires you to take a nap with a cat? Such was our experience at Zeinab Saleh's exhibition at the heart of Tate Britain, part of the Art Now program, which welcomes contemporary young artists in one of the many rooms of the museum.We discuss the notion of quiet, how it is dismissed in our culture, and how the artist not only embraces it but also almost magically creates it through mixed media paintings and drawings. A simple setting eliciting mindful dreaming and sheer presence.The exhibition was curated by Amy Emmerson Martin (assistant curator) and Nathan Ladd (curator).For more information visit the Tate's webiste: https://www.tate.org.uk/whats-on/tate-britain/zeinab-saleh@exhibitionistas_podcastMusic: Sarturn

Connect with Chenchao Liu on LinkedInVisit SILREALs websiteVisit Asia Business Podcast Full show Transcript below Summary and TimestampsOverviewIn this episode of the Asia Business Podcast, host Art Dicker interviews Chenchao Liu, the founder of SILREAL, a management consulting firm focusing on healthcare and Sino-European business exchanges. Chenchao shares his journey from China to Germany, his transition from science to business, and the mission of bridging the healthcare sectors between China and the West. They discuss the unique collaboration opportunities in pharmaceuticals and healthcare services between China and Europe, navigating political barriers, and the impact of regulations like IP protection and data sharing laws. The conversation delves into the challenges and trends reshaping the industry in China, including the aging population, health consciousness post-COVID, and the dynamics of foreign companies adapting to China's volume-based pricing system. Timestamps00:00 Introduction to the Episode and Guest00:41 Chenchao Liu's Journey from China to Germany and Founding SILREAL01:49 Bridging Sino-European Business in Healthcare02:54 Exploring Recent Projects and the Impact of SILREAL's Work05:03 Opportunities for China-Europe Collaboration in Healthcare08:20 Navigating Political Barriers in Sino-European Relations16:23 The Impact of Regulations on Cross-Border Healthcare Collaboration21:15 Macro Trends Shaping the Healthcare Industry in China31:16 Concluding Remarks and How to Connect with Chenchao Liu TranscriptArt: [00:00:00] Welcome everybody to another episode of the Asia Business Podcast. I'm your host, Art Dicker. Today we have the absolute pleasure of being joined by Chenchao Liu. Chenchao is the founder of SILREAL, a management consulting firm specializing in the healthcare sector [00:00:15] and fostering Sino European business exchanges.Art: Welcome Chenchao.Chenchao: Thank you, Art. Thank you for having me. Art: Yeah, we've been talking. We've been talking a few times over the last couple of years or so, and [00:00:30] it just seemed natural that we do a podcast. We've had long conversations, the two of us just talking about some of these things we're going to get into.Art: So it's, like I said, it's natural. We just record an episode about it. And, you were born in China, but you've lived in Germany for more than 20 [00:00:45] years now. And I was wondering if you could share a bit about your own kind Your own story behind the founding of SILREAL and then also help the audience understand a bit more kind of work you do to bridge the European Chinese markets in life [00:01:00] sciences.Chenchao: Yeah, thank you, Art. Thank you for really inviting me and I respect and follow your work for a while and appreciate that I could share some of my story here. Yeah, as you mentioned, yeah, I was born in [00:01:15] China in Qingdao, historical city connected to Germany. And I came to Germany when I was 13. So I went to elementary school, and I studied chemistry in Munich.Chenchao: And had very devoted concentration interested into [00:01:30] science and was very active. I high school already for Olympics and later for Mustang Institute ATH. But I realized later that due to the internship I did with consulting firms that I'm really belong to the business world.Chenchao: I [00:01:45] want to work with people. I want to be in real impact making. And yeah, so I after graduation, I went to consulting firm, I did a lot of projects for hospitals and also for private equities [00:02:00] in 2017 when I realized that I wanted to Do more things with China. I said to myself look into the mirror.Chenchao: You cannot just look like this way. It's better that you could do something content wise with the country [00:02:15] where you're from. And yeah, I started to advise some Chinese firms who come to Europe and vice versa. And yeah, and what is really entrepreneurial journey. Nobody has taught me how to build business, so really try and [00:02:30] arrow and yeah, I think it's combination of hard work, persistent and also support of others.Chenchao: We have thright and have again, some traction, have project from federal menstrual health and the state governments help some big [00:02:45] pharma like AstraZeneca. And yeah, I really want to be the bridge in life science healthcare between China and the West. Art: And can you talk a bit about some of the sort of the projects that you've worked on recently and[00:03:00] or so, some, so give the audience a really some context for some actual to the extent you're allowed to talk about it, but I know also we'll get into it.Art: You've got quite a. Number of wonderful endorsements on your websites from the projects you've worked on, but just [00:03:15] to give the audience a bit of wrap their heads around the actual kind of consulting work and so forth that you do. Chenchao: Yeah, thank you, Arthur. So basically, we have three main sectors of industries.Chenchao: We serve for health [00:03:30] care, life science and public sector. We have done digitalization project for health care providers in Germany. I helped them to modernize their 6000 employee. System of hrs and consolidate over [00:03:45] 20 entities. And also to transform how they track employee working time and management of the post recruitment retention.Chenchao: So other project we have done is really to bring [00:04:00] public and private sector together to tackle Corona diseases. To learn from each other between German China when it's come to for example, COPD. I think the strengths we can bring here is really to understand the [00:04:15] policy, understand the legal justice nature.Chenchao: But also to bridge, what does it make the difference between how Germany and China handle different disease areas. And lastly, as I mentioned for the government public sector we do [00:04:30] oftentimes delegation trips for ministry level for experts from insurance for hospital representative to really to understand how big countries like China, Israel and the U.Chenchao: S. Playing around in the [00:04:45] digitalization. And that's why I think it's very crucial especially in this age to have a active dialogue because I do think, as you mentioned, the before the trip for by the chancellor, there's this avenue of collaboration [00:05:00] is still very strong within the healthcare.Art: Yeah, let's jump into that, jump ahead into that question. The, in an ideal scenario, devoid of political barriers, and we'll get into those, maybe some of those political barriers in a 2nd, but, what are some of the [00:05:15] unique opportunities for collaboration between China and Europe in the, pharmaceuticals, biotechnology.Art: Health care services, because it seems like there's you've already hit on it a bit. There's naturally a lot of synergies. There's just by listening to some of the projects [00:05:30] you've supported so far. So without politics in the mix, what would be the, some of the more of those kind of natural synergies between between China and Europe in these sectors?Chenchao: Yeah, thank you. I think due to a large population, 1. [00:05:45] 5 billion in people in China, and it's already is the second biggest market in healthcare and pharmaceuticals and it's posed to become the biggest one but if you look at the per capital expenditure China is still lagging very [00:06:00] far behind.Chenchao: It's only around 10 percent or less, Of that expenditure per capita compared to European level. So there's a lot of to catch up and I think aging population China and also very high pressure for, [00:06:15] a younger generation birth rate. So there's a lot of issues within the society and also the plague by the chronic diseases in various forms.Chenchao: I just mentioned COPD, but there's also other ways and the cancer [00:06:30] and, uh, heart related diseases. And I think this is also very important after the COVID, like how to also in the community diseases are prevented. Measurement and the very [00:06:45] important role China can have. So I think this is really laid the ground for multinationals to really look into China and the force of their expansion.Chenchao: And despite all the attention we have touched on, I think there's a lot [00:07:00] of company. Are just announced even further and stronger presence in China, like as Seneca's new research facility in Hong Kong. In Heim also mentioned the billion of investment [00:07:15] going on. So there is still very strong sense that the market due to the high population, due to also the infrastructure because China is still at home.Chenchao: of a very strong, supplier for biosimilar and and [00:07:30] APIs for big pharmaceuticals around globe. So it's very crucial to have a healthy relationship with China to keep supply chain safe and secure. Art: Yeah, and that's actually in contrast a little bit to what's been going on in the U. S. [00:07:45] these days.Art: It's more and more Chinese companies are potentially Congress is in an election year here in the U. S., as is looking at more and more Chinese companies. And now that's extended to the bios and pharmaceutical sector as well, which is, I guess people thought might [00:08:00] happen, but maybe not so quickly.Art: So that's it seems like Europe is not it is quite different, which is I guess not surprising but that's been in the news here in the U. S. too. And it's living here in San Diego, California, where I know a lot of those, the Chinese companies and U. S. companies, [00:08:15] this is a place where they work together.Art: It's I don't know, a little bit disheartening to see that happening, but but I guess there's. Anyway, I won't get into the concerns but now that we do put let's say, we put politics to some of the tensions into the mix. How is that starting [00:08:30] at all to influence cooperation between China and Europe?Art: Like I said, China in the US, I think that's already definitely having an impact, but do you see that having an impact at all between China and Europe? Yeah, definitely. Are there are [00:08:45] big impacts. The question is like how, long term and how quantifiable other impacts. I think everything is put into perspective.Chenchao: I think compared to other industries health care amount climate are still Thank you. [00:09:00] Very strong, constructive avenue of collaboration, but I do agree with your assessment. There's a difference between US China, European China relationship, and I think underlined by the trip by Chancellor Scholz from [00:09:15] Germany with three ministers and all state secretary level people, three days.Chenchao: Very long stay. So it's a really strong signal not only to China, but to the rest of the world that we need a very strong dialogue. We need a very [00:09:30] strong, and the Stanford, even we cannot agree on everything on every issues. But I think this kind of. Very pragmatic approach that we need China also to solve major conflicts in Middle East in Ukraine, Russian conflict, [00:09:45] and others.Chenchao: I think this is just to serve, the best interests of the people who ultimately, At the say in the democracies in the West. So I think when it's come to industry politics I do believe that, of course [00:10:00] Europeans want to, have the access to Chinese market. At the same time, it's very critical.Chenchao: Look at at, also from the legislative and legal point of view, China. The IP laws, the cyber security laws, and also the [00:10:15] limitation data transfer. These are all the problems, especially also for R& D intensive industry like pharmaceuticals, biotech. And so this is a strong position for European part to get China more to create [00:10:30] a, a fair competition environment.Chenchao: So this has been a very strong agenda of the trip as well. I personally, as I said, I was organized of the delegation trip myself for the ministry level. And last year I was [00:10:45] invited for the delegation trip by the climate minister from Germany. So I do see a very strong willingness to collaborate.Chenchao: And to willingness to, to collaborate in field where common dialogue is [00:11:00] possible. And I'm very hopeful to see, and just to stay by Germany in June the economy, Mr. Habeck is going to China as well. So I do think that's within this year very crucial both to the election, as you mentioned, yes.Chenchao: [00:11:15] But also some very highly watched elections within the states in Germany. So yeah so China West relation has always been very significant. Art: Yeah, that's, I think there's, that's a great point. Look at that three days and high [00:11:30] level visits like that. And that's really, I don't think there's many other countries that do that.Art: So of course, certainly not the United States, but there's, that's that As you said, really would show a sign of commitment to the relationship and the markets [00:11:45] opportunities both ways even. And I did also read that Chancellor Schultz said that IP protection, you hit on it.Art: There is was maybe the chief concern of German companies. And I wonder if. We can get into that as a bit of a side [00:12:00] topic. Is that a is that still a concern for German companies in these sectors we've been talking about? Or is that more, let's say, in some of the traditional auto or other sectors that German companies have been also quite strong in is that I'm [00:12:15] talking about IP protection in China.Art: I know, because, of course, I practice law cross border there, and I can certainly. The audience, if they've been listening to me, know that I think that IP protection in China has gotten significantly better than it was [00:12:30] when I first started going over there. But I, like I said, Chancellor Schultz said that's still a primary concern for German companies.Art: Do you see that in your industries as well? Chenchao: I think one say it's reputation is hard to build but easy to lose, [00:12:45] right? So once you have a not very good reputation when it comes to IP protection, IP enforcement, and it's very hard to build back the reputation. I do agree on legislative level, China has already made progress and [00:13:00] had also You know enforce the law and to punish some of the companies who infiltrate the IP so I think I totally agree with your assessment, but the other hand, when it's come to all our confidence in Chinese market, when it's come to [00:13:15] IP, it is still very low slope recovery. So that's concern remains. And because there's also the effect of those high pace of regulatory changes in China, right?Chenchao: So we, we see A new laws coming in rapid [00:13:30] speed, there's no time to read, to digest, to understand the comment, not like the legislative cycles we know from the democratic system in the U. S. or in Europe, in the European Union. Everything's slower, people have time to debate, to [00:13:45] comment, and to see the final draft of the law might be totally different.Chenchao: In China, you have to really keep up the pace to understand the new laws, what is impact for the business. And I think the other very current issue art is also [00:14:00] when it's come to espionage law in China, and this has also direct. Impacting the pharmaceuticals company because the audit and the inspections for this kind of factory and sites who are [00:14:15] producing products directly for the European U.Chenchao: S. market are scrutinized. And but not in the direct way. It's just, as I said, a lot of confidence, fear of to be imprisoned, fear of to be Questions on the [00:14:30] airport that's why many inspectors are refusing to fly to China to do their audit job, which is very concerning because even there's nothing happened alone, this kind of angst, this kind of uncertainty is not very good [00:14:45]confidence for business.Chenchao: And we know if their sites and the manufacturer entities are not a certified, they are not allowed to sell products in the board. And. This doesn't only harm business, it just can harm patient's health, safety, [00:15:00] and patient care. So we really have to act fast and to come to a really good pragmatic agreement.Chenchao: So there's reinstalled the confidence. I think at the end of the day, we cannot regard business or economic ize only on paper, [00:15:15] on legal. But rather on people's perception, we have to regain the confidence we have to regain that China is a reliable partner and not just being said, not just put on paper, but lived by [00:15:30] example.Chenchao: I think this is also an effort we, both sides, need to make an effort. Art: Yeah, and I see that on the U. S. China side as well, there's a perception and, it's hard to say exactly [00:15:45] what the reality is, but there's a perception. That recently, especially that it's not safe for executives to travel to China.Art: And even the U S state department has put out a travel advisory last year about that did warning executives [00:16:00] to, from, for traveling from the U S to China that they may get questioned or may not be able to come back on the exact flight they had originally planned and so forth. So even if those concerns, or even if that's not exactly the way it is in reality.