Podcasts about Arte Povera

Giuseppe Penone is a contemporary artist associated with the Arte Povera art movement. He reinvented sculpture, drawing, conceptual photography, art installation, through proto environmental art with the sensibility of a late late romantic.Curator and art critic Germano Celant created the term #artepovera in 1967 to highlight a tendency toward a use of reduced material or idea to its archetype. How does Penone fit into that notion? He seems to have had a singular place in the Italian and global Western art canon of the time, using organic growth as an art process that the artist mirrors, plays and aligns with. Have we been forcing a dialogue between his work and Celant's concept? What other relations with memory and matter has he expanded through his work? Was he a pioneer of eco-art? A late romantic? All of the above? Artist ⁠Diogo Pimentão⁠ is my co-host for the first time. As ever, I'll introduce the artist and he'll take us through this small retrospective exhibition at the Serpentine Gallery. Curated by Claude Adjil, Curator at Large, and Hans Ulrich Obrist, Artistic Director, with Alexa Chow, Assistant Exhibitions Curator.You wouldn't leave the shop without paying for your latte, right?Buy us a latte ;-) ⁠https://exhibitionistaspodcast.com/support-us⁠SIGN UP for the NEWSLETTER! Be the first to know our upcoming episode, get our UNTIMELY BOOK RECOMMENDATIONS, and juicy facts + useful links.https://exhibitionistaspodcast.com/newsletterIf you enjoyed the episode, you may enjoy Joana's essays on Substack: ⁠https://joanaprneves.substack.com⁠For behind the scenes clips, links to the artists and guests we cover, and visuals of the exhibitions we discuss follow us on Instagram: @exhibitionistas_podcastBluesky: @exhibitionistas.bsky.socialexhibitionistaspod@gmail.com#contemporaryart #immersive #immersiveexperiences #artexhibitions #artisticidentity #artmovement #experimentalfilm #experimentalart #artmovement #archetype

Hondl, Kathrin www.deutschlandfunk.de, Kultur heute

Carolyn Christov-Bakargiev, commissaire de l'exposition Arte Povera à la Bourse de Commerce et spécialiste internationalement reconnue de l'Arte Povera, revient avec Giuseppe Penone, figure majeure de ce mouvement artistique et chef d'atelier aux Beaux-Arts de Paris entre 1997 et 2012, reviennent sur des gestes séminaux de l'artiste et sur la genèse de l'exposition. Giuseppe Penone est l'un des plus importants sculpteurs de la génération d'artistes que la critique associe traditionnellement au mouvement de l'Arte Povera, lors qu'il réalise à la fin des années 1960 ses premiers travaux, en intervenant directement sur des arbres dans les forêts des Alpes Maritimes. Crédits photos : Carolyn Christov-Bakargiev © Courtesy du Castello di Rivoli Museo d'Arte Contemporanea (Rivoli-Turin), photo Sebastiano Pellion et Giuseppe Penone © Archivio Penone Mardi 21 janvier 2025 Amphithéâtre des Loges

CREATING A CULTURAL HUB. Nancy Olnick and Giorgio Spanu are the co-founders of Magazzino Italian Art, a museum and research center dedicated to postwar and contemporary Italian art that is located in Cold Spring, New York. Magazzino opened in 2017 at the former manufacturing site of Cyberchron rugged military computer systems. The name Magazzino translates as "warehouse". “Magazzino made the step that has made Arte Povera better known today.” “Magazzino will never stop displaying the 13 heroes that we have in the group of Arte Povera, so the original ‘main building' will always remain a museum dedicated to Arte Povera.” “The donkeys in Sardinia were on the verge of extinction and were under very strict protection with laws that would not allow their export outside Sardinia.”

节目中聊天到的作品有小说「厨房」，吉本芭娜娜https://book.douban.com/subject/4127527/小说「素食者」，韩江https://book.douban.com/subject/35534519/编辑推荐日剧「住宅区里的两人」 https://movie.douban.com/subject/36902276/展览 Arte Povera @bourse de commerce pinault collection until Jan 20, 2025展览 Figures of the Fool: from the Middle Ages to the Romantics @ The Louvre unitl Feb 3, 2025展览 A Silk Road Oasis: Life in Ancient Dunhuang @ The British Library until Feb 23, 2025展览 Silk Roads @ The British Museum until Feb 23, 2025电影 Hypnosen, Ernst De Geer, https://www.imdb.com/title/tt27789180/ Hosted on Acast. See acast.com/privacy for more information.

durée : 00:27:46 - Les Midis de Culture - par : Marie Labory - Au programme de la critique, des expositions : "L'Âge atomique" au Musée d'Art Moderne de Paris et "Arte Povera" à la Bourse du Commerce. - réalisation : Laurence Malonda - invités : Corinne Rondeau Maître de conférences en esthétique et sciences de l'art à l'Université de Nîmes et critique d'art; Sarah Ihler-Meyer Critique d'art et commissaire d'exposition

The Frieze London art fair has a new look for 2024 as it looks to keep its freshness amid increased competition with the new kid on the art fair block, next week's Art Basel Paris. So how effective is the re-design? Ben Luke talks to Kabir Jhala, the art market editor at The Art Newspaper, about this year's fair and about the auctions which have also taken place in London this week. The duo The White Pube who, since 2015, have shaken-up the world of art criticism in the UK, have just published a new book, called Poor Artists. We speak to the duo, Gabrielle de la Puente and Zarina Muhammad, about it. And this episode's Work of the Week is a vital contribution to the history of the Italian Arte Povera group. Giuseppe Penone's Alpi Marittime (1968) has just gone on display in a new survey of Arte Povera at the Bourse de Commerce in Paris. The exhibition is curated by Carolyn Christov-Bakargiev and we talk to her about Penone's work.Frieze London and Frieze Masters, until 13 October, Regent's Park, London.Poor Artists by The White Pube, Particular Books (UK), £20 (hb), Prestel (US) published 12 November, $24.99; thewhitepube.com.Arte Povera, Bourse de Commerce, Paris, until 20 January.Subscription offer: get three months for just £1/$1/€1. Choose between our print and digital or digital-only subscriptions. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Artist and sculptor Permindar Kaur moves between the Black British Arts Movement, the Young British Artists (YBAs), and Barcelona in the 1990s, exploring the ambiguities of Indian and South Asian cultural identities, Nothing is Fixed is an idea that has grown from ⁠Permindar Kaur's 2022 exhibition at The Art House in Wakefield⁠. For their latest, in Southampton, the artist brings together the public and the private, transforming the various gallery spaces into bedrooms of a home. Beds, chairs, tables, and teddy bears - ambiguous, often unsettling, domestic objects - populate the space, as well as never-before-shown works on paper, which underline the role of drawing in their sculptural practice. Born in Britain to Sikh parents of Indian heritage, Permindar is often exhibited in the context of the Black British Arts Movement, showing with leading members of Blk Art Group like Eddie Chambers. The artist also describes their wider interactions with the ⁠YBAs, exhibitions in Japan, and influences from their formative years of practice in Barcelona, Spain, Canada, and Sweden. We discuss encounters with artists like Mona Hatoum and Eva Hesse, Helen Chadwick and Félix González-Torres, and more surrealist storytellers like Leonora Carrington and Paula Rego, alongside the material-focussed practices of Arte Povera. We trouble the category of ‘British Asian artists', exploring Permindar's work with and within particular Indian and Punjabi diasporic communities in Nottingham, Sheffield, and Glasgow, in Scotland. With series like Turbans, Permindar describes how their practice has changed over time, navigating questions of identity, representation, and the binary of non-/Western/European art practices. They share their research on a site-specific public sculpture for Southampton's yearly Mela Festival, a long-established event which represents, rather than ‘reclaims' space for, different South Asian cultures - and lifelong learning, from younger artists. Permindar Kaur: Nothing is Fixed ran at John Hansard Gallery in Southampton until September 2024, closing with the launch of an exhibition book of the same name, supported by Jhaveri Contemporary in Mumbai. Sculpture in the Park is on view at Compton Verney in Warwickshire until 2027. Kaur also presented work in A Spirit Inside, an exhibition of works from the Women's Art Collection and the Ingram Collection, at Compton Verney until September 2024. Bloomberg New Contemporaries 2024 opens in venues across Plymouth on 28 September 2024, and travels to the Institute of Contemporary Arts (ICA) in London from 15 January 2025. For more, you can read my article in gowithYamo. Hear curator Griselda Pollock, from ⁠Medium and Memory (2023)⁠ at HackelBury Fine Art in London: pod.link/1533637675/episode/37a51e9fab056d7b747f09f6020aa37e Read into Jasleen Kaur's practice, and the Turner Prize 2024, in gowithYamo: gowithyamo.com/blog/jasleen-kaur-interview And other artists connected to Glasgow, including Alia Syed (instagram.com/p/C--wHJsoFp6/?img_index=1), and ⁠Ingrid Pollard, in the episode from Carbon Slowly Turning (2022)⁠ at MK Gallery in Milton Keynes, the Turner Contemporary in Margate, and Tate Liverpool, and Invasion Ecology (2024): pod.link/1533637675/episode/4d74beaf7489c837185a37d397819fb8. For more about toys and unsettling ‘children's stories', hear Sequoia Danielle Barnes on Br'er Rabbit and the Tar Baby (2024) at Edinburgh Sculpture Workshop: pod.link/1533637675/episode/2b43d4e0319d49a76895b8750ade36f8 And listen out for more from Bloomberg New Contemporaries 2024 - coming soon. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

In episode 26 of Locust Radio, Adam Turl is joined by Omnia Sol – a comic, video, and sound artist in Chicago. This episode is part of a series of interviews of current and former Locust Collective members and contributors. This series is being conducted as research for a future book by Adam Turl on the conceptual and aesthetic strategies of the collective in the context of a cybernetic Anthropocene. The featured closing music / sound art, “Overview” and “Wilhelmina,” are from Omnia Sol's forthcoming vs. Megalon. Check out their bandcamp. Locust Radio hosts include Adam Turl, Laura Fair-Schulz, and Tish Turl. Producers include Alexander Billet, Omnia Sol, and Adam Turl. Related texts and topics: Arte Povera; Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction” (1936); Michael Betancourt, Glitch Art in Theory and Practice (2017); William Blake; Claire Bishop, Disordered Attention: How We Look at Art and Performance Today (2024); Stan Brakhage ; Bertolt Brecht - see also Brecht, “A Short Organum for the Theater” (1948);  Cybernetic Culture Research Unit; Mark Fisher, “Acid Communism (Unfinished Introduction)”; Ben Davis, Art in the After-Culture: Capitalist Crisis and Cultural Strategy (2022); Scott Dikkers, Jim's Journal (comic by the co-founder of the Onion); Dollar Art House; Mark Fisher, Capitalist Realism: Is There No Alternative? (2009); Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures (2014); Mark Fisher, K-Punk: The Collected and Unpublished Writings of Mark Fisher (2019); Flicker Films; Fully Automated Luxury (Gay) Space Communism; Glitch Art; Jean-Luc Godard; Grand Upright Music, Ltd. vs. Warner Brothers Records (Biz Markie) (1991); William Hogarth; Tamara Kneese, Death Glitch: How Techno-Solutionism Fails Us in This Life and Beyond (2023); Holly Lewis, “Toward AI Realism,” Spectre (2024); Karl Marx, The Communist Manifesto (1848); Nam June Paik and TV Buddha; Harvey Pekar (comic artist); Gregory Sholette, Dark Matter: Art and Politics in the Age of Enterprise Culture (2010); Grafton Tanner, Babbling Corpse: Vaporwave and the Commodification of Ghosts (2016); TOSAS (The Omnia Sol Art Show); Nat Turner; Wildstyle and Style Wars (1983 film); YOVOZAL, “My Thoughts about AI and art,” YouTube video (2024)

Planteando diversos aspectos tradicionales en el arte, se acarrea movimiento que hacen presencia a partir de los años 60's. --- Send in a voice message: https://podcasters.spotify.com/pod/show/museofredfriedrich/message

This episode we are thrilled to be talking with the Brazilian born artist Alexandre da Cunha.  Based between London and Sao Paulo, Ale has referred to his practice as ‘pointing' as opposed to ‘making'. By ‘pointing' at existing objects in plain sight, he highlights new and unexpected meanings within the objects he chooses.  Grounded in material aesthetics, Ale creates monumentally scaled sculptures and playfully constructed wall-mounted work using metamorphosed everyday and found objects. Given their renewed possibility and playing with the visual language of art historical movements such as Arte Povera and Tropicália, Ale's sculptures inspire lush potential, elevating our everyday encounters with ordinary materials to sociocultural events.   Ale's work has been widely exhibited around the world. He's had solo exhibitions at the Brighton CCA, the Royal Society of Sculptors in London, the Museum of Contemporary Art Chicago and the Centro Cultural São Paulo, Brazil - among many others.  Ale's work is included in major private and institutional collections including the ICA Boston, the Museum of Contemporary Art Chicago, the Tate, and the Museu de Arte de São Paulo, Brazil, just to name a few. Ale is represented by Thomas Dane Gallery, Galerie Luisa Strina, and James Cohan Gallery.