[00:16:15]Art: There's those perceptions, like you said, and that affects real business decisions and planning for investments and audits, like you said it does affect things. And I'll stick with regulations because you mentioned the anti espionage law and, a lot of that has also to do with [00:16:30] some of the.Art: The data regulations that come out, and those have also come out and been implemented very quickly and almost the regulators are trying to catch up because companies have concerns. How do I implement the PIPL in my business? And this doesn't [00:16:45] add up and this doesn't make sense. And the regulators, particularly the cyber security administration there, they've had to.Art: Been in catch up mode, I think, especially the last couple of years. So how have these regulations, of course, Europe is very in Germany, and I'm very familiar with [00:17:00] GDPR and how have these regulations for especially the PIPL in China, the data protection law, how has that affected cross border healthcare collaborations and data sharing recently?Chenchao: Yeah. Thank you, Arda. I think this is [00:17:15] very crucial questions. I think in that field is very also innovative, new, of course, the get challenged by the industries, big tech companies but the AI act, digital market act. So there's a lot of initiative [00:17:30] legislations where your European union employs to be very on the frontier of the regulation of the digital era.Chenchao: GDPR has been for a long time. I think it is very restrictive law. It's protects [00:17:45] the data very strongly, and it's also becomes even, people criticize to be very bureaucratic to be very, noisy. But somehow in the international level, it's also receives a positive [00:18:00] example set by the European Union.Chenchao: This is when it's come to China, also some positive thing to, to tell about the China because the privacy law. It has been improved, has been introduced, and also follow some of the [00:18:15]patterns by GDPR as a good leadership in that regard. But again, the law is only has its value when it's enforced, right?Chenchao: So this is a discrepancy, I think, not only a problem China faces, but in many countries [00:18:30] as well. But in that regard, China is definitely doing better. But, and also there's a concession, I think, also due to the recent diplomatic warm up that China allows data outflow again of company related data for big [00:18:45] companies.Chenchao: I think this is very important to rebuild the trust, rebuild the confidence. I think, similar to the topic of the capital outflow, very sensitive, but also very important topic. And because China need to [00:19:00] have confidence and the favorite investors and company. So I think this was the right step.Chenchao: And I do think this has to be even more in the long term to be rebalanced, renegotiated. When it comes to other legislations as you mentioned, [00:19:15] espionage law, I think in general speaking they are very, of course follow a certain pattern of, what happens in the U. S.,Chenchao: Following the 9 11 Patriot Act. So China tries also to have very strong [00:19:30]regulations and legislative, toolboxes to, to survey and also monitor citizens, companies, and to have very strong executive powers in case of unseen danger for the national security.Chenchao: But the [00:19:45] law is, it's very expensive and very widely weak interpreted. And this is also led to the suspicion and also the threat and by people who read the law just to be very hard to [00:20:00] appropriate when which case applies, which not, I think it does need more concretized formulation to make sure that, no more operations, especially in the very crucial areas in pharmaceutical [00:20:15] manufacturing are not hindered and prohibited.Chenchao: And because I think China as a nation of a modern industry is very keen to become a leadership in digital [00:20:30] health in, in, in clinical trials providers. And also to be, very strong out licensing production site. So China itself need to say a very open environment. And I think the government is more and [00:20:45] more keen to understand that it's not just do a favor for a foreign company, but more and more it's actually very imperative for China.Chenchao: For the Chinese firm to succeed on the global stage, Art: that's a good point. That's a [00:21:00] good way of putting it that, that, maybe in some ways it felt like the regulations are there to protect local Chinese companies, but at some point you don't want to keep protecting them if it means, if it prevents them from becoming globally competitive.Art: So we, and we [00:21:15] touched on the. The market opportunities a bit and some of the macro trends that are shaping the industry and the opportunity there in China. But I wanted to go back to that a bit still. There's an aging population in China and there's also a global increase in kind of [00:21:30] the health consciousness post COVID, especially in China.Art: I noticed when I was living there. So what macro trends do you believe are continuing to reshape the industry in China and pulling. Foreign companies to, to keep working there and keep looking for [00:21:45] opportunities. Chenchao: Yeah, I think China has been facing multiple fronts of challenges, right? I think the big factor you just mentioned is the COVID wave which the implication repercussions are still to be failed and to be seen [00:22:00] and to be recovered.Chenchao: And we have a lot of issues within this company and, we have very strong loss confidence in the stock market in Hong Kong. Almost two digits trailing off value was webbed out and [00:22:15]we have a problem with the company who don't want to go IPO at all. We have property market is collapsing which makes up to almost a one fifth of the GDP.Chenchao: So there's a lot of big issues within the [00:22:30] company within the country. And we have a declining population, we, the population already picked and not only that the number, but also, especially we're talking about an area in India, the population is still very young there under [00:22:45]30 where here is aging very rapidly.Chenchao: And and then also, I think this is something which people hardly want to talk about. Is, we know that the government is very powerful, where it's strong and very directive. But [00:23:00] once you come to people's reproduction the limitation is also to be observed, right? So you cannot dictate everything.Chenchao: And so it's very important to create a society and environment where people feel safe, feel protected, feel [00:23:15] supported to have children. And also to cope with the fact, okay, what do we do as government, as a society, if the birth rate is not increasing, so we have to make people more productive to make sure that we create the opportunity [00:23:30] for people, especially in the health care sector, when it comes to care nursing, I think.Chenchao: And we have a lot of things to catch up when it comes to the systematic education where already a lot of things have been, transferred and learned from the West, especially when [00:23:45] it comes to machinery and automobile, but now it's have to shift more to health care and service areas. And which is already taking place, and this is why China needs open dialogues, open collaboration [00:24:00] with us.Chenchao: It's not only just keep the markets open, but keep the people safe, keep the patients served. And this is something we have to have a longer run, longer view to make sure this is happening. I think this is a very, [00:24:15] pressing issue the Asian population. But I do think, we, we can create a system where it's also the, questions linger in the second level when it's come to the problem of who call, the residency.Chenchao: There's [00:24:30] come to the issue like universal income, and it's a very big disparity of wealth disparity of big. So this are all connected dots, when it's come to the question why people don't want to give birth, why we don't have confidence in [00:24:45] the country to thrive and So I think this is take a long run to, to rebuild everything.Chenchao: But I think it's very good start to really, to ensure very valuable and needed jobs like nursing, healthcare professionals, [00:25:00] and also to tackle the problem of youth unemployment. Art: Yeah, lots of macro challenges there. And it's you're right. The, also the government there, it takes some somewhat of, I guess you could call it like a [00:25:15] paternalistic kind of approach in some ways it doesn't, in some ways it's very hands off, maybe two hands off, but one way it does take the a very, It does get very involved, and especially compared to the U.Art: S. where, the U. S. where health care costs are pretty, pretty out of [00:25:30] control. China has this volume based pricing system to try to control health care costs as best as it can. I know I've used the public health system in China and some of the public hospitals, and I'm amazed at how inexpensive the costs [00:25:45] are.Art: Now, of course, if you're looking, if you're going into the hospitals there in Shanghai, you see they have this very expensive equipment. But they're using it at a mass production kind of scale. You use a CT scan there. It's like a factory. They're getting people in and out. [00:26:00] So I wonder for at least maybe going back to the volume based pricing that a lot of the government requires for firms, including foreign firms that are doing business there.Art: How have foreign firms, let's say from Germany or the EU how have they [00:26:15] struggled with that policy? In, in, In their market approach in China, or maybe they've just learned to adapt to it, right? Maybe it's more similar to some of the pricing policies that they've faced in Europe. The US, of course, is [00:26:30] those companies probably face less of that.Chenchao: Yeah, I think this is a very interesting and impactful for questions. And when it comes to access to healthcare providers and [00:26:45] access to the best solution, innovation and pharmaceuticals. So I think when it comes to procurement strategy, Chinese government, and this is also where you see, central government's power compared to capitalism driven forces in the U.Chenchao: [00:27:00] S. Where, 18 percent GDP are spent on healthcare, where a lot of money is spent, but the outcome is not where we, good compared to much of the cheaper system in the European Union. But when it comes to China, I think there's a lot of reforms happening, [00:27:15] for decades.Chenchao: We have different reforms of Chinese FDA to national it got products and administration. So a lot of things have been changed. And I also, over the 30 provinces in China have been also consolidated to [00:27:30] one central pricing negotiation scheme within central government, which also voice.Chenchao: It's a provincial government competing each other and to set a different level of pricing, which can not be benefiting the patient or [00:27:45] hospital system. So the power of central government negotiates on pricing is very huge. And in China, for many in therapeutic areas, we already see the lowest price.Chenchao: Globally, even lower than some [00:28:00] African countries. So China is very strong when it comes to pushing the price down over 90%. Did a deduction reduction is not a rare. So the questions as you ask, what does it mean for their foreign companies? I think [00:28:15] still many companies, of course, they fall. They say, okay, under certain price, we don't want to play anymore.Chenchao: But big names and the big companies still being not only, I think, just to be in the [00:28:30]market, to please the government, to really be not screwing in nice. It's also because a question of how long the view you took at it. So because I think big companies operating the more strategic long term in decades, not in [00:28:45] years.Chenchao: So they know that it's very important to stay within the system. And they also know the system can work against them in short term, but it can also improve in favor of them in short term. Because Chinese systems is always [00:29:00] dynamic and very flexible. And and also to be fair Chinese population is huge.Chenchao: And that's why even the price is low, even the, perfect margin percentage wise is low, but the absolute number is still [00:29:15] enormous. And I think the second point, Art, is also to mention, because we have observed a strong censorship in China, of course, but, of course, the people and patients can still access a lot of [00:29:30] information outside of China.Chenchao: And they learn and know a lot about innovation happening in China. In the pipelines and the new introduction of drugs, and they want to get it, and they want to say, Hey, why we don't have it. Why is only [00:29:45] access in the Europe and American market. It's a pressure come also from bottom, and this puts the government also in the position to even they don't want to let in maybe too many foreign drugs because they want to promote [00:30:00] the domestic brands, domestic company, also because they're expensive, they don't want to, pay from the, insurance scheme, though, but I think this is very good.Chenchao: Dynamics to help to balance the power to not [00:30:15] only one side to dictate what is sold on the market, but also to make sure and, compared to the extreme in the U. S. That only let the market a player in company to dictate the price and the scheme. So [00:30:30] I think this is what China needs, a balanced approach.Chenchao: I think Europe has a pretty good example to set when we look at Denmark, Germany where it, there's a market dictation, but also government [00:30:45] monitoring. And I think this is a way to go. Art: Yeah, that makes sense. And that's a very good point. You mentioned about it's not just necessarily a top down approach from the Chinese government that they have to be responsive to what [00:31:00]their consumers or the constituents want and they hear about drugs overseas and say, why is that not available here?Art: That's a great point. I think by this interview, you've made it very clear with the audience that this is a topic you can speak very clearly about [00:31:15] and very and a real depth. And I wonder if, 1st, I would encourage again, people to check out your company and website, this great testimonials and endorsements from the companies that you've worked with.Art: It's really impressive, very big name companies. So I can tell the work you're [00:31:30] doing as a. Has a big impact and is getting results. And I wonder if people want to reach out to you. After listening to this show, what's the best way for people to reach out to you? Is it LinkedIn or is it go to your website or all of the above?[00:31:45]Chenchao: Yeah. for for asking. Yeah. I think I'm very easy, accessible to be found on LinkedIn or very easy c.liu@silreal.com. Yeah, happy to hear your [00:32:00] feedback and your comments also on the conversation right now I'm having with art and also have help to any endeavors that might come across.Chenchao: very much. Art: Yeah, that's great. We'll put a link up to the site on the show notes as well. [00:32:15] And and I'm sure people will reach out to you. So once again, Chen Chao, thank you for coming on. It's been a pleasure talking with you.   https://www.asiabusinesspod.com/