Francesco Poli"L'ironia è una cosa seria"Strategie dell'arte d'avanguardia e contemporaneaJohan & Leviwww.johanandlevi.comCogliere la componente ironica nelle opere d'arte visiva sembra un gioco scontato. La storia abbonda di artisti che hanno usato questo ingrediente con palesi intenti satirici, grotteschi, paradossali o in modo clamorosamente provocatorio, per giungere talvolta a una banalizzazione del suo ruolo sovversivo.Volendo andare più a fondo, però, esiste una modalità più sottile, complessa e concettuale che opera sul piano della forma prima ancora che su quello dei significati più immediatamente decifrabili. Dove meno ce lo aspettiamo possono nascondersi trame sotterranee che richiedono un secondo sguardo, perché l'ironia è spesso intessuta fra le maglie dell'opera che abbiamo davanti quando non è addirittura radicata nell'attitudine dell'artista.Scopriamo, poi, che anche in quegli autori in cui la provocazione sembra più esplicita e finanche gridata, come Cattelan o Koons, comprenderne tutte le sfumature e le ragioni è un'operazione che richiede dei distinguo.Dal sovvertimento dei canoni accademici compiuto dagli impressionisti, attraverso gli esiti conturbanti del Surrealismo, fino alle indebite appropriazioni postmoderne, Francesco Poli riconosce all'ironia dignità accademica e accetta la sfida di mostrare come questa assuma una funzione cruciale nelle diverse tappe delle avanguardie e dell'arte contemporanea. Ma, ancora più importante, fornisce la chiave di lettura per decriptare il dispositivo ironico, affinché possa sprigionare tutta la sua carica distruttiva e innovatrice.Francesco PoliInsegna Arte e Comunicazione all'Università di Torino. Ha curato numerose mostre in musei, spazi pubblici e privati e collabora con il quotidiano La Stampa oltre che con riviste specializzate. Tra le sue pubblicazioni, Minimalismo, Arte Povera, Arte Concettuale (1997), Il sistema dell'arte contemporanea (1999), La scultura del Novecento. Forme plastiche, costruzioni, oggetti, installazioni ambientali (2015), Il pittore solitario. Seurat e la Parigi moderna (2017) e Modigliani. Una vita per l'arte (2018).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

In "Arte Povera," Aaron "Wheelz" Fotheringham hits the skatepark in his WCMX wheelchair, we learn how to pronounce 'arte povera' and MS plays third wheel. Shout out Shout out to Jersey Girl who wrote in to let me know she was a diggin' on the new theme song @aaronwheelz WCMX GETTIN' RAD https://www.youtube.com/watch?v=YEXsDdhgX-s Aaron "Wheelz" Fotheringham WCMX disabled extreme wheelchair at the skate park. Watching his videos blew my mind and made me proud Arte Povera Selfie Put the selfie in and remind listeners to subscribe When was the height of the sound effects- do you remember the sound effects? Contact me and I will give you an incredible shoutout that warps time and space due to its epicness Famous Quotations: Edison & Rakim When you have explored all possibilities, remember this - you haven't. Thomas Edison https://www.youtube.com/watch?v=6Y1Emb7Jyks Don't sweat the technique Cats are big We can always make a social media profile for our pet cat. people love cats! Video art, eh? https://www.youtube.com/watch?v=PQddRHtt0Ts The video that comes up when you search "Arte povera pronunciation" is like a work in itself Door Update The ancient giant door of opportunity is wide open, with light shining through Stitches/Staple Update I don't have any stitches or staples in my head or anywhere else in my body at the time of this recording The stitches fell out in the shower. Just the end of them. They were brown Three's Company Everyone who is in a relationship with me is also in a relationship with multiple sclerosis, including my friends and family #1: Ask before you help United Spinal Association disability etiquette guide was a concise read that offers interesting perspective on how to treat disabled people respectfully Acceptance acceptance of gravity like acceptance last time - gravity is a constant force Time's up See you next week! Don't forget to contact me for a Shout Out in the next episode While you're there, subscribe to get new episode emails Chapter List 00:00:01 - Intro 00:00:46 - Shout outs 00:01:17 - disabled inspiration: Aaron Fotheringham WCMX rider 00:05:00 - selfie 00:05:28 - to get the full experience, you must subscribe to whats the matter with me? 00:05:39 - do you remember the sound effects? 00:06:24 - kid's baseball league debacles 00:08:23 - disabled inspiration: remembering pitcher Jim Abbott 00:09:12 - Quote: Thomas Edison 00:10:45 - Quote: Eric B. & Rakim 00:11:39 - People Love Cats 00:11:54 - arte povera Pronunciation Video 00:14:45 - Ancient Giant Door of Opportunity 00:15:34 - no stitches or staples 00:16:38 - Everyone who is in a relationship with me 00:19:09 - Disability Etiquette Guide 00:22:51 - Outro

In the first episode of 2024 we look ahead to the next 12 months. The Art Newspaper's acting art market editor Tim Schneider peers into his crystal ball to tell us what we might expect from the coming 12 months in the art market. Then, Jane Morris, editor-at-large, Gareth Harris, chief contributing editor, and host Ben Luke select the biennials and exhibitions they are most looking forward to in 2024.Events discussed:60th Venice Biennale: Foreigners Everywhere, 20 April-24 November; Pierre Huyghe, Punta Della Dogana, Venice, 17 March-24 November; Julie Mehretu, Palazzo Grassi, Venice, 17 March-6 January; Willem de Kooning, Gallerie dell'Accademia, Venice, 16 April–15 September; Jean Cocteau, Peggy Guggenheim Collection, Venice, 13 April-16 September; Whitney Biennial: Whitney Museum of American Art, opens 20 March; PST Art: Art & Science Collide, 14 September-16 February; Istanbul Biennial, 14 September-17 November; Diriyah Contemporary Art Biennale 2024, Saudi Arabia, 20 February-24 May; Desert X 2024 AlUla, Saudi Arabia, 9 February-30 April; Frick Collection, New York, reopening late 2024; Grand Egyptian Museum, Giza, Egypt, dates tbc; IMAGINE!: 100 Years of International Surrealism, The Royal Museums of Fine Arts of Belgium, 21 February-21 July; Centre Pompidou, Paris, 4 September-6 January (travels to Hamburger Kunsthalle, Germany, Fundación Mapfré, Madrid, Philadelphia Museum of Art, US); Paris 1874: Inventing impressionism, Musée d'Orsay, 26 March-14 July; National Gallery of Art, Washington DC, 8 September-19 January; Van Gogh, National Gallery, London, 14 September-19 January; Matthew Wong, Vincent van Gogh, Van Gogh Museum, Amsterdam, 1 March-1 September; Caspar David Friedrich, Kunsthalle, Hamburg, Germany, until 1 April; Caspar David Friedrich, Alte Nationalgalerie, Berlin, 19 April-4 August; Caspar David Friedrich, Albertinum and Kupferstich-Kabinett, Dresden, Germany, 24 August-5 January; Arte Povera, Bourse de Commerce, Paris, 9 October-24 March; Brancusi, Centre Pompidou, Paris, 27 March-1 July; Comics, Centre Pompidou, Paris, 29 May-4 November; Yoko Ono, Tate Modern, London, 15 February-1 September 2024; Angelica Kauffman, Royal Academy, London, 1 March-30 June; Women Artists in Britain, Tate Britain, London, 16 May-13 October; Judy Chicago, Serpentine North, London, 22 May-1 September; Vanessa Bell, Courtauld Gallery, London, 25 May-6 October; Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art, US, until 21 January; National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March; The Museum of Modern Art, New York, dates tbc; Unravel: The Power and Politics of Textiles in Art, Barbican, London, 13 February-26 May 2024, Stedelijk Museum, Amsterdam, 14 September-5 January; The Harlem Renaissance, Metropolitan Museum of Art, New York, 25 February-28 July; Siena: the Rise of Painting, 1300-50, Metropolitan Museum, 13 October-26 January; Museum of Modern Art, New York, shows: Joan Jonas, 17 March-6 July, LaToya Ruby Frazier, 12 May-7 September, Käthe Kollwitz, 31 March-20 July; Kollwitz, Städel Museum, Frankfurt, Germany, 20 March-9 June; Käthe Kollwitz, SMK-National Gallery of Denmark, Copenhagen, 7 November-25 February; The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, 11 February-27 May; Expressionists, Tate Modern, London, 25 April-20 October; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February Hosted on Acast. See acast.com/privacy for more information.

      Planteando diversos aspectos tradicionales en el arte,  se acarrea movimientos que hacen presencia a partir de los años 60´s. En esta era se despierta una gran interés por nuevos movimientos y corrientes.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/museofredfriedrich/message

Roberto Diago es un artista cubano muy prolífico, uno de los más destacados de su generación que se ha convertido en uno de los máximos exponentes del arte afro-caribeño, con unas obras cargadas de cultura africana, legado de los esclavos, y con mucha denuncia contra el racismo. Después de exponer en la Fundación Clément en Martinica llega a París, a la Galería Vallois con una serie de esculturas, cuadros e instalaciones. Su estilo se asocia a menudo con el movimiento de Arte Povera de los años 60 en Italia que usa materiales simples o reciclados por elección para criticar a la sociedad del consumo. El uso sin embargo de materiales brutos como el metal o la madera por parte de Diago (La Habana, 1971) tiene otra explicación.Estudió en la Academia de Artes Plásticas San Alejandro. Forma parte de una generación de artistas que empezó su trayectoria con embargo y también con la caída del muro de Berlín. Eso tuvo como consecuencia una escasez de todo, también de materiales, lo que le llevó a reciclar para poder realizar sus obras.“Después de graduarme se cayó el muro de Berlín. Había escasez de todo, de material, de comida. Y la cosa sigue parecida. No, no ha cambiado mucho. Y entonces mi obra se caracteriza por eso, empleo lo que me encuentro, porque había que crear sí o sí”, explica el artista.En sus obras, está muy presente la esencia del esclavo en el hombre contemporáneo negro. Una esencia que reivindica en cada una de sus obras plásticas, esculturas e instalaciones.“He tratado de recoger todo un criterio de una generación y expresarlo, sobre todo del negro en el mundo contemporáneo. Cómo esa esclavitud ha incidido hasta hoy y por qué. Eso me ha permitido un diálogo coherente con la gente y me he mantenido así, reciclando, incorporando textos históricos, cartas, documentos de esclavos en la obra, todo ese conjunto es lo que conforma mi trabajo', afirma Diago, cuya vena artística le viene de familia, su abuelo era el pintor de vanguardia cubano Roberto Diago Querol (La Habana, 1920 - Madrid, 1955). El artista cubano siempre ha denunciado el racismo aún imperante de manera muy frontal con mensajes escritos en sus obras como “Mi historia es la sangre” o “Negro + negro = mierda”. Para Diago, ser negro en Cuba hoy en día es ser “un individuo que lucha por lo que quiere, que sufre, que se divierte. Es un fenómeno muy complejo”, confiesa el artista cuyo estilo se ha comparado al del neoyorquino Jean-Michel Basquiat. Diago tiene un gran archivo de certificados de propiedad de esclavos que también usa en sus obras. “Me he dedicado un poco a encontrarlos en bibliotecas y con privados que venden sus documentos y los he comprado, se los doy a la gente para que los tenga en la mano. Las cartas de libertad son muy crudas, muy duras. No es lo mismo que te lo digan en una clase de historia a tenerlo en la mano. Es como tener un grillete. También tengo objetos de ese periodo y los pongo interactuar en algunas de mis exposiciones”, explica el artista.El queloide, la cicatriz eternaOtra constante en la obra de Roberto Diago es el queloide, esa cicatriz gruesa que incorpora en sus obras para recordar la herida de la esclavitud en el hombre negro. "Es una cicatriz que en el caso de la melanina de los negros es muy evidente. Por eso hay una expresión en Cuba que cuando alguien tiene esa especie de cicatriz te dicen tienes de negro. Lo empleo mucho, sobre todo en las esculturas, me permite dar un dibujo en una línea y las personas lo miran, preguntan y a partir de ahí empezamos a desarrollar un diálogo", dice.Durante décadas trabajó más la pintura y las instalaciones a pesar de haberse formado como escultor en la Academia de Artes Plásticas San Alejandro. Desde hace un tiempo ha rescatado la escultura como medio de expresión. Algunos de sus bustos en bronce y madera se pueden admirar estos días en la Galería Vallois de París. Unos bustos muy solemnes que generan una sensación de soledad y de recogimiento. "Trato de representar al individuo en esa precariedad que dejó la historia. Sólo con ojos y sin boca. Yo fragmento mucho mis trabajos, por ejemplo uso pedazos de tela, como un hombre que se está formando por todas partes, con todos los pedazos que encuentra y queda como una pieza sólida, única, fuerte, que te reta", concluye el artista. #EscalaenParís también está en redes socialesCoordinación editorial: Florencia Valdés y Paola ArizaRealización: Souheil Khedir

Roberto Diago es un artista cubano muy prolífico, uno de los más destacados de su generación que se ha convertido en uno de los máximos exponentes del arte afro-caribeño, con unas obras cargadas de cultura africana, legado de los esclavos, y con mucha denuncia contra el racismo. Después de exponer en la Fundación Clément en Martinica llega a París, a la Galería Vallois con una serie de esculturas, cuadros e instalaciones. Su estilo se asocia a menudo con el movimiento de Arte Povera de los años 60 en Italia que usa materiales simples o reciclados por elección para criticar a la sociedad del consumo. El uso sin embargo de materiales brutos como el metal o la madera por parte de Diago (La Habana, 1971) tiene otra explicación.Estudió en la Academia de Artes Plásticas San Alejandro. Forma parte de una generación de artistas que empezó su trayectoria con embargo y también con la caída del muro de Berlín. Eso tuvo como consecuencia una escasez de todo, también de materiales, lo que le llevó a reciclar para poder realizar sus obras.“Después de graduarme se cayó el muro de Berlín. Había escasez de todo, de material, de comida. Y la cosa sigue parecida. No, no ha cambiado mucho. Y entonces mi obra se caracteriza por eso, empleo lo que me encuentro, porque había que crear sí o sí”, explica el artista.En sus obras, está muy presente la esencia del esclavo en el hombre contemporáneo negro. Una esencia que reivindica en cada una de sus obras plásticas, esculturas e instalaciones.“He tratado de recoger todo un criterio de una generación y expresarlo, sobre todo del negro en el mundo contemporáneo. Cómo esa esclavitud ha incidido hasta hoy y por qué. Eso me ha permitido un diálogo coherente con la gente y me he mantenido así, reciclando, incorporando textos históricos, cartas, documentos de esclavos en la obra, todo ese conjunto es lo que conforma mi trabajo', afirma Diago, cuya vena artística le viene de familia, su abuelo era el pintor de vanguardia cubano Roberto Diago Querol (La Habana, 1920 - Madrid, 1955). El artista cubano siempre ha denunciado el racismo aún imperante de manera muy frontal con mensajes escritos en sus obras como “Mi historia es la sangre” o “Negro + negro = mierda”. Para Diago, ser negro en Cuba hoy en día es ser “un individuo que lucha por lo que quiere, que sufre, que se divierte. Es un fenómeno muy complejo”, confiesa el artista cuyo estilo se ha comparado al del neoyorquino Jean-Michel Basquiat. Diago tiene un gran archivo de certificados de propiedad de esclavos que también usa en sus obras. “Me he dedicado un poco a encontrarlos en bibliotecas y con privados que venden sus documentos y los he comprado, se los doy a la gente para que los tenga en la mano. Las cartas de libertad son muy crudas, muy duras. No es lo mismo que te lo digan en una clase de historia a tenerlo en la mano. Es como tener un grillete. También tengo objetos de ese periodo y los pongo interactuar en algunas de mis exposiciones”, explica el artista.El queloide, la cicatriz eternaOtra constante en la obra de Roberto Diago es el queloide, esa cicatriz gruesa que incorpora en sus obras para recordar la herida de la esclavitud en el hombre negro. "Es una cicatriz que en el caso de la melanina de los negros es muy evidente. Por eso hay una expresión en Cuba que cuando alguien tiene esa especie de cicatriz te dicen tienes de negro. Lo empleo mucho, sobre todo en las esculturas, me permite dar un dibujo en una línea y las personas lo miran, preguntan y a partir de ahí empezamos a desarrollar un diálogo", dice.Durante décadas trabajó más la pintura y las instalaciones a pesar de haberse formado como escultor en la Academia de Artes Plásticas San Alejandro. Desde hace un tiempo ha rescatado la escultura como medio de expresión. Algunos de sus bustos en bronce y madera se pueden admirar estos días en la Galería Vallois de París. Unos bustos muy solemnes que generan una sensación de soledad y de recogimiento. "Trato de representar al individuo en esa precariedad que dejó la historia. Sólo con ojos y sin boca. Yo fragmento mucho mis trabajos, por ejemplo uso pedazos de tela, como un hombre que se está formando por todas partes, con todos los pedazos que encuentra y queda como una pieza sólida, única, fuerte, que te reta", concluye el artista. #EscalaenParís también está en redes socialesCoordinación editorial: Florencia Valdés y Paola ArizaRealización: Souheil Khedir

Ο Φώτης Γεωργιάδης ή αλλιώς Beats Pliz αποκλειστικά στο νέο Rap Cafe. Ο δημιουργός ενός από τα πλέον πολυσυζητημένα projects των τελευταίων ετών, το κινηματογραφικό "Arte Povera" μιλάει για τα κίνητρα και το όραμα που τον έσπρωξαν στο να πραγματοποιήσει μια από τις πιο "τρέλες" ιδέες που θα μπορούσαμε ποτέ να δούμε στη μεγάλη οθόνη. Location: Red Light Studio Filmed by: Damian Aronidis Edit by: Giannis Triantafillos Find us here: Legal Pizza: https://www.instagram.com/legalpizza.gr Ανδρέας: https://www.instagram.com/andreasperikles Γιάννης: https://www.instagram.com/giannis.redlight Φώτης Γεωργιάδης: https://www.instagram.com/beatspliz Rap Cafe #29 - Beatz Pliz (Φώτης Γεωργιάδης) #RapCafe​ #29 #BeatsPliz #ArtePovera #FotisGeorgiadis

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism: Exhibitions and Memory from the Fall of Mussolini to Today (Bloomsbury, 2022) examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art. Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

Como @demuseos fue a ver la exposición de Jannis Kounellis en el Museo Jumex ahora anda muy que quiere hablar del arte povera, una corriente artística muy piciosa de la que @doncamisa es un descreído, como siempre. Pero *spoiler alert*, nuevamente Gab le abre los ojos y ahora ya medio le gusta. O no. No sabemos. Ustedes quédense para averiguarlo. Y pongan por aquí su cooperación voluntaria. Bienvenidos

On the centenary of the fascist party's ascent to power in Italy, Curating Fascism examines the ways in which exhibitions organised after the fall of Mussolini's regime to the present day have shaped collective memory, historical narratives, and political discourse around the Italian ventennio. It charts how shows on fascism have evolved since the postwar period in Italy, explores representations of Italian fascism in exhibitions across the world, and highlights blindspots in art and cultural history, as well as in exhibition practices.  Curating Fascism treats fascism as both a historical moment and a major paradigm through which critics, curators, and the public at large have defined the present moment. It interweaves historical perspectives, critical theory, and direct accounts of exhibitions from the people who conceived them or responded to them most significantly in order to examine the main curatorial strategies, cultural relevance, and political responsibility of art exhibitions focusing on the Fascist period.  Sharon Hecker and Raffaele Bedarida speak to Pierre d'Alancaisez about the role which post-war exhibitions played in shaping our understandings of Italian Modernist art's relationship with Fascism, their contested curatorial and art historical strategies, and the continuing difficulty of reading political signs in aesthetics.  Post Zang Tumb Tuuum at Fondazione Prada Maaza Mengiste's Project 3541 Sharon Hecker is an art historian and curator specializing in modern and contemporary Italian art. She is the author of A Moment's Monument: Medardo Rosso and the International Origins of Modern Sculpture, and co-editor of Postwar Italian Art History: Untying the Knot  and Lead in Modern and Contemporary Art . For her work on Italian art, Hecker has received fellowships from the Getty, Fulbright, and Mellon Foundations. Raffaele Bedarida is Associate Professor of Art History at Cooper Union, USA. An art historian specializing in transnational modernism and politics, Bedarida focuses on cultural diplomacy, migration, and cultural exchange between Italy and the United States. He is the author of Corrado Cagli: La pittura, l'esilio, L'America and Exhibiting Italian Art in the United States from Futurism to Arte Povera. Bedarida has received fellowships from the Center for Italian Modern Art and the Terra Foundation for American Art On 'fascism' in contemporary art: Larne Abse Gogarty. ‘The Art Right'. Art Monthly, April 2017. Read and weep. ************* Curating FascismExhibitions and Memory from the Fall of Mussolini to TodayEdited by Sharon Hecker and Raffaele Bedarida Published by Bloomsbury, 2022ISBN 9781350229457 ************* Find many more interviews, projects, and my writing at ⁠⁠https://petitpoi.net/⁠⁠ You can sign up for my newsletter at ⁠⁠https://petitpoi.net/newsletter/⁠⁠ Support my work: ⁠⁠https://petitpoi.net/support/

When the $270 million dollar Gerald Fineberg collection was announced, Christie's Sara Friedlander remarked that the Boston real estate developer, “bought art like a curator.” Citing his ability to go deep into key movements like the artists of Black Mountain College, the Ninth Street Women, Gutai, Pop, Minimalism, Arte Povera and the Pictures Generation, Friedlander also points out that Fineberg had important works by Gerhard Richter, Christopher Wool, Alice Neel, Man Ray, Beauford Delaney and Barkley Hendricks. We sat down this week to talk through as much of the art on offer as we could possibly discuss in 30 minutes. Highlights from the Fineberg collection are on view at Christie's until May 13th when the entire collection will be on display at the auction house's Rockefeller Center headquarters. The highlights are hung in an engaging “salon” style—that means the works are sitting edge-to-edge—but the final exhibition will offer a different perspective. Auction season in New York is a rare opportunity to see art. The auction houses are open to the public. So avail yourself of this privilege starting May 6th.