E whai ake nei, coming up on the show today! First Liam talks live about the Altered Ego Market with organisers Cinta and Gabby, taking place at Nice Goblins on the 20th of August. Frances then speaks with Tiakitai, Karen and Gervaise about the Ōwairaka Community Club a non-clinical, creative space and community in Mt Albert for adults with lived experience of mental health issues.  Liam also had a chat with Will Greeson and Iulia Boscu from Without Appeal about their ‘A Garden to Banish Loneliness' exhibition in the window gallery of studio 445. Frances also chats to Tawhai Rickard, the recent winner of the National Contemporary Art Award about his winning work. She then speak to Stepanie Post, director of Art Now about their new Art Walks, taking us around public art in the city.   And finally we have your art guide for Tāmaki Makarau this week.

We are talking with Daniel Fernández Pascual from the London-based duo Cooking Sections. Together with Alon Schwabe, they use food as a lens and a tool to observe landscapes in transformation. In a broader sense, they examine the systems that organize the world, through food.Their output manifest in a variety of media: using site-responsive installations, performance, and video. Cooking Sections offer a mode of cultural production that navigates the overlapping boundaries between art, architecture, ecology, and geopolitics.EPISODE NOTESTThis episode includes additional questions by Sarp Renk Özer & Jing Yi.Find more about Cooking Sections from https://www.cooking-sections.com/CLIMAVORE is a long-term project that sets out to envision seasons of food production and consumption that react to man-induced climatic events and landscape alterations.For hundreds of years, the wetlands north of Istanbul have been home to water Buffalo. Wallowland (Çamuralem) presents the outcomes of a series of metabolic surveys conducted at different times of the year. Buffalo kaymak, yoghurt, and sütlaç made from local producers are offered as tastings accompanied by field recordings and Buffalo songs aiming to enhance a cultural landscape on the verge of extinction. https://bienal.iksv.org/en/17b-artists/cooking-sections https://saltonline.org/en/2317/climavore-seasons-made-to-drift?q=cooking+sect%C4%B1ons The First Geography Congress (Turkish: Birinci Türk Coğrafya Kongresi), which was held in Ankara in 1941, separated Turkey into seven geographical regions, which are still used today. https://en.wikipedia.org/wiki/First_Geography_Congress,_TurkeySalmon: A Red Herring was first exhibited at Art Now, Tate Britain. As part of the project, Tate removed farmed salmon from its menus across all four Tate sites and introduced CLIMAVORE dishes instead.Set on the intertidal zone/seal-mara at Bayfield, CLIMAVORE: On Tidal Zones explores the environmental impact of intensive salmon aquaculture and reacts to the changing shores of Portree, Isle of Skye. Eyal Weizman is the director of the research agency Forensic Architecture at Goldsmiths, University of London where he is Professor of Spatial and Visual Cultures and a founding director there of the Centre for Research Architecture at the department of Visual Cultures. https://forensic-architecture.org/Tim Ingold is an anthropologist https://en.wikipedia.org/wiki/Tim_Ingold Lüfer Koruma Timi was a campaign to protect the bluefish of the Bosphorus, urging fisher people, restaurants, and the consumers to not fish, sell, or buy younger fish, until the fish reaches its proper growth to reproduce. https://www.yesilist.com/tag/lufer-koruma-timi/The Lionfish is an invasive marine species. https://www.wri.org/research/reefs-risk-revisited/atlantic-and-caribbean-lionfish-invasion-threatens-reefs#:~:text=With%20venomous%20spines%2C%20lionfish%20have,of%20fish%20in%20the%20region.This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on August 25th, 2021. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

This episode is part of a series of four live round tables that took place in the art fair artgenève in early March 2022. They took place in French and will be available soon in English as a dubbed version. Sexisme, Discrimination Positive et Qualité Artistique/Sexism, Positive Discrimination, and Artistic Quality Samedi 5 mars à 18 heures, stand A10 / Saturday, March 5th, 3 p.m. stand A10 avec Emilie Ding, artist, CH Delphine Bedel, artiste, éditrice et présidente de la Fondation Engagement Arts NL, NL Nathalie Herschdorfer, directrice du Musée des Beaux-Arts Le Locle, CH Alain Quemin, professor of sociology of art, GEMAS - Sorbonne Université / Institut Universitaire de France, FR Lancée depuis de nombreuses années aux Etats-Unis par rapport aux discriminations raciales, l'idée de la discrimination positive est de favoriser les femmes dans un certain nombre de domaines afin de rétablir une forme d'équité qui, de fait, n'est pas la règle. Cette action désormais présente sous différentes formes en Europe suscite cependant encore de nombreux débats. On le sait, la majorité des artistes sortant des écoles d'art sont des femmes et pourtant il nous faut encore déplorer leur plus faible représentation tant dans les musées que sur le marché de l'art, sans compter la conception masculinisée que l'on se fait de l'Histoire de l'art de ces cinquante dernières années. Depuis longtemps deux attitudes semblent s'offrir aux artistes femmes qui sont conscientes de cet état de fait, parfois fluctuant à l'intérieur même de leurs pratiques. D'un côté elles détournent l'assignation qui leur est faite de la cuisine, la maison, les travaux « d'aiguille », brandissant ces pratiques genrées pour en faire un étendard de liberté et de créativité assumée. De l'autre côté du féminisme, certaines préfèrent construire leur œuvre sans référence particulière à cette question, estimant que c'est la reconnaissance de la qualité de leur travail qui sera la plus efficace pour le changement. Avec des groupes plus activistes tels les fameuses « Guerrilla Girls », on se situe bien entendu dans la revendication nette d'une place plus importante que les femmes se devraient d'imposer à un système de présentation des œuvres dominé par les hommes. Doit-on, pour ces artistes femmes, prendre des mesures comparables à celles qui changent la donne depuis une bonne décennie en politique ou en matière de droits sociaux ? Ou peut-on au contraire redouter un effet pervers dû à un doute sur la qualité artistique qui devrait être seule prise en compte ? Texte de Frédéric Elkaïm conseiller en art, spécialiste du marché de l'art et fondateur de Art Now! --- Send in a voice message: https://anchor.fm/rawradical/message

This episode is part of a series of four live round tables that took place in the art fair artgenève in early March 2022. They took place in French and will be available soon in English as a dubbed version. La Financiarisation, la Valorisation Économique et la Représentation Médiatique/Financialization, Economic Valuation, and Media Representation Samedi 5 mars à 15 heures, stand A10 / Saturday, March 5th, 3 p.m. stand A10 avec Laurence Rasti, artiste photographe, CH Anne-Claire Bisch, directrice générale des Ports Francs et Entrepôts de Genève, CH Frédéric Elkaïm, conseiller en art, spécialiste du marché de l'art et fondateur de Art Now! CH/FR Les faits sont éloquents ! Si le prix record d'une œuvre d'art contemporain d'une femme se situe dans les dizaines de millions de dollars, le niveau maximal atteint par l'œuvre d'un homme doit être multiplié par dix ! Difficile alors pour certains de ne pas considérer que la « valeur artistique » des pièces réalisées par les artistes femme seraient inférieures à celle des hommes. On voit donc que la valeur « financière » surdétermine un biais de représentation négative beaucoup plus profond qu'il n'y paraît. Au-delà de ce constat, on peut également s'interroger sérieusement sur les analyses publiées dans les médias, qui amènent encore les « prescripteurs de l'art contemporain » (curators, collectionneurs, galeristes, responsables d'institutions, critiques d'art…) à établir la liste des « Top artistes » où les femmes sont reléguées à un petit vingt pour cent du panel. Ces chiffres ne signifient pas que le travail dynamique actuellement fait pour une meilleure validation du rôle des femmes manque d'efficacité. Mais il témoigne de la pesanteur d'un ancien système de validation du travail des femmes. L'inertie d'un mécanisme genré de reconnaissance qui s'inscrit dans l'Histoire de l'art est toujours bien présent ! Et au niveau des mécanismes purement économiques, la notion de « sécurisation » des transactions est évidemment à l'œuvre. En clair, la cote des femmes reste globalement largement inférieure à celle des hommes tout simplement parce qu'elles sont trop peu à être considérées comme les « blue chips » (les valeurs sûres) des maisons de ventes aux enchères et des grandes galeries internationales. Il est évident que la présence massive des hommes dans la direction des galeries ou des départements de ces grands acteurs du marché de l'art sont également des facteurs importants. Comment donc faire évoluer cet ensemble de phénomènes solidaires ? Peut-être en commençant à s'interroger de manière plus consciente sur les liens de cause à effet qui se nouent entre la valeur artistique, médiatique et économique de la pratique artistique des femmes… Texte de Frédéric Elkaïm conseiller en art, spécialiste du marché de l'art et fondateur de Art Now! --- Send in a voice message: https://anchor.fm/rawradical/message

Reporting live from Armonk, New York and Sandomierz, Poland, this is Thots on Art Now, the No More Biennials Report. We're in the studio with noted artist and very special correspondent, Jordan Nassar, who joins us to discuss ~the Vibe Shit, the boundaries of art, the saturation of biennials, our ol' Berlin days, and more!

This week's text is a review of ~Salmon: A Red Herring~, the Art Now show by Cooking Sections, at Tate Britain. Talking about my split feelings; between being a hardline cynic and wanting to be a Good Vibes Person, n how i liked this show against my will. Read the text here: thewhitepube.com/cookingsections

John talks with collector and philanthropist Patrick Sun. Patrick Sun founded Sunpride Foundation in 2014, with a goal to raise awareness for the LGBTQ community and to nurture a more equitable world through art. In 2017, Sunpride Foundation and the Museum of Contemporary Art, Taipei (MOCA) co-hosted Spectrosynthesis - Asian LGBTQ Issues and Art Now, the first LGBTQ-themed exhibition staged in an art museum in Asia. Two years later, the foundation and Bangkok Art and Culture Centre (BACC) presented Spectrosynthesis II – Exposure of Tolerance: LGBTQ in Southeast Asia, marking the largest-ever survey of regional contemporary art exploring lesbian, gay, bisexual, transsexual and queer creative history in Southeast Asia and beyond. Born and raised in Hong Kong, Patrick graduated from McGill University in Canada with a degree in business. Patrick started his career in the real estate development business in Hong Kong and founded his own company Kinwick Holdings Limited. Since, 2002, he has been active in promoting equal rights for the LGBTQ community in Hong Kong and Taiwan. Patrick has developed his own art collection since 1988, starting from his earlier interest in modern Chinese paintings to his recent focus on contemporary art. With an aim to support the LGBTQ community, Patrick’s collection comprises works from artists in the community or works that examine this theme. His collection includes works by Shu Lea Cheang, Sunil Gupta, David Medalla, Arin Rungjang, Ming Wong, Wu Tsang, Danh Vō and Samson Young, among others. Patrick is a member of Solomon R. Guggenheim Museum’s Asian Art Circle and Tate’s Asia-Pacific Acquisitions Committee. Most recently, Patrick was included in the 2020 edition of ArtReview’s Power 100 list, an annual ranking of the most influential figures in the contemporary art world, for his leading role in LGBTQ activism in Asia.

Ali Santana is a director and multi-disciplinary artist working with video, sound, collage, installation, and performance. Santana, a native Brooklynite is influenced by community, natural patterns, music and, ancient cultures. His work often explores topics related to Black American identity, observations of nature, and sensory perception. Ali's audio-visual works combine video art, performance and experimental cinema with booming beats, sound design and original recordings which are chopped, looped, and arranged in real-time to create an abstract method of storytelling that he dubs Boom Bap Cinema.Ali is an award winning educator having received the 2019 award for 'Innovation in Teaching Artistry' from the Association of Teaching Artists for his work with The Museum of Modern Art (MoMA) Teens Program. He enjoys sharing his artistic practice with students of all ages, teaching video art, collage, and beatmaking. He prioritizes accessibility, creative problem-solving and resourcefulness, emphasizing that anyone can use art as a tool for change.Visit his website: http://www.alisantana.com/Follow him @boombaye

Brett Volker and Steve Milton are the founders of Listen, a cultural innovation agency rooted in sound and music, but seasoned at the strategic use of cultural programs to make an impact. They work with brands and innovative artists to craft boundary-pushing creative projects. Learn more about them at www.wearelisten.comFollow them @wearelisten

Ziv Schneider is an artist and designer working with new and emerging technologies, often in the context of non-fiction storytelling. She is an alumna, former research fellow, and sometimes lecturer at NYU ITP.Ziv is currently a Creative Technologist at The Brown Institute for Media Innovation.Her recent project Sylvia is a storytelling experiment that disrupted the virtual influencer landscape for a short period of time. Unlike her “peers” who are designed to appear young forever, Sylvia was designed to age rapidly. She posted to Instagram from July to November 2020, and during these five months, her image aged five decades, from 30 to 80 years old.Check out @myfriendsylviaLearn more about Ziv's work https://zivschneider.com/Follow her on IG @zivschneider

Vivian Greven’s painting is based on an adept play with various notions of bodies, being and representation, with concepts of classical antiquity merging with pop art and digital image worlds. Vivian Greven’s painting is characteristic of our present times, which are shaped by the internet and social media and thus dissolve the hierarchies between original, reproduction and simulation. The art historical and contemporary historical nestling corresponds with Greven’s painterly treatment of surfaces. Parts of her painting rise as actual reliefs that encounter sprayed or painted fictions of bodies and space. The aesthetic of her pictures vacillates between the vocabulary of physical painting and the ethereal illusion of LCD windows.Learn more about her work http://www.viviangreven.de/

Yuge studied drawing under Chinese contemporary painter Kaixi Cui 崔开玺 and eventually moved into Video Art after earning her Master of Fine Art from the School of the Art Institute of Chicago. Yuge’s work addresses connections, isolation and longing across urban and natural environments. She creates immersive experiences through digital collaging and sculptural reliefs. Yuge also directs and curates the 3300-square foot 150 Media Stream, a unique public digital art installation in Chicago. In addition to her MFA, she holds a masters degree in Computer Engineering from Syracuse University.Yuge has exhibited her work nationally and internationally including the Grand Rapids Art Museum; Elmhurst Art Museum; Spartanburg Art Museum; Ars Electronica Center at Linz, Austria; Chicago Cultural Center; SIGGRAPH Asia in Kobe, Japan; Microscope Gallery in NY among many others. Yuge’s work has been featured in various publications such as the New York Magazine, HYPEBEAST, and The Atlantic Monthly. Yuge received the Santo Foundation Individual Artist Award in 2017 and Honorary Mention in the 2020 Prix Ars Electronica. She is currently an artist at NEW INC, the world's first museum-led incubator for art, technology and design founded by New Museum. Follow her work @yugezhou