“L'arte è frutto di un immaginario che non conosce ostacoli”: esordisce così il critico Achille Bonito Oliva, nel presentare la mostra itinerante “La Grande Visione Italiana. Collezione Farnesina” da lui curata. Un percorso espositivo dinamico e articolato che da Singapore (6 febbraio 2023) farà tappa in diverse città asiatiche - Tokyo (20 marzo 2023), New Delhi (26 maggio 2023), Seoul (luglio 2023) - documentando l'incessante sperimentazione dell'arte contemporanea italiana. Sono 71 le opere provenienti dallaCollezione Farnesina, che riflettono la fertile creatività degli artisti italiani dal Novecento ad oggi. Un'iconografia che, attraverso una moltitudine di linguaggi - pittura, scultura, mosaico, fotografia, grafica, installazione – dimostra la ricerca di nuove forme da parte di generazioni di artisti italiani, in un dialogo sempre vivo con la Storia e la memoria. Un viaggio che apre le frontiere della mente e della cultura, favorendo la circolazione di stili lungo una linea che comprende Futurismo, Metafisica, Informale, Pop Art, Arte Cinetica, Concettuale, Arte Povera, Transavanguardia fino alle sperimentazioni in digitale. Il podcast valorizza le celebrazioni inaugurali a Singapore e registra le osservazioni entusiaste di visitatori ed esperti. La complessità dell'arte contemporanea italiana, “un'arte felicemente indecisa a tutto” viene illustrata dal curatore d'eccezione Achille Bonito Oliva, cui è stato affidato il compito di raccontare l'identità dell'arte italiana tramite una selezione di opere della straordinariaCollezione Farnesina ideata dall'Amb. Umberto Vattani. Intervengono nel podcast: On. Maria Tripodi (Sottosegretario agli Affari Esteri e alla Cooperazione italiana), Achille Bonito Oliva (storico e critico d'arte), Amb. Mario Andrea Vattani (Ambasciatore d'Italia a Singapore), Ju Li (Direttore Esecutivo dell'Arts House Limited di Singapore), Ute Meta Bauer (Direttrice e fondatrice del Centro di Arte Contemporanea presso l'Università Tecnologica di Nanyang), Clement On (Vicedirettore del Museo delle Civiltà Asiatiche di Singapore), Amb. Umberto Vattani (Presidente della Venice International University e ideatore della Collezione Farnesina), Angela Tecce (Presidente delMuseo Madre di Napoli e membro del Comitato Scientifico della Collezione Farnesina). Commentano la mostra i seguenti visitatori: Melinda (membro di Dynasty Travel), Henry Chen Ke Zhan (artista e pittore di Singapore), Concetta Arnese (psicologa e psicoterapeuta), Amb. Iwona Piòrko (Ambasciatrice dell'Unione Europea a Singapore), Adeline Kueh (Docente Senior di Belle Arti al LASALLE College of the Arts e artista), V. K. Santosh Kumar (redattore aggiunto presso il giornale Tabla), Roberto Fabbri (Direttore di FACI Asia Pacific Pte), Savinia Nicolini (architetta e fondatrice di SNA design Pte), Vivian Loy (Gallery Host presso Arts House Limited), Olivier Burlot, (CEO di Heart Media Group).

Pour ce troisième épisode de la Nature à l'œuvre, on vous propose de vous plonger dans l'univers de l'Arte Povera, un mouvement artistique (ou une attitude, comme vous le comprendrez à l'écoute ;) ) italien des années 60. On s'est basées sur l'exposition Renverser ses yeux au Jeu de Paume qu'on ne peut que vous recommander d'aller voir avant le 29 janvier !

Welcome to the Dior Talks podcast series themed around the seventh edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, 11 artists from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art.   Hanji paper, watercolor painting and calligraphy with all its rituals, including breathwork and “the power of the breath that goes through your brush,” are among the key influences of our latest guest artist, Minjung Kim, celebrating the joys of silence and simplicity. Using ink and paper, the South Korean artist with her delicately complex collage designs based on layered, overlapping compositions, creates spatial illusions. Kim, who works between Italy, France and America, moved to Milan to study art in the early Nineties. Western influences, from Lucio Fontana to the materials and compositions of the Arte Povera movement, infuse her work. Nature is another major inspiration for the artist who likes to work where she is able to “see green or the sky.”    The artist has reinterpreted three of her works for Dior Lady Art. On one bag, blocks of coloured mink recreate the work ‘Story' inspired by the artist's library in Milan, also reinterpreted in a smaller embroidered crystal version. A white bag adorned with delicate silk organza pleats recalls ‘The Street,' which captures the idea of looking down from a building onto a sea of paper umbrellas. ‘Red Mountains,' meanwhile, is based on an ink and watercolor work created by the artist on Hanji paper. The piece was inspired by the tides and the sound of water but, once flipped upside down, evokes a mountain range.    Myriad storylines and cultures interweave in a meeting of fashion and art. “The beautiful thing is, through art, we are connected spiritually without explaining it,” says the artist. “Surely, someone will take the bag and feel something different than with an industrially-made bag. I hope they can feel my spirit and love of nature.”   Tune into the episode to learn more about her fascinating world. 

Tokrat začnemo z že 30. Rožančevo nagrado za najboljšo zbirko esejev, nadaljujemo z razstavo Četrta generacija mojstra italijanske Arte Povera Michelangela Pistoletta v ljubljanski Cukrarni, ki ji sledi razstava v Moderni galeriji z naslovom Momental-mente: žive slike. Obiskali smo 11. mednarodni festival likovnih umetnosti v Kranju, ob mestnem dnevu razstavo Podobe Maribora iz zbirke Umetnostne galerije Maribor, in razstavo Arheološko bogastvo Bele Krajine v Belokranjskem muzeju Metlika. FOTO: Pistolettova postavitev instalacije Venera iz cunj v Berlinu l.2018, prvo je predstavil l.1967 v Italiji VIR: https://www.artatberlin.com/en/tribute-to-michelangelo-pistoletto-in-berlin-italian-cultural-institute-italian-embassy-01-06-04-06-2018/

Dirigido y moderado por José Luis Arranz. Hoy nos acompañan Adolfo Santos, Ángel Caparrós, Juan Chavetta y Julio Robledo (Dr. Sedano Cirujano del Plástico). Opinión, debate y entretenimiento. Buena compañía y buena conversación. * Hemos hablado de... Los artistas y el valor económico de sus obras · La influencia del noveno arte en la sociedad · El arte povera * Directo emitido el... 16 de septiembre de 2022 * 'Podcasteando con amigos' en... WhatsApp: https://www.podcasteando.es/agora Instagram: https://www.instagram.com/podcasteandoconamigos * Conócenos mejor... JOSÉ LUIS ARRANZ SALAS (Málaga, 1968) es Informático y Comunicador. Cuenta con más de 30 años de experiencia profesional en los diferentes sectores de las Tecnologías de la Información, la comunicación y la docencia. Docente vocacional ha impartido cursos en distintos centros y universidades. Es emprendedor en Celinet Soluciones Informáticas. Entrevistador en Entrevistas a Personas Interesantes (Mejor Blog de Actualidad en los Premios 20 Blogs de 20 Minutos). Instagramer y YouTuber en En directo con amigos. Podcaster en Podcasteando con amigos. Articulista en Mentes Inquietas y otros medios físicos y digitales. ÁNGEL CAPARRÓS VEREDA (Málaga, 1968) es Informático, administrador de sistemas, especializado en diseño y programación de equipamientos electrónicos de automoción, control de acceso, flotas, laboratorios y observatorios astronómicos. Astrófilo desde que vió unos puntos brillantes en el cielo, y constructor de telescopios desde que aprendió a usar la sierra y el martillo. Ha diseñado equipos de software y hardware abierto orientados al control de telescopios y la astrofotografía que, para su sorpresa, aún siguen siendo construidos y usados por aficionados en todo el mundo. Afortunado padre de dos niñas, ignora felizmente todo lo relacionado con el fútbol profesional. ADOLFO SANTOS FLORIDO (Málaga, 1968) es Informático, padre y talibán del asfalto. Cuenta con más de 25 años de experiencia en TIC y especialmente en el Tráfico y la Seguridad Vial con mayúsculas, tema donde piensa que aún no se ha hecho ni innovado lo suficiente. Enamorado de su familia, del Software Libre, de la movilidad sostenible y de los desplazamientos en bicicleta, sueña que algún día será posible atravesar Europa dando pedales con las máximas garantías. JUAN CHAVETTA (Zárate, Buenos Aires, 1970) asegura “La verdad no sé cómo definirme, si como ilustrador o dibujante. Hago dibujos desde que tengo cinco años. Soy dibujante, me gusta dibujar.” Juan es un dibujante que a sus 18 años se enteró que era daltónico cuando lo llamaron para trabajar en una fábrica. “En el examen médico no le pegue a un color”, recuerda. En 2009, Chavetta empezó subiendo dibujos a Flickr y fue ahí cuando distintas editoriales vieron su trabajo. Entonces comenzó a editar libros para Alfaguara, después siguió con varias editoriales más y actualmente está con Quipu, dedicada a la literatura infantil y juvenil. Su personaje estrella, Puro Pelo, es un dibujo infantil que trata sobre una nena con un corte carre muy particular, que tapa sus ojos. Ella es cero tecnología. No tiene celular, tablet ni computadora, y ama estar afuera mirando las estrellas y la luna. JULIO ROBLEDO SEDANO (Málaga, 1966) es emprendedor y artista. Compagina sus labores de asesor comercial de productos para alta cocina con la creación de composiciones en las que siempre usa materiales reciclados. Esta faceta artística la afronta bajo el nombre Dr. Sedano, Cirujano del Plástico. Ha dicho de si mismo: “Soy una persona con la necesidad de crear, trabajar con las manos, construir, dar forma a las ideas que surgen”, y de su obra: “Convierto objetos feos u olvidados, desechados, rescatados y/o rotos en algo con mensaje, con una vida nueva y un propósito de ser”.

L'arte l'ha imparata ma non l'ha messa da parte: stiamo parlando di Mario De Lillo. Con lui abbiamo parlato di haters e di come ci si prepara psicologicamente e ci si scherma dai commenti negativi, ci ha spiegato il suo concetto di arte povera e di quanto sia bello apprezzare le cose semplici del quotidiano. Se avete appurato di avere del talento, non fatevi scoraggiare dalle porte chiuse in faccia, seguite il consiglio di Mario e NUN MOLLATE!

What you'll learn in this episode:   Why people get so concerned with categorizing art, and why some of the most interesting art is created by crossing those boundaries  How Joy balances running a business while handmaking all of her pieces What noble metals are, and how they allow Joy to play with different colors How Joy's residences in Japan influenced her work How Joy has found a way to rethink classical art and confront its dark history     About Joy BC   Joy BC (Joy Bonfield – Colombara) is an Artist and Goldsmith working predominantly in Noble Metals and bronze. Her works are often challenging pre-existing notions of precious materials and ingrained societal ideals of western female bodies in sculpture. Joy BC plays with mythologies and re-examines the fascination with the ‘Classical'. Joy, a native of London, was profoundly influenced from an early age by the artistry of her parents - her mother, a painter and lithographer, her father, a sculptor. Joy's art education focused intensively on painting, drawing and carving, enhanced by a profound appreciation of art within historical and social contexts. Joy BC received her undergraduate degree from the Glasgow School of Art and her M.A. from the Royal College of Art in London. She has also held two residencies in Japan. The first in Tokyo, working under the tutelage of master craftsmen Sensei (teacher) Ando and Sensei Kagaeyama, experts in Damascus steel and metal casting.  She subsequently was awarded a research fellowship to Japan's oldest school of art, in Kyoto, where she was taught the ancient art of urushi by the renowned craftsmen: Sensei Kuramoto and Sensei Sasai. Whilst at the RCA she was awarded the TF overall excellence prize and the MARZEE International graduate prize. Shortly after her graduation in 2019 her work was exhibited in Japan and at Somerset house in London. In 2021 her work was exhibited in Hong Kong and at ‘Force of Nature' curated by Melanie Grant in partnership with Elisabetta Cipriani Gallery. Joy Bonfield - Colombara is currently working on a piece for the Nelson Atkins Museum in the USA and recently a piece was added to the Alice and Louis Koch Collection in the Swiss National Museum, Zurich.Additional Resources:  Joy's Website Joy's Instagram Photos: Photos available on TheJewelryJourney.com Transcript:   While others are quick to classify artists by genre or medium, Joy BC avoids confining her work to one category. Making wearable pieces that draw inspiration from classical sculpture, she straddles the line between jeweler and fine artist. She joined the Jewelry Journey Podcast to talk about why she works with noble metals; the exhibition that kickstarted her business; and how she confronts the often-dark history of classical art though her work. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is the award-winning artist and goldsmith Joy Bonfield-Colombara, or as she is known as an artist and jeweler, Joy BC. She is attracted to classical art. She interprets it from her contemporary viewpoint, and her work has been described both as wearable art and as miniature sculptures. We'll learn all about her jewelry journey today. Joy, welcome to the program.   Joy: Thank you for having me, Sharon.   Sharon: So glad to have you all the way from London. Tell us about your jewelry journey. You came from an artistic family.   Joy: Both my parents are artists. My mother is a painter and lithographer, and my father is a sculptor. So, from a really young age, I was drawing and sculpting, and I thought this was quite normal. It was later that I realized my upbringing was perhaps a bit different from some of my friends or my peers.   Sharon: Yes, it's unusual that I hear that. They weren't bankers. Was it always assumed that you were going to be an artist or jeweler?    Joy: Not at all. The fact that my parents were artists, I saw a lot of their struggle to try and place themselves within our society. They both were part of the 1968 revolution. My mom is actually from Italy. She left a tiny, little—not a village, but a small town called Novara which is near Verona and Turin, when she was 16 years old. She came to London and fell in love with London. She went to Goldsmiths School of Art, where she met my father. My father is English, and his ancestors were stonemasons from the Isle of Purbeck. So, they both met at art school, and it was much later that they had me.   As I grew up, they were incredibly talented individuals. They also struggled with how to live and survive from their artwork. As I grew older, however, as much as I loved the creative world I'd grown up in, I was also trying to figure out which pathway was right or was going to be part of my life. I didn't necessarily want to be an artist. For a long time, I wanted to be a marine biologist because I was really good at science, in particular chemistry and biology, and I really loved the ocean. I still love the sea. Swimming is the one sport I'm good at, and I find it fascinating. I still find the sea as a source of inspiration.    So no, it wasn't an absolute given; however, as I got older and went through my education, it became evident to me that was the way I understood the world and the spaces I felt most natural in. I'm also dyslexic. I used to be in special class because I couldn't write very well, but my dyslexia teacher said, “You're smart. You just have a different way of seeing the world.” I was always imaginative. If I couldn't write something, I would draw it or make it, and I liked the feeling that would create when someone else lauded me for it. Immediately, I had this connection with the fact that I could make things that people thought were interesting.    So, I studied science and art and theater, and then I went off to travel to Cuba when I was about 18, before I moved to Glasgow. When I was in Glasgow in Scotland, I saw The Glasgow School of Art degree show, and I was taken aback by the jewelry and metalwork show in particular. I don't know if you know the Rennie Mackintosh School of Art.   Sharon: No.   Joy: It's a British Art Nouveau building. In Scotland, it was part of the Arts and Crafts movement. It was a school that was designed by Rennie Mackintosh. He's a world-famous architect.   Sharon: Is that the one that burned down?   Joy: Yes, that year. I was actually there the year the school burnt down. I went to The Glasgow School of Art and I loved it. I did three amazing years there, and in my second year, I was awarded a residency to go to Japan. We had our degree show and we were preparing for it. The night before the fire, I took all of my works home. I don't know why. I was taking everything home to look at before we had to set up for the exhibition, and the school burnt down. At the same time, I had three major tragedies in my life. My best friend passed away; the school burnt down; and my boyfriend at the time had left me. I went through this total mental breakdown at the point when I was meant to start my career as an artist. I was offered the artist residency in the jewelry and metalworking department.    When Fred died, I was really unwell. A friend of mine had offered that I go to New York. I ended up having a bike accident, which meant that I was in intensive care. I couldn't work for three years. It was actually two friends of my family who were goldsmiths who gave me a space to work when I was really fragile. It was through making again and being with them that I slowly built back my confidence. That was my journey from childhood up right until the formals of education. These three events really broke me, but I also learned that, for me, the space I feel most happy in is a creative one, when I'm carving.   Sharon: Were you in the bike accident in New York or in Glasgow or in London?   Joy: In New York. My friend Jenny, who's a really good friend of mine, was going to New York and said, “I want you to come to New York because you've had the worst set of events happen. I think it would be good for you to have some time away.” I said, “Yeah, I agree,” and I came to New York. I was in Central Park cycling. It wasn't a motorbike. I blacked out. Nobody knows what happened. I woke up the next day in intensive care at Mount Sinai Hospital. I woke up in the hospital, and they told me I had fallen off my bike and I had front lateral brain damage, perforated lungs, perforated liver.   Sharon: Oh my gosh!   Joy: I feel really grateful that I'm here.   Sharon: Yes. To back up a minute, what was the switch from marine biology? I understand you were dyslexic, but what made you decide you were going to be a jeweler or an artist? What was the catalyst there?   Joy: I don't think there was ever a specific switch. I feel like art has always been a part of my life. It was always going to be that. I was always going to draw and make. I was also encouraged to do sculpture. I remember trying set design, because I thought that married my love of film and storytelling and theater with my ability to draw and sculpt. I thought, “Theater, that's a realm that perhaps would work well.” Then I went and did a set design course. The fact that they destroyed all my tiny, little things, because they have to take them apart to take the measurements for how big certain props or things have to be, drove me mad. I couldn't deal that I'd spend hours on these things to be taken apart.    I think it was probably the exhibition I went to see at The Glasgow School of Art. When I saw the show, I was really taken aback that all the pieces had been handmade. They were, to me, miniature sculpture. I hadn't considered that jewelry could be this other type of art. Seeing these works, I thought, “Wow! This is really interesting, and I think there's much more scope to explore within this medium.” I think that was the moment of change that made it for me.   Sharon: What is it about sculpture, whether it's large or jewelry-size, that attracts you? Why that? Is it the feeling of working with your hands?   Joy: I think it's a combination of things, partly because my father's a sculptor. I remember watching him sculpt, and his ancestors were stonemasons. They were quarriers from the Isle of Purbeck dating back to the 12th century. I remember going to the quarries with my dad and thinking how amazing it was that this material was excavated from the earth. Then my father introduced me to sculpture. A lot of West African sculpture, Benin Bronzes, modern sculpture by Alexander Calder. Michelangelo and classical sculpture was all around me in Italy when we'd go and visit my grandparents.    I think sculpture has always been something I found interesting and also felt natural or felt like something I had a calling towards. My mom has always said I have this ability with three-dimensional objects. Even as a child, when I would draw, I would often draw in 3D. I do still draw a lot, but I often collage or sculpt to work out something. You often draw with jewelry designs, actual drawings in the traditional sense, but I go between all different mediums to find that perfect form I'm looking for.   Sharon: When you were attracted to this jewelry in Glasgow, did it jump out at you as miniature sculpture?   Joy: Yeah, definitely. Looking at it, I saw it as miniature versions of sculpture. I also find artists such as Rebecca Horn interesting in the way that they're often about performance or extensions of the body. Even Leigh Bowery, who worked with Michael Clark, was creating physical artworks with ballet. These interactions with the body I think are really interesting: living sculpture, how those things pass over. I don't really like categorizing different art forms. I think they can cross over in so many different ways. We have this obsession about categorizing different ways or disciplines. I understand why we do that, but I think it's interesting where things start to cross over into different boundaries.   Sharon: That's interesting. That's what humans do: we categorize. We can spend days arguing over what's art, what's fine art, what's art jewelry. Yes, there's gray. There are no boundaries; there's gray in between.    Tell us about your business. Is that something your folks talked to you about, like “Go be an artist, but make sure you can make a living at it”? Tell us about your business and how you make a living.   Joy: I felt my parents were going to support me in whatever decisions I made. My mom ran away from Italy when she was 17, and she always told me that she said when she was leaving, “You have to live your life, because no one else will live it for you.” She's always had the attitude with me. Whatever direction I wanted to go in, I felt supported. I've always thought that if you work really hard at something or you put in the hours and you're passionate about it, then things will grow from that. Every experience I've had has influenced the next thing. I never see something as a linear plan of exactly how I'm going to reach or achieve certain things. I'm still very much learning and at the beginning of it. I only graduated in 2019 from the Royal College of Art doing my master's.    As I mentioned before, these two goldsmiths had given me an informal apprenticeship, basically. They were two working goldsmiths that had a studio, and they had been practicing for around 40 years. They had given me a space to work on this skill. Even though I studied a B.A. at The Glasgow School of Art, which is a mixture of practical and theoretical, I felt that after going to Japan and working with a samurai sword specialist making Damascus steel—it took him 25 years to get to the point where he was considered a master craftsman, this master in his craft. I felt like I had just started, even though my education in making had started from birth because my parents were artists and exposed me to all these things and encouraged me to make.    Within metalworking and jewelry work, there are so many techniques and so many things you need to take years to refine. Really, it's been like 11 years of education: doing a B.A., then doing an informal apprenticeship, then doing my master's. Only now do I feel like I've really found this confidence in my own voice within my work. Now I see the reaction from people, and I can help facilitate people on their journeys. I really enjoy that aspect of what I'm doing.    I'm still trying to figure out certain ways of running a business because it's only me. My uncle runs a successful business in Italy in paper distribution, and he said to me, “Why don't you expand or mass produce your work or have different ways of doing things?” This is where I find he doesn't necessarily understand me as an artist. For me, it's about process and handmaking everything. Perhaps that might not be the way I make the most money, but it's the way in which I want to live my life and how I enjoy existing. My business at the moment is just me handmaking everything from start to finish. What's really helped me recently is having support from the journalist Melanie Grant, who invited me to be part of an exhibition with Elisabetta Cipriani. It was with artists such as Frank Stella, Penone, who's one of my favorites from the Arte Povera movement who also came northern Italy, from an area where my family is from.    Sharon: I'm sorry; I missed who that was. Who's one of your favorites?    Joy: Penone. He's the youngest of the Arte Povera movement in Italy that came out of Turin. He often looks at nature and man's relationship to nature, the influence of it or connection. The piece of his that was on display was a necklace which was part of a tree that wraps around the décolletage. Then it has a section which is sort of like an elongated triangle, but it was the pattern of the skin from his palm. It's very beautiful. His sculpture, his large pieces, are often trees forming into hands or sections of wood that have been carved to look like trees, but they're carved. There's also Wallace Chan, who is obviously in fine jewelry. Art jewelry is considered—I don't know what to say—   Sharon: That's somebody who has a different budget, a different wallet. Not that your stuff isn't nice, but the gems in his things, wow.    Joy: There was Grima, Penone, Frank Stella. It was a combination of people who are considered more famously visual artists than fine jewelers. Then there was me, who was this completely new person in the art jewelry scene. I felt really honored that Melanie had asked me to put my work forward. I've always known what my work is to me. I see is as wearable artwork. But there was the aspect of, “What do other people see in it? How are they going to engage in this?” The feedback was absolutely incredible.    Since then, the work and the business have been doing so well. I have a bookkeeper now. The one person I employ is an amazing woman called Claire. She has been really helping me understand how my business is working and the numbers. However talented you are, if you don't understand how your business is working, then you're set up to fail. It's really difficult to continue to stay true to my principles and how I want to make, and to try to understand how I'm going to be able to do that, what it's going to take. I'm right at the beginning of it. I'm only in my first two years of my business. At the moment, from speaking to Claire, she was saying I'm doing well. I feel really supported by my gallery also, and that's the big part of it. I think that's going to make the difference.   Sharon: Wow! You do have a lot of support. No matter how talented you are, you do have to know how much things cost, whether you're making by hand or mass-producing them. I've always wanted to stick my head in the sand with that, but yes, you do need to know that.    I didn't realize there were so many artists at the exhibit. I knew you had this exhibit at Elisabetta Cipriani's gallery, but I didn't realize there were so many artists there. That must have been so exciting for you.   Joy: It was super exciting, and it was really interesting. Melanie has just written this book, “Coveted,” which is looking at whether fine jewelry can ever be considered as an art form. That's a conversation I'm sure you've had many a time in these podcasts, about classification. It's what we were talking about before, about how everything becomes departmentalized. Where is that crossover? How does it work? If people say to you, “I'm a jeweler” or “I'm an artist,” you'll have a different idea immediately of what that means.    It was hard to present an exhibition which was a combination of different work with the interesting theme of “force of nature,” just as we were coming out of lockdown. These are artists who've all been working away, and we got to do a real, in-person exhibition that people could attend and see and touch. One of the most magnificent things with jewelry is the intimate relationship you have with it, being able to touch it, feel it, that sensory aspect. I think in this day and age, we have a huge emphasis on the visual. We're bombarded with visual language, when the tactile and touching is the first thing we learn with. To be able to touch something is really to understand it.   Sharon: I'm not sure I 100% agree with that philosophy. I have jewelry buddies who say they have to hold the piece and feel it. I guess with everything available online, I don't know.   Joy: Diversity depends on what your own way of experiencing things is. Also, the way you look at something will be informed by the way you touched it. Yes, we are all looking at things big picture. We know it's made of wood or metal or ceramic. We can imagine what that sensation is. Of course, imagination also influences the ability to understand something, so they work together. I think it just adds different dimensions. It's the same with music. Sound is another sensory way in which we experience things. Music often moves me and helps me relax in ways that other art forms don't do.   Sharon: Right.  