Greg is the co-founder and CEO of Backyard Brains, an Ann Arbor-based company started as a neuroscience graduate student at the University of Michigan. Greg is a published neuroscientist and engineer and develops tools, curriculum and experiments that allow the general public participate in neural discovery. He is an award-winning investigator at the National Institute of Health, a Senior Fellow at TED and the recipient of the White House Champion of Change award from Barack Obama for his commitment to citizen science.Learn more about Backyard Brains here: https://backyardbrains.com/about/Follow @backyardbrains

In this episode, Peruvian artist Efraín Rozas talks with us about his career, projects, how he uses software programming to produce sound installations and his experience dancing with robots.-About Efraín Rozas-Peruvian performer/composer and robotics/software developer. His work was described as “A heady confluence of technology, culture and cognition” by The New Yorker, and “A deep psychonautic dive” by Wire Magazine. He will be resident at The Kitchen on 2021. He is recipient of the NY State Council on the Arts/ Wavefarm Media Arts Assistance Fund, Jerome Foundation/Harvestworks New Works Commission, and Knockdown Center (NYC) residency for time based art.He has performed at Lincoln Center, Kennedy Center, Brooklyn Museum, Queens Museum, Levitation Festival, Museum of Contemporary art of Lima and Central Park Summerstage Fania Records 50th anniversary. His album Roza Cruz was named one of the best Latin American albums of the decade by Zona Sucia and Estereofonía. Featured at CNN, BBC, Washington Post, Daily News, and NPR.He holds a PhD (NYU) on new integrations of body, mind and technology through ritual and rhythm. He published the book “Fusión: a soundtrack for Peru”, and released albums via Names You Can Trust (NYC), Futura Resistenza (Amsterdam) and Buh Records (Lima).He produces the radio show “La Vuelta al día en 80 mundos” nominated to best “World Sounds” by Mixcloud.com. He was a professor at NYU music department and directs Tangible: Sound Research Lab (Lima). Based in Lima and NYC. Learn more about Efraín at http://efrainrozas.com/Follow Efraín @efrainrozasListen to his project ¨I enjoy the world¨

Frédéric Elkaïm, Conseiller en art, fondateur de Art Now by Frédéric Elkaïm et formateur à l'ifage, dévoile le programme de la nouvelle formation "marché de l'art moderne et contemporain" 

In this episode, multidisciplinary artist, Saks Afridi discusses his collaborative projects with artisans and technologists across the globe to create sociopolitical and thought provoking works of art. These collaborations range from the creation of intricately designed traditionally woven rugs featuring UFOs to explorations with archaeological leanings, and something Saks calls "Sci-fi Sufism".-About Saks Afridi-Saks Afridi is a multi-disciplinary artist living in New York City. Saks’s art practice is two-fold: Collaborative and Personal. His personal work investigates the predicaments and perplexities of the life of an ‘Insider Outsider’. This is the practice of achieving a sense of belonging while being out of place, finding happiness in a state of temporary permanence, and re-contextualizing existing historical and cultural narratives with the contemporary.His latest project ‘SpaceMosque’, exists in a new genre he terms as ‘Sci-fi Sufism’. Here he explores the idea of ‘Spiritual Machines’ that fuse mysticism and technology, bringing humanity closer to understanding itself. He draws inspiration from Afrofuturism, South Asian folklore, Sufi Poetry, Islamic mythology, architecture and calligraphy. Saks likes to let the concept lead the medium he works in, often working with architects, artisans, modelers and fabricators to bring the work to life. He comes to art with a background in advertising, as a Creative Director on brands such as Mercedes-Benz, MTV and White Castle. He studied advertising at the Academy of Art and later sculpture at the Art Students League of New York. He speaks English, Urdu, Pashto and conversational Arabic.He is the proud recipient of 2 Gold Cannes Lion Awards, 3 D&AD Pencils, 2 OneShow pencils and a United Nations Award for Peace & Understanding. His work has also been featured in The New York Times, The Guardian, Al Jazeera, CNN and The Colbert Report.Learn more about Saks at http://www.saksafridi.com/Follow Saks @saks__

In this episode, we speak with video artist Kameron Neal who uses his body and personal narratives to explore intimacy and to challenge socio-political ideologies. -About Kameron Neal-Kameron Neal is a queer Black video artist, designer, and performance-maker based in NYC. Forbes described Kameron’s solo exhibition at Detroit Art Week 2019 as “an absurd escape that simultaneously provokes and entertains.” Kameron is currently in residence at CultureHub, The Public Theater’s Devised Theater Working Group, and the Bemis Center. As a Resident Artist at Ars Nova, he co-created MukhAgni, an irreverent multimedia performance memoir, with Shayok Misha Chowdhury; the piece was curated in Under the Radar 2020. His stop-motion self-portrait Liquid Love was awarded Best of Show at Digital Graffiti Festival 2017 where he returned in 2018 as an artist in residence. Kameron’s video art has been featured in music videos for Billy Porter and Rufus Wainwright. His work has also been seen in National Geographic, HYPEBEAST, Studio Magazine, and at BAM, New York Theatre Workshop, SohoRep, La Mama, Bushwick Starr, New Orleans Film Festival, Blue Balls Festival, the Type Director’s Club, Vox Populi, and Williams College Museum of Art.Learn more at kameronneal.comFollow Kameron @kamer_n

Episode 46: Hanging out IRL with friends since the pandemic has taken on new meaning! A recent outing to the new gallery ART NOW at Raffles Hotel offered the material for this episode, where we talk about students’ final-year projects on display, the challenges of mounting a fashion-meets-art exhibition, and recent fashion-meets-technology wearables that we have encountered, such as for the Samsung Galaxy Z Flip (#notsponsored!) and the Apple Watch.

In this episode, SOTA host Gabriel Barcia-Colombo speaks with David Goodman, former VP of Digital Development & Marketing at Sothebys about the role of media in the arts, his work at Sotheby's, his trajectory into the art world, and how art infiltrates many corners of everyday life.-About David Goodman-Experienced C-Suite executive who has spent 30+ years running divisions of global multi-media organizations, spearheading/overseeing growth, revenue, marketing, content creation, production, product/technology innovation/services, distribution and oversight of some of the worlds most recognizable brands and properties. Most recently he served as Executive Vice President, Marketing and Digital Development at Sotheby's where he and his team (advertising, technology, content creation, audience development, exhibition design/creative services, sponsorship, membership) were responsible for numerous initiatives which resulted in record growth in audience (physical/digital), revenue, e-commerce sales, on-line audience, content creation (web, mobile, social, video, print, AR/VR) while incorporating best-in-class technology into client-facing products and processes.

Today we speak with Mona Kasra, new media artist, interdisciplinary researcher and Assistant Professor of Digital Media Design at the University of Virginia. Mona uses her tech to explore, document, and augment nature, culture, theater and more. Together, Mona and Gabe discuss her trajectory into the arts initially through video experimentation, the significance and history of selfie-rallies, and her collaborative interactive and immersive VR projects which merge nature and music, and preserve and present traditional aboriginal dances.Projects DiscussedIt's Misogyny That's Humiliating Gif Animation (2013) Dwelling in the Enfolding (2020) created in collaboration with Matthew Burtner (composer)Embodied Cultural Practices & Immersive Media (2019-Present) created in collaboration with Luke Dahl (UVA Music Dept) and the indigenous community of Peppimenarti-About Mona Kasra-Mona Kasra is a new media artist, interdisciplinary researcher, and Assistant Professor of Digital Media Design at the University of Virginia (UVA).Her research trajectory involves exploring the confluence of media technologies, art, and culture, reflecting on the impact of emerging media on personal, political, and creative expression, and experimenting with affordances of such media for artistic practices of performance and installation. Currently, she is researching representational, affective, and creative possibilities of immersive media, and designing experimental and performative experiences in Virtual Reality (VR/360). One of her latest projects is in collaboration with music prof Luke Dahl where we will be exploring how motion capture, spatial audio, and interactive XR environments can represent and transmit embodied cultural practices. Mona was born in Tehran, Iran. I hold a Ph.D. in Arts, Technology, and Emerging Communication from the University of Texas-Dallas, an M.F.A. in Video/Digital Art from California State University Northridge, and a B.A. in Graphic Design and Visual Communication from the Art University of Tehran.Learn more about Mona at https://www.monakasra.com/Follow Mona @monaism

Morehshin Allahyari is an Iranian media artist, activist, educator, and curator uses technology as a philosophical toolset to explore the social, political, and cultural. Her projects are often research heavy and employ new media as a method of documentation and as acts of resistance. In this episode we discuss Allahyari's use of 3D printing to recreate and preserve cultural artifacts destroyed by ISIS, and her exploration and reframing of Middle-Eastern myths and folklore to include female/queer figures.Projects DiscussedMaterial Speculation: ISISShe Who Sees the Unknown-About Morehshin Allahyari-Morehshin Allahyari is an artist, activist, writer, and educator. She was born and raised in Iran and moved to the United States in 2007. Her work deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a philosophical toolset to reflect on objects and as a poetic means to document our personal and collective lives and struggles in the 21st century. Morehshin is the co-author of The 3D Additivist Cookbook in collaboration with writer/artist Daniel Rourke. Morehshin has been part of numerous exhibitions, festivals, and workshops around the world including Venice Biennale di Archittectura, New Museum, The Whitney Museum of American Art, Pompidou Center, Museum of Contemporary Art in Montreal, Tate Modern, Queens Museum, Pori Museum, Powerhouse Museum, Dallas Museum of Art, and Museum für Angewandte Kunst. She has been an artist in residence at BANFF Centre (2013), Carnegie Mellon University’s STUDIO for Creative Inquiry (2015), Autodesk Pier9 Workshop in San Francisco (2015), the Vilém Flusser Residency Program for Artistic Research in association with Transmediale, Berlin (2016), Eyebeam’s one year Research Residency (2016-2017) in NYC, Pioneer Works (2018), and Harvest Works (2018). Her work has been featured in The New York Times, BBC, Huffington Post, Wired, National Public Radio, Parkett Art Magazine, Frieze, Rhizome, Hyperallergic, and Al Jazeera, among others.She is the recipient of The Joan Mitchell Foundation Painters & Sculptors Grant (2019), The Sundance Institute New Frontier International Fellowship, and the leading global thinkers of 2016 award by Foreign Policy magazine. Her 3D Additivist Manifesto video is in the collection of San Francisco Museum of Modern Art, and recently she has been awarded major commissions by The Shed, Rhizome, New Museum, Whitney Museum of American Art, Liverpool Biennale, and FACT.Learn more at http://www.morehshin.com/Follow her Morehshin @morehshin

Multidisciplinary artist, Emilio Chapela uses a diverse range of mediums and media to delve into concepts around time. Together, Emilio and SOTA host Gabe BC, discuss cosmic micro waves, the Big Bang and its relation to white noise, and the construct of time.Projects DiscussedUsumacinta Noise PaintingsAsk GoogleThe Earth is dying… (from the "Ask Google" series)-About Emilio Chapela-Emilio Chapela is a visual artist with a background on mathematics, photography and the moving image. His work explores intricate connections between science, technology and ecology through the art practice. He enquires on notions of time and space that are manifested through various forces and agencies such as astronomical phenomena, light, gravity, rocks, plants, volcanoes and rivers.Challenging our fixed notions of time and space, Emiio aims to develop a practice that visualizes our bonds and connections with humans and nonhumans to reconcile with the world’s temporalities and movements.Emilio is interested in the poetic possibilities of the visual arts as a means to establish a connection with the world. Emilio enjoys writing, walking, hiking and stargazing, which are tools that he deploys in his art practice.Learn more by visiting http://www.emiliochapela.com/Follow Emilio @echapela

At State of the Art we strongly believe Black Lives Matter and stand firmly against injustice and abuse of any kind. This week we revisit our conversation with social-activist, Glenn Cantave. Originally recorded in November 2019, Glenn shares with us his personal story into activism, how and why he began working "outside of the system", and how his nonprofit, Movers & Shakers, employs AR to highlight the narratives of oppressed communities.Where to Contribute Your Support:The Legal Rights Center: Provides criminal defense and legal services for low-income people of color in and around Minneapolis, including arrested protesters.legalrightscenter.org/donateNational Bail Out: a Twin-Cities based organization created to deal with police brutality on an ongoing basis. NBO works on day-to-day abuses, extreme cases, and provides support for survivors and families of victims of police brutality. Their overriding goal is to create a climate of resistance to abuse of authority by police organizations and to empower local people with a structure that can take on police brutality and actually bring it to an end.cuapb.orgBlack Table Arts: Gathering Black communities through the arts, towards better black futures.blacktablearts.comCentro de Trabajadores Unidos en Lucha: CTUL is a worker-led organization where workers organize, educate, and empower each other to fight for a voice in their workplaces and in their communities.ctul.netBail Out Funds:New York: The Brooklyn Community Bail Fund is bailing out protestors and pressuring Governor Cuomo to take action on defunding New York City police. Donate at brooklynbailfund.org/donateLos Angeles: Los Angeles Black Lives Matter chapter is supporting organizers and fighting to adopt a "People's Budget" that reallocates police funding to vulnerable communities. Donate at blmla.orgNational: The Bail Project works nationally, including several cities where protests are taking place, including Los Angeles, Louisville, and New York City. Donate at bailproject.org-About Glenn Cantave-Glenn Cantave is an activist, performance artist and social entrepreneur who uses immersive technology to highlight the narratives of the oppressed. Through his non-profit Movers & Shakers NYC, he organized a pop up slave auction performance piece/AR exhibit, ran the NYC Marathon in chains, and is creating AR educational content focused on highlighting the narratives of marginalized communities. He is also the Creator, Executive Producer of We the People, a 360 documentary focused on activism in the age of Trump. His team has documented the actions of several New York based activist groups and captured footage from events such as the Trump Inauguration, Charlottesville Riots, and a White Lives Matter Rally in Tennessee. He is a TED Resident, incoming artist in resident at Eyebeam NYU Something un Residence and a member at New Inc, an arts/tech incubator with the New Museum. He will be speaking about his work at TEDx in Ghent, Belgium this December.