Artist Donald Sultan rose to prominence in the late 1970s as part of the “New Image” movement. Sultan has challenged the boundaries between painting and sculpture throughout his career. Using industrial materials such as roofing tar, aluminum, linoleum and enamel, Sultan layers, gouges, sands and constructs his paintings—sumptuous, richly textured compositions often made of the same materials as the rooms in which they are displayed. He lives and works in New York City.“I always feel that you can never fail if you don't know what you're doing. The best work is what you do when you don't know what you're doing…A lot of the images that have struck me, that I get drawn to, a lot of them were from painting. Some of them were from early movies. Some of them were from places I visited, but mostly gardens or wild gardens that had things in them I'd never seen before, and then learning what that was when I'd been working on it. Generally speaking most of what I do had to do with my feelings about other artists work that I admired. A lot of the industrial materials that are use, floor tiling and things like that came from site specific artists, sculptors, people who built into the buildings, Arte Povera. Using works that were just found, the poor materials, that kind of thing. Tar I kind of got from working in my fathers tire shop with the grinding of the rubber and so on. Things come together and I wasn't even aware of it until people start asking me about it. I remember telling them about this man, being in black room with all this rubber, smoking Camels. It was a very cool image. I'll never forget the guy, but when I was doing it myself, that's not what I was thinking. I was really thinking about the materials I was using and inverting them.”· donaldsultanstudio.com· ryanleegallery.com · www.creativeprocess.info · www.oneplanetpodcast.org

Artist Donald Sultan rose to prominence in the late 1970s as part of the “New Image” movement. Sultan has challenged the boundaries between painting and sculpture throughout his career. Using industrial materials such as roofing tar, aluminum, linoleum and enamel, Sultan layers, gouges, sands and constructs his paintings—sumptuous, richly textured compositions often made of the same materials as the rooms in which they are displayed. He lives and works in New York City.“I always feel that you can never fail if you don't know what you're doing. The best work is what you do when you don't know what you're doing…A lot of the images that have struck me, that I get drawn to, a lot of them were from painting. Some of them were from early movies. Some of them were from places I visited, but mostly gardens or wild gardens that had things in them I'd never seen before, and then learning what that was when I'd been working on it. Generally speaking most of what I do had to do with my feelings about other artists work that I admired. A lot of the industrial materials that are use, floor tiling and things like that came from site specific artists, sculptors, people who built into the buildings, Arte Povera. Using works that were just found, the poor materials, that kind of thing. Tar I kind of got from working in my fathers tire shop with the grinding of the rubber and so on. Things come together and I wasn't even aware of it until people start asking me about it. I remember telling them about this man, being in black room with all this rubber, smoking Camels. It was a very cool image. I'll never forget the guy, but when I was doing it myself, that's not what I was thinking. I was really thinking about the materials I was using and inverting them.”· donaldsultanstudio.com· ryanleegallery.com · www.creativeprocess.info · www.oneplanetpodcast.org

Angela Westwater at 257 Bowery, 2020, photo by Alexei Hay Angela Westwater co-founded Sperone Westwater Fischer in 1975 with Italian art dealer Gian Enzo Sperone and German gallerist Konrad Fischer, opening a space at 142 Greene Street in SoHo, New York. (The gallery's name was changed to Sperone Westwater in 1982.) An additional space was later established at 121 Greene Street. The founders' original program showcased a European avant-garde alongside a core group of American artists to whom its founders were committed. Notable early exhibitions include a 1977 show of minimalist works by Carl Andre, Dan Flavin, Donald Judd, and Sol Lewitt; seven of Bruce Nauman's seminal early shows; six early Gerhard Richter shows; two Cy Twombly exhibitions in 1982 and 1989; eleven Richard Long exhibitions; and the installation of one of Mario Merz's celebrated glass and neon igloos in 1979 -- part of the gallery's ongoing dedication to Arte Povera artists, including Alighiero Boetti. Other early historical exhibitions at the Greene Street space include a 1989 group show, "Early Conceptual Works," which featured the work of On Kawara, Bruce Nauman, Alighiero Boetti, and Joseph Kosuth, among others; a 1999 Fontana exhibition titled "Gold: Gothic Masters and Lucio Fontana"; and selected presentations of work by Piero Manzoni. From May 2002 to May 2010, the gallery was located at 415 West 13 Street, in a 10,000-square foot space in the Meatpacking District. In September 2010, Sperone Westwater inaugurated a new Foster + Partners designed building at 257 Bowery. Today, over 45 years after its conception, the gallery continues to exhibit an international roster of prominent artists working in a wide variety of media. Artists represented by Sperone Westwater include Bertozzi & Casoni, Joana Choumali, Kim Dingle, Shaunté Gates, Jitish Kallat, Guillermo Kuitca, Wolfgang Laib, Helmut Lang, Amy Lincoln, Richard Long, Emil Lukas, David Lynch, Heinz Mack, Mario Merz, Katy Moran, Malcolm Morley, Bruce Nauman, Otto Piene, Alexis Rockman, Susan Rothenberg, Tom Sachs, Peter Sacks, Andrew Sendor, and William Wegman. Past exhibitions, press, and artworks can be found on the gallery website. Born in Columbus, Ohio, Westwater received her BA from Smith College and her MA from New York University. She arrived in New York City in 1971 and landed her first job as a “gallery girl” at the John Weber Gallery at 420 West Broadway. From 1972 to 1975, she served as Managing Editor of Artforum magazine. In 1975, the same year the gallery was founded, Westwater was appointed to the Board of Trustees of The Louis Comfort Tiffany Foundation, where she has served as President since 1980. The books mentioned in the interview are The Free World, Art and Thought in the Cold War by Louis Menand and A Life of Picasso, The Minotaur Years by John Richardson. Joana Choumali, Untitled (Ça Va Aller), 2019, mixed media, 9 1/2 x 9 1/2 inches (24 x 24 cm), 16 1/4 x 16 1/4 inches (41,3 x 41,3 cm) Joana Choumali, WE ARE STILL NOW, 2022, mixed media, 4 parts; 38 1/2 x 78 inches (97,8 x 198,1 cm)

Jamie Powell was born in Fairmont, West Virginia 30 miles south of the Mason Dixon Line to a family of farmers and factory workers. Her Appalachian roots encouraged a culture of reuse, repurposing, patching and stitching. She has an interest in exploring the boundaries of what paintings can be through a highly experimental process of dying, braiding, weaving, stitching and staining raw canvas.    Intimate feminine domestic gestures become grand moments in her paintings. Oversized and out of control bows pull away from the stretcher.... the braided canvas falls to the floor. These paintings become physical three-dimensional objects. The scale references the body, the size of a head, the torso, or outstretched arms. Influences range from Robert Rauschenberg to Jessica Stockholder, from Arte Povera to Pattern and Decoration movements, from Formalism to Feminism.    She has exhibited extensively over the last twelve years including: Soil Gallery in Seattle, David & Schweitzer and Fresh Window in Brooklyn, Freight + Volume and Morgan Lehman in New York. She has received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center and Pratt Institute. She is a faculty member at Pratt Institute and a Teaching Artist for the Studio in a School Foundation as well as co-teaches the Lincoln Center Summer Intensive Boot Camp.    In this most recent body of work Jamie has returned to her rural roots exploring landscape with a deepening dive into spirituality, where she is mining the personal while surfing the ethereal.     Currently, she lives and works in Queens, New York.        LINKS:  jamielpowell.com www.instagram.com/jamielinnpowell Shout Outs:  Artist: Laura Mosquera: https://lauramosquera.com/home.html Artist: Barbara Friedman: https://barbarafriedmanpaintings.com/ Artist/Gallerist: Julie Torres: https://artspiel.org/artists-on-coping-julie-torres-labspace/ http://labspaceart.blogspot.com/   I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

A live discussion recorded on 26 January 2022, by Hans Ulrich Obrist on Ettore Spalletti (1940-2019), whose work is on view in our New York gallery through 5 March 2022. About Hans Ulrich Obrist Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of the Serpentine Galleries in London, Senior Advisor at LUMA Arles, and Senior Artistic Advisor at The Shed in New York. Prior to this, he was the Curator of the Musée d'Art Moderne de la Ville de Paris. Since his first show World Soup (The Kitchen Show) in 1991, he has curated more than 350 shows. About Ettore Spalletti Ettore Spalletti (1940-2019) was born in Cappelle sul Tavo (Pescara) where he spent his whole life. He began his career when Arte Povera was revolutionizing visual culture in Italy and beyond. Spalletti developed a singular, solitary voice and a resultant body of work that exceeds any movement circumscribing an artist to regional or ideological boundaries. Spalletti's formal vocabulary has always melded and balanced painting and sculpture, form and color, interior and exterior space.

This week I was really excited to have Sharon Butler on the podcast for the second installment of my "Interview the Interviewer" series. Sharon is a painter, writer and founder of the Two Coats of Paint Blog-azine which offers a space for alternative critical writing for the arts in the New York/Tri-State area. We nerd-ed out about paint brushes, spoke about her "Good Morning" drawings, and about allowing "bad" compositions into your work. We also talked about Two Coats of Paint's role in the NY art world and how to get started art writing. Check out the links below for more info about her projects: Sharon Butler Website: https://www.sharonlbutler.com/ Two Coats of Paint: https://www.twocoatsofpaint.com/ Norte Maar at the Brooklyn Ballet: http://www.brooklynballet.org/brooklyn-ballet-presents/counterpointe Curating Conteporary: http://www.curatingcontemporary.com/ Figure/Ground Interview w/ Sharon Butler: http://figureground.org/a-conversation-with-sharon-butler/ Review of Sharon's show by artist, Paul D'Agostino in Hyperallergic: https://hyperallergic.com/461289/sharon-butler-new-paintings-theodore-art/ Artists mentioned: On Kawara, Kazimir Malevich, Arte Povera movement, Alberto Burri at the Guggenheim, Piero Manzoni's Artist's Sh*t, Charles Burchfield's secret symbols, Holly Coulis at Klaus von Nichtssagend, Susan Carr, Julie Torres & Ellen Letcher of Labspace, Brian Edmonds of Curating Contemporary, Julia Gleich, Choreographer, Two Coats residents: Deborah Zlotsky & Afarin Ramanifar, Martin Puryear prints This talk originally aired as a live event on the Clubhouse App, Jan 10, 2021. Please subscribe to get new episodes as soon as they release, and also please connect with the podcast on Instagram at @peptalksforartists and check out the bonus images that go with this episode. Thanks for listening! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Arte Povera, or "Poor Art" was born in Italy during the 60s. The movement's artistic aims were to rail against what they saw as cynical consumerism and elitism in the art world, by creating pieces from the most everyday and banal materials. Despite being marginalised at the time as the only female member, history has shown Marisa Merz to be one of the greatest exponents of the group. Kunst Please is a micro-dose of modern art history. An exploration into the more unexpected side of modern and contemporary art, featuring stories of the famous and the infamous, the weird and the wonderful, the unheard, the cult, the criminally overlooked and the criminally insane. Created and produced by Jonathan Heath. Follow the gallery space on Instagram @kunstplease Check out show-notes and assorted ephemera at kunstpleasepod.medium.com/