In this episode we speak to Melinda Lauw, Co-Creator and Artistic Director of Whisperlodge, an immersive performance of live ASMR. Melinda guides us through the history of ASMR, common misconceptions around ASMR culture, how Whisperlodge took a medium that solely existed online and brought it into the physical world with live experiences. Melinda also treats us to an impromptu ASMR experience on air.-About Melinda Lauw-Melinda Lauw is a Singaporean artist, curator and performance creator based in San Francisco.Melinda is the co-creator of Whisperlodge, an immersive spa for the senses. Combining her interests in immersive theatre and ASMR, Whisperlodge is based on the idea of providing ASMR in a live, one-to-one environment, translating the work of ASMRtists on Youtube, into a tangible, physical performance.Her co-creators are Andrew Hoepfner, creator of Houseworld, and Steph Singer, founder of Bitter Suite. Whisperlodge has completed two sold-out runs in 2016 and is currently preparing for more performances.Learn more at https://melindalauw.com/-About Whisperlodge-Whisperlodge is an immersive spa for the senses. Based on ASMR, Whisperlodge provides one-to-one live ASMR treatments for our guests in a safe and relaxing environment. Whisperlodge is designed to relax the body and mind, expand awareness and heighten the senses.Co-created by Melinda Lauw, Andrew Hoepfner, and Steph Singer, Melinda now serves as its creative director.Whisperlodge has performed 7 sold-out runs in New York, San Francisco and Los Angeles, and have been featured in The Atlantic, Buzzfeed, VICE, Nylon and TimeOut. Melinda will also be speaking at the Immersive Design Summit 2018 in San Francisco.Learn more at https://whisperlodge.nyc/Follow them at @Whisperlodge

Addie Wagenknecht uses the basic tech devices to create art that pokes fun at our expectations of and reliance on technology, and how these instances in turn influence our relationships with one another. Her conceptual installations have co-opted Roombas, cell phones, drones, surveillance cameras, and more.Projects DiscussedInternet of ThingsAsymmetric LoveBeautyDeep LabThe perfect cat eye with or without your Zoom date-About Adde Wagenknecht-Addie Wagenknecht's work explores the tension between expression and technology. She seeks to blend conceptual work with forms of hacking and sculpture. Previous exhibitions include MuseumsQuartier Wien, Vienna, Austria; La Gaîté Lyrique, Paris, France; The Istanbul Modern; Whitechapel Gallery, London and MU, Eindhoven, Netherlands. In 2016 she collaborated with Chanel and I-D magazine as part of their Sixth Sense series and in 2017 her work was acquired by the Whitney Museum for American Art.Her work has been featured in numerous books, and magazines, such as TIME, Wall Street Journal, Vanity Fair, Art in America, and The New York Times. She holds a Masters degree from the Interactive Telecommunications Program at New York University, and has previously held fellowships at Eyebeam Art + Technology Center in New York City, Culture Lab UK, Institute HyperWerk for Postindustrial Design Basel (CH), and The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University.Learn more at http://www.placesiveneverbeen.com/Follow Addie @WheresAddie

Lauren Lee McCarthy creates experimental performances that take a close look at our intimate relationships with smart devices and our interactions with one another in our increasingly tech-driven and surveilled existence. In this episode, we discuss a selection of Lauren's thought-provoking experiments, including LAUREN in which she takes on the role of an Amazon Alexa, Follower wherein she becomes a physical, IRL "follower," and more.Projects Discussed:LAURENFollowerLater Date24h HOST -About Lauren Lee McCarthy-Lauren Lee McCarthy (she/they) is an LA-based artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is the creator of p5.js, an open source JavaScript platform that aims to make creative expression and coding on the web accessible and inclusive for artists, designers, educators, and beginners. She is Co-Director of the Processing Foundation, a non-profit whose mission is to promote software literacy within the visual arts, and visual literacy within technology-related fields—and to make these fields accessible to diverse communities. She is an Associate Professor at UCLA Design Media Arts.Lauren's work has been exhibited internationally, at places such as Ars Electronica, Barbican Centre, Fotomuseum Winterthur, SIGGRAPH, IDFA DocLab, Science Gallery Dublin, Seoul Museum of Art, and the Japan Media Arts Festival. She's a 2019 Creative Capital Grantee, ZERO1 Arts Incubator Resident, and has previously held residencies with Sundance New Frontiers, Eyebeam, CMU STUDIO for Creative Inquiry, Autodesk, NYU ITP, and Ars Electronica, among others. She's the recipient of grants from the Knight Foundation, the Online News Association, Mozilla Foundation, Google AMI, Sundance Institute New Frontiers, Turner Broadcasting, and Rhizome. She holds an MFA from UCLA and a BS Computer Science and BS Art and Design from MIT.Learn more at https://lauren-mccarthy.com/Follow Lauren at @LaurenLeeMack

We speak with Claire Evans and Jona Becholt of YACHT, Young Americans Challenging High Technology, about their use of tech to produce albums and performances that push the boundaries of how music is experienced, produced, delivered, and more. Such projects include their Grammy-nominated album Chain Tripping created with the assistance of AI. In this episode, we speak with YACHT about the creative process to produce Chain Tripping, address misconceptions around their use of AI, YACHT's origin story, and Evans' recently published book, Broad Band: The Untold Story of the Women Who Made the Internet.-About YACHT-YACHT stands for Young Americans Challenging High Technology, but they're neither young nor all-American. YACHT is three people—Jona Becholt, Claire L. Evans, and Rob Kieswetter—working in Los Angeles, California, asking questions and answering them with records, texts, videos, objects, installations, scores and performances. They make as much as possible with as little as possible and learn by doing.Chain Tripping is their Grammy-nominated seventh album, composed by running their 18-year back catalogue through a scotch taped-together assortment of machine learning models and then reckoning with the results. Learn more at https://teamyacht.com/tour/Follow YACHT at @teamYACHT

We speak with producer and director, Jennifer Juniper Stratford who uses analog media to create video art pieces inspired by the look and feel of 80s and 90s late-night TV. Jennifer and SOTA host Gabe dive into topics ranging from analog broadcasting tools to Dungeons and Dragons, music videos, and more.Projects Discussed:MoCA LOTIONJohn Maus, Touchdown (music video)-About Jennifer Juniper Stratford-Jennifer Juniper Stratford is a photographer, director, and artist based in Hollywood, California.Her photographs have appeared in magazines and publications around the world. and she has directed science-fiction serials, video installations, title sequences, concert visuals, short films, and music videos.In 2004, she established Telefantasy Studios, an underground television studio and analog media lab. Inspired by decades of video art, late-night television, and experimental film Telefantasy Studios is dedicated to the creative use of analog broadcast tools on the verge of becoming obsolete and integrating them into the digital age. Her work has been exhibited, broadcast, and screened internationally and includes MoCA, The Hammer Museum, LACMA, The Getty, Cinemarfa, CPH:DOX, The Museum of the Moving Image New York, New Beverly Cinema, BAM Cinématek, and on public access stations across the United States, and various exhibitions in cyberspace. In 2016 she was awarded a grant from the Mike Kelley Foundation for the Arts.Learn more at http://telefantasystudios.com/Follow Jennifer at

Jon Han creates surreal, digital renderings that meld digital environs with painterly mark-making. His process combines contemporary digital tools, traditional painting, and collage to produce unconventional illustrations. Learn more about his trajectory into illustration after pivoting away from mechanics, his mission to stay authentic, and the process of illustrating for heavy-hitters like the New York Times, The New Yorker, and The Los Angeles Times by tuning in.-About Jon Han-Jon Han was born and raised in California. He has a BA of illustration, from Art Center College of Design. Jon currently lives and works out of Los Angeles, California.Learn more at http://jon-han.com/index.htmlFollow Jon @jonwrhan

Ghostwriter turned creative technologist, Ross Goodwin uses machine learning to develop fully automated writing machines. Goodwin's inventions have authored poetry, stories, and even film scripts. Tune in to learn more about his projects, what he calls "narrated reality," and how his creations are intended to be used as tools for human writers, singers/song-writers, authors, and directors. Select Projects:SunspringPlease Feed the LionsOn the Road-About Ross Goodwin-Ross Goodwin is an artist, creative technologist, hacker, gonzo data scientist, and writer of writers. Goodwin is a graduate of NYU ITP & MIT and a former Obama administration ghostwriter. He employs machine learning, natural language processing and other computational tools to realize new forms and interfaces for written language.Learn more about Ross at https://rossgoodwin.com/Follow him @ross.good.win

Today we speak with Can Büyükberber about his immersive installations inspired by philosophy, physics, and dreamscapes. Can's multidisciplinary approach experiments with virtual and augmented reality, projection mapping, geodesic domes, large-scale displays and digital fabrication.Projects Discussed:MORPHOGENESIS MULTIVERSE SERIESNOUMENON-About Can Büyükberber-Can Buyukberber is a visual artist working on immersive audiovisual experiences blurring boundaries between physical and digital spaces. His practice consists of experiments with virtual/augmented reality, projection mapping, geodesic domes, large-scale displays and digital fabrication. Driven by an interdisciplinary thinking which extends to art, design and science, his work focuses on human perception, exploring new methods for non-linear narratives and emergent forms. Received his Master’s Degree in Art & Technology from San Francisco Art Institute as a Fulbright Scholar and been selected to Autodesk’s Pier 9 and Adobe's AR Artist Residencies; exhibited at museums, galleries and media art festivals around the world, including ZKM, Karlsruhe; Ars Electronica, Linz; SAT, Montreal; Sonar D+, Barcelona; California Academy of Sciences and Exploratorium, San Francisco; Signal Festival, Prague; Akbank Sanat, Istanbul; Art Futura, Rome; MUTEK.JP, Tokyo; ZeroSpace, New York City; collaborations with musical artists such as Grammy-Award winning rock band Tool, Shigeto and Czech Philharmonic OrchestraLearn more at https://canbuyukberber.com/Follow Can at @cbuyukberber

Heidi Lee harnesses technology to create surreal headwear that walks the line between fashion, design, and fine art. Her whimsical pieces derive inspiration from mythology and have been worn by celebrities, including JLO, Madonna, Missy Elliot, and Lady Gaga. In this episode, we discuss her trajectory into millinery, her first creations, including an origami hat, and take a deep dive into some of her most recognizable designs, like the Endless Echo Hat.-About Heidi Lee-A RISD graduate and recipient of the 2012 MET Museum Costume Institute Accessory Design Award, Heidi Lee is a NYC-based artist and designer whose hats have featured in VOGUE, V, W, Visionaire, Dazed & Confused, MTV, SHOWstudio, NYT, New York Magazine, The Creators Project, etc. Exhibitions include The National Centre for Craft and Design (UK) "The World is Your Dressing Up Box" and MAD Museum’s “MAD Biennial: 100 Makers that manifest the cultural capital of NYC." Her clientele include JLO, Billy Porter, Anne Hathaway, Madonna, G-Dragon, Lady Gaga, Missy Elliott and Lauryn Hill.Learn more at https://www.heidi337.com Follow Heidi at @HEIDI_337

Watch the conversation along with visuals of the artist's work on youtube: here. The Bureau of General Services- Queer Division Paul Moreno on Instagram Paul's Book Recommendation: Song of Achilles by Madeline Miller    

Angelo Vermeulen has worked with astronauts, artists, and activists, integrating his love for science and artistry in his cross-disciplinary work. -About Angelo-Angelo is an artist, biologist and space systems researcher. In 2009 he co-founded SEAD (Space Ecologies Art and Design), an international transdisciplinary collective of artists, scientists, engineers, and activists. Its goal is to reshape the future through critical inquiry and hands-on experimentation. Biomodd is one of their most well-known art projects and consists of a worldwide series of interactive art installations in which computers coexist with internal living ecosystems. For the last ten years, he has been collaborating with the European Space Agency’s MELiSSA program on biological life support for space. In 2013 he became crew commander of the first NASA-funded HI-SEAS Mars simulation in Hawai’i. Currently, he works at Delft University of Technology, developing bio-inspired concepts for interstellar exploration. He advises several European space companies, and together with the LDE Center for Sustainability, he connects space technology and horticulture to foster innovation in global food production. He is also preparing a series of art/science experiments on board the International Space Station. Vermeulen has been (guest) faculty at universities across Europe, the US, and Southeast Asia. He is a Senior TED Fellow and was selected in 2017 as one of the Top 5 Tech Pioneers from Belgium by the newspaper De Tijd. His TED Talk about his space-related work has garnered over a million views.Learn more about Angelo at http://www.angelovermeulen.net/Tweet him @angelovermeulen