Welcome to the Dior Talks series themed around the 5th edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year’s event, ten artists and collectives from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art. Sharing the mic in our latest episode is the artist Chris Soal, an emerging talent who was born in 1994, the year the Lady Dior was created. Based in Johannesburg, South Africa, he is known for amorphous wall sculptures made from recycled single-use items, with influences ranging from the Arte Povera movement to African totems and the treasures of nature. With a Midas-like touch, the artist transforms mundane objects into rich, sensual works that challenge conventional notions of value, a concept he transposed onto textured Lady Dior bags covered in bottle tops bent like cowrie shells or furry swaths of toothpicks evoking couture embroidery. One might compare the painstaking handicraft of his work to the elaborate construction of the Lady Dior bag itself, which is assembled from 144 pieces. The story behind its signature cannage motif — borrowed from the Napoleon III seats Monsieur Dior used to seat guests at his haute couture presentations at 30 Avenue Montaigne — echoes his processes of observation and application. Tune in to hear Soal discuss the experience of fusing the haute and the humble in his reinvention of the Lady Dior bag as well as its charms, including turning the letter “O” into a bottle opener.  Discover Chris Soal’s creations :https://youtu.be/mWHNIigfA54

Welcome to the Dior Talks series themed around the 5th edition of Dior Lady Art and hosted by Paris-based journalist Katya Foreman. For this year's event, ten artists and collectives from around the world have participated in a game of metamorphosis by rendering the iconic Lady Dior handbag as a unique piece of art. Sharing the mic in our latest episode is the artist Chris Soal, an emerging talent who was born in 1994, the year the Lady Dior was created. Based in Johannesburg, South Africa, he is known for amorphous wall sculptures made from recycled single-use items, with influences ranging from the Arte Povera movement to African totems and the treasures of nature. With a Midas-like touch, the artist transforms mundane objects into rich, sensual works that challenge conventional notions of value, a concept he transposed onto textured Lady Dior bags covered in bottle tops bent like cowrie shells or furry swaths of toothpicks evoking couture embroidery. One might compare the painstaking handicraft of his work to the elaborate construction of the Lady Dior bag itself, which is assembled from 144 pieces. The story behind its signature cannage motif — borrowed from the Napoleon III seats Monsieur Dior used to seat guests at his haute couture presentations at 30 Avenue Montaigne — echoes his processes of observation and application. Tune in to hear Soal discuss the experience of fusing the haute and the humble in his reinvention of the Lady Dior bag as well as its charms, including turning the letter “O” into a bottle opener.  Discover Chris Soal's creations :https://youtu.be/mWHNIigfA54

Versione audio: Michelangelo Pistoletto (1933) è stato un importante esponente dell’Arte Povera, un movimento artistico internazionale, che ha raccolto artisti di varia formazione (tra cui Mario Merz, Giuseppe Penone, Mario Ceroli), fondato nel 1966 dal critico italiano Germano Celant (1940-2020) e così chiamato per via dell’utilizzo di materiali “umili”. Dalla Venere degli stracci agli specchi […] L'articolo Michelangelo Pistoletto proviene da Arte Svelata.

Surgido en la década de los 60, este giro nos habla de los materiales sin significación alguna como rechazo a la industrialización y la mecanización de la época.

Cette nouvelle série, Art et écologie, propose des pistes créatives pour repenser notre lien avec le vivant. Abordée à travers quatre œuvres de nos collections, l’écologie apparaît comme un fondamental contemporain et une urgence à inventer d’autres manières d’habiter le monde. Giuseppe PenoneNé au pied des massifs montagneux italiens, Giuseppe Penone appartient au courant de l’Arte Povera. Habité par la poésie du contact physique avec les rivières et les forêts, il crée ses œuvres en collaboration avec les éléments naturels et le temps.Crédits Écriture et réalisation : Elsa DaynacResponsable éditoriale et chargée de production : Julie Micheron Habillage musical de Nawel Ben Kraïm et Nassim KoussiLectures des textes de Giuseppe Penone par Gabriel AcremantReportage avec Giuseppe Penone et Francis Hallé Créations sonores de Jérémy Bocquet et Adrien Vullo du collectif Esitu Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Thomas W. Rieger leitet seit 2007 die Konrad Fischer Galerie in Düsseldorf. Das Traditionshaus von Konrad und Dorothee Fischer hat Konzeptkunst, Minimal Art, Arte Povera und Land Art ab 1967 auf dem deutschen Markt bekannt gemacht und das Galeriewesen wesentlich geprägt. Seit 2015 übernimmt die Tochter und Künstlerin Berta Fischer die Leitung in beiden Niederlassungen in Düsseldorf und Berlin. Thomas W. Rieger ist jedoch vor Ort verantwortlich und berichtet uns von seinem Alltag: Wie ist eine Galerie organisiert? Warum ist Vermittlung der eigentliche Anreiz des Galeriewesens? Wie wird das Jahresprogramm und der Markt durch Corona beeinflusst? Und was macht die Konrad Fischer Galerie einzigartig? Vielleicht hätte Konrad Fischer dazu gesagt: "Okeydokey...mit Bleistift!" (Los gehts!)

00:25min - “Mode ist vergänglich, Stil niemals” ~ Coco Chanel-10:00min - Last Cop Dan: Radiohead “Kid A” LP, The 1975 “Notes On A Conditional Form” LP, Swans “To Be Kind” LP, SWANS Buch, Arte Povera in der Sammlung Goetz Buch-19:00min - Hipstersocken in der Mode-29:30min - Musikempfehlung der Woche (Mziu, The Lemonheads etc)-33:05min - Wann warst du, in der Mode, das letzte Mal überrascht?-45:30min - Portrait: Kiko Kostadinov-56:20min - Kopiert vs. Inspiriert?

Le Neoavanguardie: Minimal Art; Arte Concettuale; Arte Povera di Ludovico Pratesi, supervisione di Monica D'Onofrio, regia di Valerio Giannetti.

Versione audio: Il critico d’arte Germano Celant (1940-2020), genovese, curatore di mostre e autore di oltre cinquanta pubblicazioni, tra cataloghi, scritti teorici e saggi, è noto soprattutto per aver fondato, alla fine degli anni Sessanta, l’Arte Povera, un movimento artistico di stampo sostanzialmente concettuale, che nella decade successiva puntò alla riconquista del rapporto uomo-natura e […] L'articolo L’Arte Povera: Merz, Penone, Ceroli proviene da Arte Svelata.

Pagina 3 con Silvia Bencivelli

Paris Fashion Week has surpassed its own personal best this season, with some 60 men's fashion shows over six days from a variety of international brands. On days one and two, three labels turned heads among the press: Belgian designer Walter Van Beirendonck and his rejection of political correctness; the French collective Etudes Studio, which drew inspiration from the films "Fantastic Planet" and "Terminator 2"; plus Israeli designer Hed Mayner, who delved into the Arte Povera movement for his looks. 

It's Talk Art's ONE YEAR ANNIVERSARY! Russell & Robert meet American painter Jamian Juliano-Villani in her Brooklyn studio to discuss topics as varied as being a noisy neighbour, Weezer's Green Album, an encyclopedic knowledge of both music & art history, watching Live Leak to stay tough, political correctness, a childhood growing up in her parents silk-screening factory printing merchandise for pop bands, her friendships with NYC artists Brian Belott, Billy Grant & Borna Sammak, her favourite artists including Mario Merz (and Arte Povera), Chilean painter Roberto Matta, Ivan Albright, Allen Jones, Walter Price and Ashley Bickerton, plus we explore her extensive & entertaining lists of potential topics for future paintings!!! Thanks to everyone who has been listening to Talk Art over the past year!! Visit Jamian at Instagram @psychojonkanoo and view images of artworks we discussed in this episode @talkart. Jamian is represented by JTT Gallery @jtt_nyc - check out our interview with JTT founder Jasmin Tsou from earlier this season! This episode was recorded in New York at the end of May 2019 while Jamian was finishing painting new works for recent solo show 'Let's Kill Nicole' for Massimo De Carlo Gallery, London. See acast.com/privacy for privacy and opt-out information.

L'ARTE POVERA raccontata da Michele Dantini

La Fondazione Pino Pascali di Polignano a Mare presenta, a Palazzo Cavanis di Venezia, una mostra su uno dei massimi protagonisti della Pop Art e dell'Arte Povera italiana

Vinnarna skriver historien och det realistiska måleriet gick knappast segrande ur 1900-talet. Karsten Thurfjell reflekterar över ismerna som dukade under, men överlevde ändå. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Minns ni transavantgardet? Hm, inget rungande ja, precis. Transavantgardet var en italiensk rörelse inom konsten, som vid 1980-talets inträde lanserades av konstvetaren och kritikern Achille Bonito Oliva, och bland konstnärerna märktes Sandro Chia, Francesco Clemente, Nicola de Maria och Mimmo Paladino. Ringer någon klocka? Jag minns att några av dom var här och visade upp sig då och då under 80-talet, men här på redaktionen tycks jag vara den enda som minns. Transavantgardet ville lösa upp den väg som den moderna konsten tagit under 1900-talet. Man ville bort från tanken att det skulle finnas olika avantgarde, förtrupper som skulle uppfinna nya stilar och uttrycksmedel för att komma åt tidsandan, livsvillkoren och verkligheten. Achille Bonito Oliva hade själv varit en del av det rådande italienska avantgardet, som sedan mitten av 60-talet stavades Arte Povera, den fattiga konsten. Den var konceptuellt präglad och gick ut på att konstnärerna skulle använda material som var mycket billiga eller rentav gratis. Men nu hade Oliva och några av hans konstnärskompisar tröttnat på utställningar med en hög stenar, en repstump, ett par kolsäckar och ett trasigt fönster, och han föreslog att istället för att gå mot en nollpunkt skulle konstnärerna vända om och söka sig tillbaka till traditionen, och där hitta nya kreativa sätt att återanvända dom klassiska uttrycksmedlen, förslagsvis just det ! måleriet. vad hade hänt om det tidiga 1900-talsavantgardet gått andra vägar? Transavantgardisterna ägnade sig åt en sorts nyexpressionism i sitt måleri. Det var ganska poetiskt och föreställande, och det tycktes inte bäras fram av särskilt strikta regler. Rörelsen fick ett gott mottagande i hemlandet, och särskilt bra gick det i USA, där tanken på att befria måleriet ur dom konceptuella bojorna inspirerade nya amerikanska stjärnor som Julian Schnabel och Jean-Michel Basquiat, liksom det nya tyska vilda måleriet blev en parallellrörelse som formligen exploderade. Men som minnesgoda lyssnare vet, öppnades konstvärlden i detta skede för postmodernismen, som när den blommade ut i slutet av 1980-talet gjorde alla dom tidigare absoluta anspråken hos konstens förtrupper omöjliga. Och där någonstans började väl transavantgardets trendvärde ebba ut, för snart var allt tillåtet, och alla konstnärer kunde göra vad som helst på vilket sätt som helst och komma undan med det. Att transavantgardet kördes över av postmodernismen och försvann kan nog förklaras med samtidskonstens enorma expansion sedan dess, men vad hade hänt om det tidiga 1900-talsavantgardet gått andra vägar? Finns det ett sliding doors-tema ruvande inom modernismen? Hur hade konsten sett ut om Hitler kommit in på Konstakademin i Wien 1907? Konstens parallella universum kunde jag inte låta bli att fundera över när jag 2018 under ett besök på Ateneum i Helsingfors, upptäckte en annan ism som också tycks ha gått under och glömts bort, nämligen den magiska realism som frodades i Italien på 1920- och 30-talet. Vadå magisk realism, undrar ni kanske? Konsthistoriens bild av den tidiga modernismen i Italien domineras av Filippo Tommaso Marinetti och hans futuristiska Manifest år 1909, som i princip gick ut på att skrota allt som var gammalt särskilt museerna och deras mossiga innehåll. Marinetti besjöng farten, teknologin och kriget, men tio år senare, efter första världskrigets ödeläggelse kändes futurismens tongångar kanske lite fadda, och avantgardet kom att gå i mer fredliga riktningar. I Paris fortsatte Picasso & Co att bryta upp perspektiven, medan några i stället valde ett klassiskt realistiskt och detaljrikt bildspråk. I Tyskland fick den nya sakligheten ofta ett satiriskt drag av Max Beckman, Otto Dix och George Grosz,  medan man i Italien kom att avbilda en drömlik, liksom avstannad verklighet. Mest känd i den här rörelsen är Giorgio de Chirico med sina teatrala, kulisslika scenerier med klassisk arkitektur. Men huvuddelen av Italiens magiska realister sökte sin magi i ganska vardagliga motiv, där det exakta avbildandet skänkte mer stillhet än dynamik. Redan före kriget, 1912 hade Felice Casorati målat Fröknarna, en sällsam bild i stort format, där fyra unga kvinnor poserar på en sorts friluftsscen framför en stor gran, tre fröknar är påklädda, en naken. Scenen dom står på är beströdd med en väldig mängd symboliska föremål: smycken, vaser, frukter, uppslagna böcker, speglar och lappar i barock stillebentradition. Fröknarna tycks representera fyra klassiska kvinnohållningar, från pliktkänsla och blyghet till munter charm och naken melankoli. Dom verkar tagna direkt ur verkligheten, men svävar i en dröm. Dom magiska realisterna, med namn som Cagnaccio di San Pietro, Antonio Donghi och Leonor Fini målade porträtt av individer, sällskap och föremål, som avbildats i sin miljö, men som stannat upp i sina positioner och tycks bortkopplade från tidens hank och stör. Gruppen var inte särskilt hårt sammanhållen, snarare ett antal besläktade individer, och om dom under 1920-talet fick ställa ut som alla andra, började dom på 30-talet trängas bort av fascismens konströrelse Novecento Italiano med sin politiserade kultursyn, precis som den nya sakligheten dömdes ut bland den entartete, urartade moderna konsten av Hitler och hans nazister på andra sidan Alperna. Flera av konstnärerna gick i inre och yttre exil. Av det realistiska måleriet överlevde delar under det surrealistiska paraplyet, medan somliga socialrealistister skulle komprometteras som medlöpare efter världskrig nr 2, en katastrof som i princip tvingade fram ett abstrakt formspråk, en konst som inte kunde förknippas med krig och förtryck. Och efterkrigstidens abstrakta expressionism är sedan länge inskriven i konsthistorien, som alla andra ismer. Så kanske har 20-talets magiska realism inte alls förpassats till konsthistoriens bakgård  Den magiska realism som försvann på 30-talet är en mindre fotnot i konsthistorien, och några av dom individuella konstnärskap som sökte den exakta avbildningens magiska drag omnämns snarare som solitärer. Men idag ser vi många nya sätt att söka magi i avbildningen. Först i våra trakter med att verkligen gå emot modernismens teser var väl norske Odd Nerdrum som i stor stil bröt med popkonsten på 60-talet, och med gammalmästerlig 1600-talsteknik målar mänskliga varelser i realistisk stil, människor som uppenbarligen befinner sig utanför tid och rum och som väl strängt taget inte ser ut att ha funnits i någon tidsålder. Under samma Finlandsresa som jag upptäckte den magiska realismen, såg jag en utställning med Brasiliansk-finländska Isabella Cabral. Tidigare har jag sett henne ställa ut i Sverige, närgånget avmålade vedklabbar, avbrända tändstickor och hoprullade sedlar, allt med en envetenhet som tycks vilja mana fram föremålens magi. Men den här gången handlade det om skor. Utställningen Shoe story visade nämligen närgångna målningar av skor, rejält slitna promenad- och träningsskor som gåtts ner av ingen mindre än filmaren och författaren Jörn Donner, en man som går långt och mycket. Skorna är minutiöst avmålade i uppförstorad, mer än dubbel skala, med oljemåleri i flera lager som Isabella Cabral lägger på för att återge varje skiftning i dom nerslitna plösarna, sulorna och ovanlädren. Tavlorna var monterade på glas ute på gallerigolvet, som altartavlor, så man såg dukarnas baksida, där Jörn Donner själv skrivit dom titlar han gett målningarna: Perkele förstås, Mammuten, Fanny & Alexander, vilket om inte annat förstärker målningarnas fetischkaraktär. Så kanske har 20-talets magiska realism inte alls förpassats till konsthistoriens bakgård, utan tvärtom åter skakats fram ur modernismens hopvecklade fana och getts ny energi, precis som Achille Bonito Oliva proklamerade för sitt transavantgarde på 1980-talet som ville förnya konsten med dom klassiska måleriska gesterna, ännu en gång. Kanske består konsthistorien helt enkelt av ett antal parallella universum som då och då plötsligt hakar i varann, därinne i ateljéerna. Karsten Thurfjell, medarbetare på kulturredaktionen