Maja Petric creates transformative spatial experiences using data-gathering technology and light installation. In this episode Maja shares her thoughts on what it is to be an artist, her journey from site-specific performance art to techart, and offers insight into her celestial-based work using AI and machine-learning. -About Maja Petric-Maja Petric creates immersive art installations that engage human connection with nature and other living beings. She combines light with new technologies such as artificial intelligence, computer vision and spatialized sound to expand the multi-sensory apparatus through which art can be experienced. Her approach is research-based, scientific and technical. Fusing these disciplines with art lets her impact people’s experiences in a way that would not be possible otherwise.She received a Ph.D. from the University of Washington (DXARTS) and a M.P.S. from New York University (ITP) on the topic of transforming the poetic experience of space through the experimental use of technology. Training at these pioneering institutions allowed her to explore various artistic methods to manipulate people’s senses through which they experience space cognitively and emotionally.Learn more at https://www.majapetric.com/Follow her @Maja_Petric

Drilling holes in grains of sand, creating larger-than-life seashells, organizing thousands of radio operators to say "hi" to satellites, these are some of the projects Dan Goods has brought to life in his creative attempts to make fathomable some of life's intricacies. In this episode, Dan discusses his work with NASA's Jet Propulsion Laboratory and how he employs art to engage and impart knowledge onto others.Artworks Discussed:The Big PlaygroundeCloudOrbitHI JUNO-About Dan Goods-Dan Goods is passionate about creating moments during which people are reminded of the gift and privilege of being alive. During the day, Dan works as a “Visual Strategist” for NASA’s Jet Propulsion Laboratory (JPL) where he leads an amazing team in developing new methods of communicating complex concepts into meaningful stories that can be universally understood. JPL's projects are exhibited in public spaces, art museums, and in outer space.In addition to his work with JPL, Dan collaborates on other creative problem-solving projects around the world. He is currently working with the Museum of the Future in Dubai and trying to imagine how one could simulate standing in the middle of a stadium with a million people singing.Dan was recently honored with NASA’s Exceptional Public Service Award. In the past, he was listed as “One of the most interesting people in Los Angeles” by the LA Weekly. In 2002 he graduated valedictorian from the graphic design program at Art Center College of Design. Dan currently lives in Altadena, CA with his wife and three kids.Learn more at http://www.directedplay.com/Follow Dan @iamdangoodsTweet him @dangoods

Estella Tse creates VR and AR experiences with pointed and conscientious consideration of the user's experience. In this episode, she shares insight on her VR recreations of art historical masterpieces using Google's Tilt Brush, including Gustave Klimt's The Kiss and Rembrandt's The Night Watch, her residencies, and just how she got involved in the world of virtual and augmented realities in its early days.-About Estella Tse-Based in Oakland, CA, Estella integrates emerging VR/AR technologies and visual storytelling into a new art form. Estella has been an artist-in-residence with Google, Adobe, Cartoon Network Studios, performs and speaks internationally. She strives to inspire new ways to connect, educate, and build empathy with her work in creative innovation.Her work has been featured on Forbes, CNet, The Australian, and more. Learn more at https://www.estellatse.com/Follow her @estellatse

Winslow Porter discusses his trajectory into the world of immersive installations and his use of tech to craft virtual realities rooted in narrative simulations intended to shift perspectives. Winslow was most recently involved in the production of Tree, a VR simulation that transforms participants into a rainforest tree, allowing them to experience the tree’s growth from a seedling to its fullest form and eventual destruction.Learn more about Tree here-About Winslow Porter-Winslow Porter is a Brooklyn based director, producer and creative technologist specializing in virtual reality and large-scale immersive installations. In 2014 he produced the Tribeca Film Festival Transmedia Award-winning documentary CLOUDS. Winslow formed studio the New Reality Company with Milica Zec in 2016, creating the critically acclaimed cinematic VR experiences Giant and Tree. Both were named designers in residence at A/D/O, a BMW sponsored design center in Greenpoint Brooklyn and selected as two of Adweek’s Top 100 creatives. In 2018, Tree won the Lumiere award for Best Location Based VR Short at Warner Brothers Studios in Los Angeles, the Most Innovative Award at Games For Change, two Telly Gold Awards for Use of VR and Social Responsibility in Branded Content, and the Webby People’s Voice Award for VR: Interactive, Game or Real-Time. Winslow Porter is New INC mentor and a World Economic Forum Cultural Leader.Learn more at http://newreality.co/Follow Winslow at @winslowturnerporteriii or @newrealityco

Sarah Rothberg chats with Gabe about her creative process working as a VR and AR artist, her journey from the world of poetry to interactive media art, how she incorporates memory into her immersive environments, and debates the use of "users" vs. "participants."Check out her latest show opening at bitforms gallery, 131 Allen Street, New York, NY 10002. On view February 06 - March 15, 2020.-About Sarah Rothberg-Sarah Rothberg is an interactive media artist who captures the interplay between technology, systems, and the personal, creating meaning through unique and idiosyncratic experiences that encourage new ways of thinking, understanding, and communicating.Sarah's work has been exhibited internationally at venues including Sotheby's S2 gallery, MUTEK festival, Miami Art Week, and bitforms gallery. She teaches new media at NYU's Interactive Media Arts and Interactive Telecommunications Program at Tisch.Sarah is a current member at NEW INC’s Experiments in Arts and Technology track (in partnership with Rhizome.org, funded by Bell Labs) Sarah is a adjunct faculty and a "Human-in-Residence" at NYU working on artistic applications of AR, avatar research, and VR as a tool for performance.In the past, she has been an artist-in-residence at Mana Contemporary, Harvestworks, and LMCC with her collective More&More Unlimited, and was an Engadget Alternate Reality Prize awardee. Currently, she is a featured artist in Apple’s [AR]T initiative, for which she co-created an augmented reality art lab that runs at Apple stores around the world.Learn more about Sarah at https://sarahrothberg.com/Follow Sarah @rothbergrothberg

Dr. Annette Doms is an art historian with additional degrees in archaeology and psychology. Her interests have toward becoming a specialist in digital art and the art market. Annette, runs Independent Contemporary Art Advisory (ICAA), established the first art fair dedicated to media art, UNPAINTED, and has built an extensive collection of digital art pieces which exist both in IRL and URL.Learn more about Annette Doms by visiting http://www.annettedoms.net/en/Follow her @annettedomsTweet her @Anette_DomsLearn more about ICAA here

Sophie Kahn uses a 3D laser scanner to create fragmented sculptures that captivate viewers through their haunting beauty and visual association with death masks. Kahn's technique emerges from an interest in the restriction of technology and the narrow agendas of its design; in other words, she uses devices in ways they weren't intended to be used. In this episode, she discusses her discovery of this medium which expanded her practice beyond photography, and shares insights on her latest series currently in the works.-About Sophie Kahn-Sophie Kahn is a digital artist and sculptor, whose work addresses technology’s failure to capture the unstable human body.She grew up in Melbourne, Australia, and is now based in Brooklyn, NY. She earned a BA (Hons) in Fine Art/History of Art at Goldsmiths College, University of London; a Graduate Certificate in Spatial Information Architecture from RMIT University, Melbourne; and an MFA in Art and Technology Studies at the School of the Art Institute of Chicago, where she was awarded a full tuition Trustee Scholarship.Her work explores the resonances of death in the technological image. It owes its fragmented aesthetic to the collision of the body with new imaging devices. The precisely engineered 3d laser scanner she uses was never designed to capture the human body, which is always in motion. When confronted with a moving body, it receives conflicting spatial coordinates, generating glitch. She outputs this damaged data as prints, video and hand-painted, 3D printed sculptures. The works that result draw inspiration from funereal and memorial sculpture, and appear to be faux-historical forgeries – or contemporary relics.Learn more at https://www.sophiekahn.net/Follow Sophie at @sophie_k_kahn

SOTA host Gabe Barcia-Colombo, visited the Big Easy this week to experience LUNA FÊTE, New Orleans' public festival of light, art, and technology. Produced by the New Orleans Arts Council, LUNA FÊTE first emerged in 2014 as a celebration of New Orleans creative industries. Now in it's sixth iteration, Gabe had the opportunity to speak with Lindsay Glatz, New Orleans Arts Council Creative Director and Curator of LUNA FÊTE, as well as two participating artists, Camille Grosse, and Courtney Egan. -About LUNA FÊTE-LUNA Fête is a visionary initiative created by the Arts Council New Orleans to demonstrate the power of art to transform communities. This free and open to the public festival of light, art, and technology celebrates New Orleans creative industries and provides a memorable experience for diverse event attendees. Since its 2014 inception, LUNA Fête has presented some of the top light and projection-based artists in the world, while simultaneously providing training to local artists to advance their capabilities to create large-scale and interactive art animated with light. More than 200 New Orleans artists and 60 youth have advanced their technical and artistic skills through this unique educational opportunity.-About Lindsay Glatz-Lindsay joined the Arts Council in 2009 after serving as a Senior Communications Strategist for Deveney Communication where she managed communications efforts for the collective New Orleans Tourism Industry following Hurricane Katrina. With a commitment to social innovation, she has served as a Propeller consultant assisting in the launch of Birthmark Doula Collective and Where Y’Art. Lindsay holds degrees in Journalism & Mass Communications and Leadership Studies.Learn more at https://www.artsneworleans.org/about/staff/-About Camille Grosse-Camille Gross is a french visual designer born in 1984. Art passionate since her childhood, she studied at l’ESAT in Paris, where she graduated in section scenography in 2008. The same year, she worked with a french artist video with whom she collaborate for 4 years on international light projects.Freelance since 2012, she collaborates regulary with the french agency Cosmo Av on various projectsLearn more at http://camillegross.com/-About Courtney Egan-Courtney Egan’s projection-based sculptural installations mix botanical themes with shards of technology. In 2010 she presented a solo show, “Field Recordings,” at Heriard-Cimino Gallery in New Orleans. Recent group shows include “Louisiana Contemporary” at the Ogden Museum of Art, “Uniquely Louisiana” at the Louisiana State University Museum of Art, “NOLA Now II” at the Contemporary Arts Center in New Orleans, “The World According to New Orleans” at Ballroom Marfa, and “Frontier Preachers,” at The Soap Factory in Minneapolis. Her work has been featured in the New Orleans Times-Picayune, OxfordAmerican.com, PelicanBomb.com, Artforum.com, and in The Gambit. Courtney has also screened short films at many festivals, including the New Orleans Film Festival, Ann Arbor Film Festival, New York Underground Film Festival, MadCat Women’s International Film Festival, Kasseler Dokumentarfilm & VideoFest, and the Black Maria Film Festival. Courtney was an artist-in-residence at the Santa Fe Art Institute and at Louisiana Artworks in New Orleans. She is a founding member of the New Orleans-based visual arts collective Antenna.Courtney holds an M.F.A. from Maryland Institute College of Art. She taught art and media in elementary, secondary, and college classrooms since 1991. Courtney is currently a Media Arts faculty member at the New Orleans Center for Creative Arts (NOCCA). Learn more at http://www.courtneyegan.net/project-type/video-sculpture-installation/

In this episode, Gabe speaks with Dr. Hannelore Roemich and Christine Frohnert who are leading the new Time Based Media (TBM) initiative at NYU. The three discuss the use of technology throughout art history, how conservation is evolving and developing alongside its use, and how the IFA's new Time Based Media initiative is preparing a new generation of art conservators to preserve the integrity of such works well into the future.-About Dr. Hannelore Roemich-Dr. Hannelore Roemich (PhD in Chemistry from the University in Heidelberg, Germany) is the HagopKevorkian Professor of Conservation at the Conservation Center of the Institute of Fine Arts, New YorkUniversity (NYU). Since 2007 Dr. Roemich offers instruction in the core program at NYU, teachingPreventive Conservation and Materials of Art and Archaeology as well as advanced conservation sciencecourses. Dr. Roemich served for eighteen years as a conservation scientist at the Fraunhofer-Institut fürSilicatforschung (ISC) in Würzburg, Germany, where she conducted research on the deterioration andconservation of stained glass and outdoor bronze sculpture, glass sensors for environmental monitoring,and lectured widely on her work. Dr. Roemich is currently Program Director for the TBM initiative atNYU. -About Christine Frohnert-Christine Frohnert (Graduate degree 2003, Conservation of Modern Materials and Media, University ofArts, Berne, CH) is partner of Bek & Frohnert LLC, Conservation of Contemporary Art, based in NewYork City since 2012. Previously, Ms. Frohnert served for 12 years as a conservator and later as chiefconservator at the Museum Ludwig in Cologne, Germany. She was Chair of the Electronic Media Groupfrom 2008 - 2012 and initiated the conference series TechFocus. Ms. Frohnert was named the inauguralJudith Praska Distinguished Visiting Professor in Conservation and Technical Studies at the ConservationCenter of the Institute of Fine arts, NYU, in 2012. Since then, as Institute Lecturer, she offered instructionin time-based media art, including the course Art With A Plug: The Conservation of Artwork ContainingMotion, Sound, Light, Moving Images and Interactivity; Topics in Time-Based Media Art Conservation aswell as Technology and Structure of Works of Art -Time-based Media. Christine Frohnert is currentlyProgram Coordinator for the TBM initiative at NYU.