Turin is the capital city of Piedmont in northern Italy, known for its refined architecture and cuisine. Surrounded by the Italian Alps, the birthplace of Arte Povera and home to one of the most sacred religious artifacts, the Turin Shroud. Considered by some to be one of the most haunted cities in the world, Turin is home to many interesting spots associated with black magic and witchcraft. In an area of such natural and man-made beauty, magic can always be found, whether it’s legendary tales of the occult, or simply the feeling you get from the stunning and romantic surroundings. Jean-Michel Dufaux https://www.instagram.com/jmdufaux https://twitter.com/jmdufaux

The Swiss collection Hubert Looser is amongst the most outstanding private collections of modern and contemporary art in Europe. Now the collection is on view at the Kunsthalle Krems. An exhibition portrait by CastYourArt.

Die Schweizer Sammlung Hubert Looser zählt zu den herausragenden Privatsammlungen moderner und zeitgenössischer Kunst im europäischen Raum. Nun wird sie in der Kunsthalle Krems gezeigt. Ein Ausstellungsportrait von CastYourArt.

This week we ask some important questions about texture. Can you touch a compression codec like a painting? Does a tablet need to feel like paper? Should keyboards feel like handbags? Do you really need to see a rom-com in 3d? HD Boyz https://www.youtube.com/watch?v=9C5YAc6L_KQ Toronto Public Library http://www.torontopubliclibrary.ca/ Arte Povera https://news.artnet.com/market/an-introduction-to-arte-povera-32829 MacPaint https://www.fastcodesign.com/3019914/relive-the-original-macpaint-in-your-browser Pentile Display https://www.oled-info.com/pentile Wade Guyton http://www.vulture.com/2012/10/saltz-on-wade-guyton-os-at-the-whitney.html Nam June Paik Magnet TV http://collection.whitney.org/#object/6139 Takeshi Murata, Monster Movie, 2005 https://vimeo.com/147761897 8.7MB, 2002 (ironically not the original file) http://jeremybailey.net/87mb.html Wabi Sabi: The Art of Imperfection https://www.utne.com/mind-and-body/wabi-sabi George Maciunas, Flux Kits https://www.moma.org/interactives/exhibitions/2011/fluxus_editions/category_works/fluxkit/ Ay-O’s finger box https://www.moma.org/collection/works/128028 Marinetti Tactilism http://peripheralfocus.net/poems-told-by-touch/manifesto_of_tactilism.html Luc Besson’s Valerian http://www.imdb.com/title/tt2239822/ Jeremy’s VR show in Toronto http://worldbuilding.sheeri.co/ South Park stop frame animation pilot https://www.youtube.com/watch?v=rvjuarWNyJY Jack Goldstein http://www.artinamericamagazine.com/news-features/news/jack-goldstein-adam-lindemann/ Harmony Korine’s Trash Humpers https://www.youtube.com/watch?v=KCjYRd43tpw Dogme 95 https://en.wikipedia.org/wiki/Dogme_95 reMakable’s paper simulating tablet https://remarkable.com/ Herzog’s Cave of Forgotten Dreams https://www.youtube.com/watch?v=kULwsoCEd3g Chiaroscuro https://en.wikipedia.org/wiki/Chiaroscuro Microsoft says the fabric on the Surface Laptop should be cared for like a ‘luxury’ handbag https://www.theverge.com/2017/5/9/15587364/microsoft-surface-laptop-alcantara-fabric-cleaning Google Daydream (2016 version) https://www.wired.com/2016/11/daydream-view-review/ iPhone X https://www.apple.com/iphone-x/ Risograph printing https://en.wikipedia.org/wiki/Risograph

Dizainerė Katrina Knizikevičiūtė.Dienraščių kultūros puslapių apžvalga.Mykolo Drungos užsienio kultūrinės spaudos apžvalga apie Ciuricho architektūrą.Projektas „Antiidealas“. Kaip panaikinti ribą tarp „mūsų“ ir „kitų“? „Klasikos enciklopedija“: Arte Povera.

Michelangelo Pistoletto, uno degli esponenti chiave di quella che è stata definita l’Arte Povera. ..Una carriera giocata sul palcoscenico internazionale. ..Un artista con una grande consapevolezza del ruolo propulsivo degli intellettuali sulla scena sociale e quindi politica, costantemente alla ricerca di nuove dimensioni di espressione, utili anche a guadagnare una più elevata coscienza civile. Artscapes alla ricerca del “Terzo Paradiso”... Buon ascolto!

Michelangelo Pistoletto, uno degli esponenti chiave di quella che è stata definita l’Arte Povera. ..Una carriera giocata sul palcoscenico internazionale. ..Un artista con una grande consapevolezza del ruolo propulsivo degli intellettuali sulla scena sociale e quindi politica, costantemente alla ricerca di nuove dimensioni di espressione, utili anche a guadagnare una più elevata coscienza civile. Artscapes alla ricerca del “Terzo Paradiso”... Buon ascolto!

Sue Lawley's castaway this week is the artist Cornelia Parker. Cornelia grew up in the country where she lived on a small holding looked after by her father. She spent much of her time mucking out pigs, milking cows, laying hedges and tying up tomato plants. Her means of escape was to run into the fields to daydream. English and art were her favourite subjects, and a trip to the Tate Gallery in London with her school when she was aged 15 confirmed that she wanted to be an artist. After studying art at college, Cornelia turned her hand to sculpture, inspired by the Arte Povera movement in Italy which rejected traditional marble and bronze and used any materials they chose. She developed her style by mixing with other students and collaborating with theatre groups. Cornelia liked the idea of her work being ephemeral and didn't worry about it's existence beyond an exhibition. For her first solo exhibition in 1980 she showed a number of pieces and because she had nowhere to store them, told the organisers that afterwards they could give them to local schools. "I don't know what they did with them!" she says. After a car accident in 1994 Cornelia began to realise the importance of keeping some of her work and she began to be represented by a gallery. She broadened her collaborations - for her piece Cold Dark Matter: An Exploded View she got the British Army to blow up a shed so that she could hang it back together again, suspended around a lightbulb. For her piece Wedding Ring Drawing she employed a silversmith who could draw a gold wedding ring into a very fine thread. In 1995 she worked with the actress Tilda Swinton on a project The Maybe, which included Tilda herself exhibited in a glass case. In 1997 Cornelia was nominated for the Turner Prize for her work.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Cry Baby by Janis Joplin Book: World of Wonder: 10,000 things every child should know by Charles Ray Luxury: A solar-powered vibrator

Sue Lawley's castaway this week is the artist Cornelia Parker. Cornelia grew up in the country where she lived on a small holding looked after by her father. She spent much of her time mucking out pigs, milking cows, laying hedges and tying up tomato plants. Her means of escape was to run into the fields to daydream. English and art were her favourite subjects, and a trip to the Tate Gallery in London with her school when she was aged 15 confirmed that she wanted to be an artist. After studying art at college, Cornelia turned her hand to sculpture, inspired by the Arte Povera movement in Italy which rejected traditional marble and bronze and used any materials they chose. She developed her style by mixing with other students and collaborating with theatre groups. Cornelia liked the idea of her work being ephemeral and didn't worry about it's existence beyond an exhibition. For her first solo exhibition in 1980 she showed a number of pieces and because she had nowhere to store them, told the organisers that afterwards they could give them to local schools. "I don't know what they did with them!" she says. After a car accident in 1994 Cornelia began to realise the importance of keeping some of her work and she began to be represented by a gallery. She broadened her collaborations - for her piece Cold Dark Matter: An Exploded View she got the British Army to blow up a shed so that she could hang it back together again, suspended around a lightbulb. For her piece Wedding Ring Drawing she employed a silversmith who could draw a gold wedding ring into a very fine thread. In 1995 she worked with the actress Tilda Swinton on a project The Maybe, which included Tilda herself exhibited in a glass case. In 1997 Cornelia was nominated for the Turner Prize for her work. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Cry Baby by Janis Joplin Book: World of Wonder: 10,000 things every child should know by Charles Ray Luxury: A solar-powered vibrator