In this episode we speak with Chilean-born artist, Andrea Wolf about her multimedia installations which explore memory-making, the act of remembering, and shared memories. Together with host Gabe Barcia-Colombo, Andrea discusses her obsession with memories, where and how she sources her preferred art-making materials, what she means by the “cultural practices of remembering,” and how tech affects and transforms our methods of remembering and storytelling.Artworks Discussed in this Episode:Future Past NewsWeather has been NiceDeer (Little Memories Series) -About Andrea Wolf-Andrea's work consists of ongoing research into the relationship between personal memory and cultural practices of remembering. She creates multimedia installations that explore how technology, media and memory affect and transform each other, creating models of remembrance that are culturally shaped.Working with an archive of found footage, with anonymous stories - Andrea leaves an open space to be filled by the meaning that each of us brings to the work through our personal experience. Her installations are places in which memory becomes an action that is constantly actualized in the present, while recognizing a system in which the function of the past is not that of truth but of desire.Andrea holds MFAs in Documentary Filmmaking from Universidad Autónoma de Barcelona and in Digital Arts from Universitat Pompeu Fabra, and an MPA in Interactive Telecommunications from NYU. In 2013, she was a fellow at the Artist in the Marketplace Program at the Bronx Museum, culminating in the biennial exhibition “The Bronx Calling”. In 2015, Andrea was an artist in residence at the IFP New York Media Center and is currently a member at NEW INC, the New Museum’s incubator program. She has shown her work and given lectures and workshops widely in New York and internationally, in venues such as: Festival Sonar Santiago; New Media Biennial (2009 & 2011) at the Museum of Contemporary Art in Santiago, Chile; Museo de la Memoria y los Derechos Humanos, Santiago; Centro Cultural Palacio de La Moneda, Santiago; Galería AFA, Santiago, Sala de Arte CCU; SPRING/BREAK Art Show (2015 & 2017), New York; NEW INC’s “Public Beta” at the New Museum, New York; Bitforms Gallery, New York; Dumbo Arts Festival, New York; the Paley Center for Media, New York; Scholes 319, New York; Brooklyn Fire Proof, New York; Wave Hill, New York; MIT Media Lab, Boston; Utah Arts Center; Digital Culture Center, Mexico City; VIZZI Festival, Kiev, Ukraine; Tou Scene, Stavanger, Norway; and Medialab-Prado, Madrid.She also founded and directed REVERSE, a non profit art space in New York for the development of new ideas and interdisciplinary practices, promoting artistic collaboration and innovative projects at the intersection of art, science and technology. Between 2012 and 2016, REVERSE hosted more than 30 exhibitions, multiple performances and an active calendar of workshops taught by a diverse roster of artists.Learn More at http://www.andreawolf.me/Follow Andrea @andreawolf

In this episode, self-described Humanitarian Technologist, Benedetta Piantella discusses her work and describes what a "humanitarian technologist" is/does, how her 2004 trip to Sri Lanka changed the course of her life shifting her practice from artist to designer and developer, and why she's an advocate for open source.-About Benedetta Piantella-Benedetta was born and raised in Parma, Italy. She received a BFA from Tufts University and SMFA Boston in 2004, while taking courses at Harvard, MIT and Mass Art. During her time in Boston, she worked as teaching assistant at SMFA introducing new technologies in the world of digital photography and light sensitive materials. She assisted in the preparation of the American Pavilion of the 50th Venice Biennale in 2003, while working for the MIT LIST Visual Arts Center in Cambridge. The same year she organized her own emergency response efforts during the Tsunami of 2004 in Sri Lanka. In 2008 she obtained a Master's from the Interactive Telecommunications Program at NYU and a Master's from CUNY and La Sapienza University in online community management and journalism; during this time she taught Lego robotics in New York schools.She has worked for companies like Tinker.it! and ARDUINO in Milan and Smart Design in NY, brainstorming and producing fully functioning prototypes for high-end clients.Benedetta is Co-founder of GROUND Lab®, an Engineering R&D company focused on building sustainable solutions to humanitarian, social and environmental challenges worldwide. For GROUND Lab, she has built partnerships with organizations such as the UN, UNICEF and the Earth Institute, as well as with Universities such as NYU, Columbia, University of California Berkeley and Princeton. With their support she has designed, prototyped, manufactured and field tested a multitude of projects in many countries such as Uganda, Kenya and Tanzania.She is a frequent lecturer and speaker at conferences and is currently an Adjunct Professor at NYU ITP. Learn more at https://www.benedetta.cc/index.html

Frédéric Elkaim, a contemporary art expert and artist coach, shares his perspective on women achieving equity in the arts and why their work is so radical. Today’s podcast features special guest Frédéric Elkaim, a contemporary art expert and consultant, lecturer, artist coach, author, and the founder of Art Now!, a platform dedicated to connecting contemporary artists and art collectors. Elkaim is also an advocate for recognizing and elevating women artists as critical contributors to the artistic world. One of his most recent efforts involved putting together a five-part lecture series on important women artists throughout history, in coordination with Yasmine Lavizzari, director of the galerie Air Project. “We wanted… really to go further than what ‘artistry’ is today,” he says, “To underline who are those women artists and why they are so important in the evolution of art from modern art, impressionism, etcetera, to what we can see nowadays.” For more information, please visit www.rawradical.com and follow us on instagram @rawradical

Today we speak with activist, Glenn Cantave about his use of A/R to create interactive interruptions addressing social issues and highlighting the histories of overlooked communities.-About Glenn Cantave-Glenn Cantave is an activist, performance artist and social entrepreneur who uses immersive technology to highlight the narratives of the oppressed. Through his non-profit Movers & Shakers NYC, he organized a pop up slave auction performance piece/AR exhibit, ran the NYC Marathon in chains, and is creating AR educational content focused on highlighting the narratives of marginalized communities. He is also the Creator, Executive Producer of We the People, a 360 documentary focused on activism in the age of Trump. His team has documented the actions of several New York based activist groups and captured footage from events such as the Trump Inauguration, Charlottesville Riots, and a White Lives Matter Rally in Tennessee. He is a TED Resident, incoming artist in resident at Eyebeam NYU Something un Residence and a member at New Inc, an arts/tech incubator with the New Museum. He will be speaking about his work at TEDx in Ghent, Belgium this December.

SOTA host Gabe Barcia-Colombo speaks with Neon Saltwater, an artist who creates digital renderings of lonely interiors immersed in sentiments of false nostalgia. In this episode, the two discuss Neon Saltwater's aesthetic, her obsession with interiors, how her spaces moved from the digital to the physical sphere, and how she came to found the Room Wave Movement.-About Neon Saltwater-Neon Saltwater (aka Abbey Dougherty) has built a steady Instagram following through her digital renderings of pale, empty rooms erected in geographic grids and glossy marble, with fluorescent lights bouncing off of their reflective surfaces.Neon Saltwater has designed spaces for Barneys, her work has been featured in Vogue and she is the founder of Room Wave. Follow her @NeonSaltwater

On Halloween, we speak with startup founder, artist, and engineer Abhishek Singh who's inventions include everything from bringing Super Mario and The Ring into "reality" to building a robot that communicates entirely through GIFs. -About Abhishek Singh-Wearer of many hats, experienced startup founder, part artist, part engineer with a love for building delightful physical & digital products & experiences. Work has been featured on BBC, Techcrunch, Mashable, Wired, Verge, Vice, Motherboard, Times of India, Fast Company, Cnet, UploadVR & countless more. Learn more about Abhishek at http://shek.it/Tweet him @shekitup

In this episode we speak with Alfredo Caro-Salazar about his latest piece, Dreams of the Jaguar’s Daughter which uses VR to immerse patrons in the migrant experience. Alfredo also discusses the Digital Museum of Digital Art, a virtual institution he founded with collaborator, William Robertson.Check out Dreams of the Jaguar's Daughter's Trailer: https://www.youtube.com/watch?v=vwB4t1eeC60&t=0 Or experience it in 360 here: https://www.youtube.com/watch?v=_ohxAz_rC5k&t=0-About Alfredo Caro-Salazar-Alfredo Salazar-Caro is a multimedia artist who works at the intersection of portraiture, installation, documentary, virtual reality, video, and sculpture.Together with William Robertson, Salazar-Caro conceived the Digital Museum of Digital Art, a groundbreaking project that functions as a virtual institution and a virtual reality exhibition platform dedicated to the promotion and distribution of new media art. His work has been exhibited nationally and internationally in exhibitions such as Dreamlands at the Whitney Museum, New York; The Wrong Biennale in São Paulo; New Normal at The Hangar, Beirut and Supa Salon, Istanbul; Die Ungerahmte Welt at the Haus der elektronischen Künste Basel; Siggraph Asia, Bangkok; and 1Mes1Artista, Mexico City, among others. His work has been featured in publications such as Leonardo, Cultured Magazine, Art F City, Vice Magazine and Creators Project.Learn more at http://salazarcaro.com/Follow him @tmvrtx

In this episode we speak with Neil Mendoza, self-described "maker of stuff," about his humorous art inventions which poke fun and draw attention to contemporary culture and social issues. These include a fish-controlled hammer that smashes miniatures of human things, a knife orchestra, and a hamster powered drawing machine just to name a few. Tune in to hear more about Neil's wacky inventions and his reflections on tech art and contemporary culture.-About Neil Mendoza-Neil Mendoza’s work combines sculpture, electronics and software to bring inanimate objects and spaces to life. By decontextualizing objects with technology and vice versa, the constituent parts of his work can be looked at in a new ways. Using this medium, he explores themes of the absurd, the humorous, the futile and the surreal. He has an MA in math and computer science from Oxford University and an MFA in design media art from UCLA and has taught classes on art and technology at Stanford and UCLA.His artwork has been exhibited by AND Festival, Arena 1 Gallery, The Barbican, BBC Big Screens, The Children’s Museum of Pittsburgh, Currents New Media Festival, The Exploratorium, ISEA, Kinetica, Minnesota Street Projects, Oi Futuro, PICNIC Festival, The Museum of London, The Nottingham Playhouse, YouFab, Young Projects Gallery, The Science Museum, The V&A and Watermans among others.He has created digital artworks and installations for a wide range of clients including Accenture, Adidas, Adobe, AntiVJ, Arcade Studios, Audi, Bentley, Brother, Burton Snowboards, Doritos, Ford, Guild LA, HTC, IBM, Jason Bruges Studio, LCF, The Light Surgeons, Local Projects, Moving Brands, New Angle, Nokia, Nuit Sonores, O2, Orange, Poke, Swatch, Universal Everything, Wieden & Kennedy and Wired Magazine. He also co-founded the art collective is this good?.Learn more at http://www.neilmendoza.com/Follow him @neilmendoza

Ari Melenciano is an interdisciplinary artist using tech to underscore racial dynamics and alter our experiences in reality. She is the founder of Afrotectopia, a new media festival championing black artists, activists, and designers working with technology in creative and innovative ways. Today Ari speaks with us on her current projects, shares her thoughts about tech and the limitations faced when using tech-based tools, and dives into the trajectory of Afrotectopia now entering its 3rd year in 2020.-About Ari Melenciano-Ari Melenciano is a Brooklyn-based interdisciplinary artist. Her research lies at the intersections of human-computer interactive technologies, social impacts of technology, culture, sound/audio-visuality, experimental pedagogy and speculative design. Ari is the founder of the social institution, Afrotectopia, most commonly experienced via their annual New Media Arts, Culture and Technology Festival.She is currently an adjunct professor at NYU teaching in the Interactive Telecommunications Graduate Program (ITP) and Photography undergraduate department. She is also a consultant for NYC’s Department of Education, helping to build STEAM curriculum that is culturally relevant.She is currently incubating audiovisual experimental work at CultureHub in their arts and technology residency, and at New Inc (the first museum-led incubator) in the Experiments in Arts and Technology track in partnership with Rhizome and Bell Labs.Learn more at http://www.ariciano.com/Follow her @ariciano

Ani Liu uses scientific processes to create art pieces that delve into the diverse aspects of humanity and our ever-evolving culture. These fringe art experiments have taken the form of biologically-modified plants, mind controlled sperm, a "forced" happiness lab (using science to induce positive feelings), and much, much more. Through all these art explorations, Ani questions, in this technologically mediated age, what does it mean to be human?-About Ani Liu-Ani Liu is a research-based artist working at the intersection of art & science. Her work examines the reciprocal relationships between science, technology and their influence on human subjectivity, culture, and identity.Ani's work has been presented internationally, and featured on National Geographic, VICE, Mashable, Gizmodo, TED, Core77, PCMag, FOX and WIRED. Her work has been shown at Ars Electronica, the Queens Museum Biennial, Boston Museum of Fine Arts, the Asian Art Museum, MIT Museum, MIT Media Lab, Mana Contemporary, Harvard University, and Shenzhen Design Society. She is the winner of the Princeton Arts Fellowship (2019-2021), the S&R Washington Prize (2018), the YouFab Global Creative Awards (1st place, 2018), the Biological Art & Design Award (2017). She is currently teaching at the Harvard Graduate School of Design, and is on critique panels at Harvard, Dartmouth, MIT, University of Pennsylvania, NYU, UNC Charlotte, Pratt, Parsons. At MIT, she is on the committee of Art Scholars. Ani has a B.A. from Dartmouth College, a Masters of Architecture from the Harvard Graduate School of Design, and a Master of Science from MIT Media Lab.Ani continually seeks to discover the unexpected, through playful experimentation, intuition, and speculative storytelling. Her studio is based in New York City. Learn more about Ani at studio@ani-liu.comFollow here @ani.liu.studio

Often, when we think about the intersection of art and tech our minds wander to innovations like artificial intelligence, augmented reality, projection mapping, etc. In this episode, new SOTA host, Gabriel Barcia-Colombo speaks with interdisciplinary artist, Alicia Eggert on technology as a medium by which she explores our understanding of time, language, and everyday abstractions we take for granted. How do we measure "now"? What is "eternity"? Together the two also touch upon Alicia's current experiments in interactive art underscoring the importance of collaboration and connectivity, and how her creative process is influenced by her childhood growing up within a Pentecostal family. -About Alicia Eggert-Alicia is an interdisciplinary artist whose work focuses on the relationship between language, image and time. Alicia's work has been exhibited at notable institutions nationally and internationally, including the CAFA Art Museum in Beijing, the Triennale Design Museum in Milan, the Corning Museum of Glass in New York, the Amsterdam Light Festival, the International Symposium on Electronic Art (ISEA2012) at the Albuquerque Museum of Art and History in New Mexico, Sculpture By the Sea in Sydney, Australia, and many more. Recent solo exhibitions have been held at Galeria Fernando Santos (Porto, Portugal), The MAC (Dallas, TX), T+H Gallery (Boston, MA), Harvard Medical School (Boston, MA), and Artisphere (Arlington, VA). Alicia’s work is represented by Galeria Fernando Santos in Porto, and Liliana Bloch Gallery in Dallas.Alicia is the recipient of numerous honors and awards, including a TED Fellowship, a Washington Award from the S&R Foundation, a Direct Artist Grant from the Harpo Foundation, an Artist Microgrant from the Nasher Sculpture Center, and an Individual Artist Fellowship from the Maine Arts Commission. She has been an artist in residence at Google Tilt Brush, Sculpture Space, True/False Film Festival, and the Tides Institute and Museum of Art. Her work has been featured in The Washington Post, The Houston Chronicle, The Dallas Morning News, BBC Future, Vulture, and publications such as Typoholic: Material Types in Design, Foundations of Digital Art and Design, and Elements and Principles of 4D Art & Design.Alicia earned a Bachelor of Science degree in Interior Design from Drexel University in 2004, and a Masters of Fine Arts in Sculpture/Dimensional Studies from Alfred University in 2009. She is currently a Presidential Early Career Professor of Studio Art and the Sculpture Program Coordinator in the College of Visual Arts & Design at the University of North Texas. She lives with her son, Zephyr, in Denton, Texas.Learn more at https://aliciaeggert.com/nav/about.htmlFollow her @APlaceintheUniverse

State of the Art Founder Ethan James Appleby returns to introduce our new host, Gabriel Barcia-Colombo (aka Gabe), and SOTA's return to its roots primarily as an art + tech podcast. Gabe was previously a guest on the podcast, back in 2018 in episode 48 "The Art of Collecting Memories". Together they discuss Gabe's latest projects and where he plans on taking the podcast.You can email Gabe at gabe@thestateoftheart.org-About Gabriel Barcia-Colombo-Gabriel Barcia-Colombo is a mixed media artist whose work focuses on collections, memorialization and the act of leaving one's digital imprint for the next generation. His work takes the form of video sculptures, immersive performances, large scale projections and vending machines that sell human DNA. His work plays upon this modern exigency in our culture to chronicle, preserve and wax nostalgic, an idea which Barcia-Colombo renders visually by “collecting” human portraits on video.Gabriel was commissioned to be the first digital artist to show work at the New Fulton Terminal Stop with the MTA Arts & Design program in New York City. His work has been featured in the Volta, Scope, and Art Mrkt art fairs, Victoria & Albert Museum as well as Grand Central Terminal and the New York Public Library. He recently received an Art and Technology grant from the Los Angeles County Museum of Art where he created "The Hereafter Institute," a company that questions the future of death rituals and memorials and their relationship to technology. His work is part of the permanent collection of the Los Angeles County Museum of Art. Gabriel served as a member of the artist advisory board at the New York Foundation for the Arts, as well as the education committee member at the Museum of Art and Design. In 2012 Gabriel gave a TED talk entitled "Capturing Memories in Video Art," and in 2014 he gave another entitled "My DNA Vending Machine" and was awarded a Senior TED fellowship. In 2016 Gabe founded Bunker.nyc a pop up gallery showcasing emerging art made with technology. Bunker became the first pop up digital art gallery to open in the Sotheby's Auction House in New York Summer 2017. Gabe is a New York Foundation for the Arts grant awardee and faculty member at the Interactive Telecommunications Program at New York University's Tisch School of the Arts. Learn more about Gabe at https://www.gabebc.com/Follow him @GabeBC

In this laid back discussion with the crew, Host Andrew Herman (Herm) reflects on his time at State of the Art as he says goodbye to podcasting—for now. Together we share reflections on hitting 100 episodes, how the podcast has evolved, thoughts on AI Art, and Herm goes on a ride in Ethan's time machine.

We continue our exploration into AI art this time speaking with San Francisco-based artist, Camila Magrane, whose recent project, OSMA, combines artificial intelligence and social media with plant-life. -About Camila Magrane-Camila Magrane is a multimedia artist originally from caracas, venezuela. having a father from the us and a mother from venezuela, she grew up alternating between both countries. Being fully exposed to two different cultures gave her a greater understanding of what it means to have various perspectives.After graduating from film school in caracas, she moved back to san francisco where she freelanced as an editor and camera operator, working on a wide range of fictional films, documentaries, and music videos. camila later moved on to work in the game industry as a cinematic artist. Most recently, camila has been exploring the involvement of technology and interactivity in art. this has driven her to obtain a bachelor of science in computer science with a concentration in game development. She continues to hone her skills as a creative coder through the creation of interactive videos, installations and games.She has been most noted for the creation of her “digital photogram collages” where she has established a postmodern aesthetic by combining traditional darkroom techniques with the use of digital tools.Learn more at https://www.camilamagrane.com/Follow here @CamilaMagrane

We're diving into art and AI with Chief Technology Officer of Serpentine Galleries, Ben Vickers. In this episode, Ben shares his views on the introduction of AI into the world of art, to what degree AI in the arts is being employed today, its implications, and where he would like to see AI applied or integrated.- About Ben Vickers -CTO @SerpentineUK | Current Exhibitions: The Deep ListenerPublishing House @IgnotaBooks | Next Up: States of the Body Produced by LoveInitiator of @unMonasteryTrustee @AutoItaliaLiveJury @Lumenprize, @ArtsAtCERNAdvisory Board @Transmediale, @SXSW and @BANNERREPEATERFounding Member @Guild_isAdvisor to @ArtxN+@ZIEN, @FurtherfieldAdvocate of @MethodKit and @Matera2019Learn more at http://benvickers.net/

At the end of 2018, the State of the Art team reflected on how State of the Art could become more inclusive given our own feelings around underrepresentation in the art world. To that end, in 2019 we introduced monthly themes and guest hosting in an effort to bring more voices and diverse art-related topics onto our platform. Today we celebrate having aired 100 episodes! Coupled with this milestone achievement is a growth in our listenership alongside the success of our first round of guest hosts. Tune-in to hear soundbites of some of the most impactful quotes from our guest host episodes. Below, please find a list of our amazing 2019 guest host lineup and links to listen to the full interviews featured in this mini-episode.We're immensely grateful to our first round of guest hosts:Tre Borden, The Black Creative, February 2019 | Featured Episode (72): The Black Creative 02: Leila Weefur, Artist, Writer & CuratorMeg Zany, Sex Positive, March 2019 | Featured Episode (77): Sex Positive: The Art of Shaping Body Politics with Uncle Reezy, ArtistDorothy Santos, Queerness, June 2019 | Featured Episode (93): Queerness with Guest Host Dorothy Santos & Artist, Designer, & Researcher, Yasheng SheMichelle Hartney, Art & Morality, July 2019 | Featured Episode (98): Art & Morality with Michelle Hartney & the Guerilla Girls

Guest host, Michelle Hartney rounds out her month-long dive into Art & Morality with Decolonize This Place. Decolonize This Place is an action-oriented collective of activists who stage protests in cultural institutions to open conversations related to Indigenous struggle, Black liberation, free Palestine, global wage workers and de-gentrification. In this episode, Michelle and Marz Saffore, along with, Amy Weng members of Decolonize This Place, discuss the practice of "art washing," who defines what art is or isn't, issues of display, and the responsibility museum and institutions have to hold their board members accountable for actions which go against their values.Notably, at the time of this recording, Michelle and Decolonize This Place members debated the position of Warren B. Kanders as, then, Vice-Chairman at the Whitney Museum. Kanders company, Safariland, produces tear-gas canisters and other supplies used by the military and law enforcement. Safariland canisters have been used against unarmed migrants at the U.S.-Mexico border, protestors in Ferguson, Missouri, Turkey’s Gezi Park, the Gaza Strip, Standing Rock in North Dakota, and, most recently, in San Juan, Puerto Rico. Decolonize this Place has led the charge in protesting Kanders presence on the Museum's board hosting 9 weeks of art and action in the weeks leading up to the Whitney Biennial. Today, on July 25, 2019, Warren B. Kanders announced his resignation as Vice-Chairman at the Whitney.- About Decolonize This Place -Decolonize This Place is an action-oriented movement centering around Indigenous struggle, Black liberation, free Palestine, global wage workers and de-gentrification. Facilitated by MTL+ Collective. #decolonizethisplaceLearn more at https://www.decolonizethisplace.org/Follow them @decolonizethisplace

Guest host, Michelle Hartney discusses the decolonization of museums with Heather Campbell Coyle, Chief Curator and Curator of American Art at the Delaware Art Museum, and Amelia Wiggins, Assistant Director of Learning & Engagement at the Delaware Art Museum. Together, they break down what decolonizing museums means and entails. Heather and Amelia share and explain the Delaware Art Museum's reinstallation efforts as an empathetic museum and how this new approach reshape the acquisition process, language-use and presentation in the production of new exhibitions. -About Heather Campbell Coyle-Heather Campbell Coyle is Chief Curator and Curator of American Art at the Delaware Art Museum. She received her Ph.D. in art history from the University of Delaware. She lectures, publishes, and researches primarily on American painting, photography, and popular illustration from the late 19th and early 20th centuries. She is a specialist in the art of John Sloan and the Ashcan School, a strength of the Delaware Art Museum’s collection. -About Amelia Wiggins-Amelia Wiggins is Assistant Director of Learning & Engagement at the Delaware Art Museum, where she manages the guide corps, oversees gallery programs, and develops interpretation integrating community voices. She previously worked in family programs and museum education positions at the Philadelphia Museum of Art, The Franklin Institute, and The Stark Museum of Art. Ms. Wiggins has been honored with awards in excellence in label writing from the American Alliance of Museum and an award for excellence in programming from the Mountain-Plains Museum Association. She holds an MSEd in Leadership in Museum Education from Bank Street College and a BFA from the Maryland Institute College of Art.Special thanks from the Delaware Art Museum to the following collaborators who have spearheaded the Museum's reinstallation project and its diversity and inclusion initiatives:Stacey Mann and Janeen Bryant of Empathetic Museum, Stace Treat of Crystal Bridges Museum, Dan Rahimi of Penn Museum, Scott Wilcox of Yale Center for British Art, Judy Koke of Institute for Learning Innovation, Kathleen McLean of Independent Exhibitions, Museums as Sites for Social Action (MASS Action), Keonna HendrickAnd the following organizations whose leadership on these issues informed the Museum's work and thinking: Museums and Race, The Incluseum, Museums Are Not Neutral , Visitors of Color, Participatory Museum, and the Detroit Institute of Arts.

In this episode, guest host Michelle Hartney tackles gender and racism in the arts with art historian, Catherine McCormack. Catherine is an academic and writer who's done extensive research on women in the arts and the exclusionary practices of the art world. Together, Michelle and Catherine discuss the "male gaze," the use of female bodies versus male bodies in the arts and their divergent meanings, and the role of the #MeToo movement in the art world.-About Catherine McCormack-Catherine is a writer, art historian and independent curator based in London.She's currently working on two book projects – the first is about patriarchy, feminism and art history after #MeToo and will be published by Icon Books in 2020. The second is a collection of fine art ceilings from around the world and is called The Art of Looking Up (White Lion 2019). She is also working on an exciting curatorial project about imaging motherhood. In May 2019 Catherine spoke at the Venice Biennale about exhibiting women artists and contemporary art.Catherine's literary agent is Becky Thomas at Johnson and Alcock agencyWhen not writing, Catherine can be found teaching art history at Sotheby’s Institute of Art, where she is the course director for the summer school on Women and Art. Catherine has a PhD in Art History from UCL where she worked as a Teaching Fellow. She has appeared on Sky News and BBC Breakfast talking about art.Her writing has been published in The Independent, the Architectural Review, Stylist, Glass magazine, Label magazine, and in international academic journals and museum exhibition catalogues.Learn more about Catherine at https://thisiscatherinemccormack.com/Follow her @womeninthepicture