Podcasts about austrian cultural forum

Margarete Schütte-Lihotzky (1897-2000) was an Austrian architect and the first woman to pursue architecture professionally in Austria. She is most famous for designing the “Frankfurt Kitchen” in 1926, a revolutionary design that influenced modern kitchen layouts by emphasizing efficiency and ergonomics. Beyond architecture, Schutte-Lihotzky was politically active, joining the anti-Nazi resistance during WWII, for which she was imprisoned. Her career spanned nearly a century, and she remains celebrated for her contributions to functional design and social reform. For Further Reading: Meet Trailblazing Austrian Designer Margarete Schütte-Lihotzky, the Inventor of the Modern Kitchen- Architectural Digest Margarete Schütte-Lihotzky’s archive is on view at the Austrian Cultural Forum of New York, marking her first retrospective in the U.S Margarete Schütte-Lihotzky: "They thought I would starve"-DerStandard This month, we’re talking about Architects. These women held fast to their visions for better futures, found potential in negative space, and built their creations from the ground up. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Original theme music composed by Miles Moran. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Mykola Ridnyi and the board member and artist Anna Witt. It was recorded on September 15, 2023 in the context of the exhibition: Mykola Ridnyi 15.9. – 12.11.2023 Mykola Ridnyi's generation of Ukrainians grew up in a climate of increasing orientation toward the West and the European Union. This emancipation from Russia found expression in the 2004 Orange Revolution and was defended in the Euromaidan events of 2013–14. It was a process that went hand in hand with the emergence of a confident Ukrainian arts scene, among whose leading exponents Ridnyi ranks. Long before graduating from the Kharkiv State Academy of Design and Arts in 2008, he was instrumental to the formation of a politically active arts scene, both as an artist in his own right and as a curator and author. He was a founding member of the art collective SOSka, whose SOSka gallery-lab, an artist-run space that existed from 2005 until 2012, was a key contribution to the local artistic infrastructure. Ridnyi's curatorial project Armed and Dangerous (2017–2021) prompted him to begin developing a platform for collaborations between Ukrainian moving-image artists and filmmakers. In 2022–23, he curated several Ukrainian film and video art screening programs at DAAD-Galerie, Berlin; MAXXI, Rome; Museum Folkwang, Essen; and the National Gallery, Sofia. More Anna Witt, born in Germany in 1981, lives and works in Vienna and Berlin. Her artistic practice is performative, participatory, and political. She creates situations that reflect interpersonal relationships and power structures as well as conventions of speaking and acting. Her work has been shown at the SEMA Seoul Museum of Art; the Secession, Vienna; the 1st Vienna Biennale at MAK; the Gallery of Contemporary Art Leipzig; Museum Ludwig, Cologne; the Austrian Cultural Forum in New York; Kunstmuseum Bern; and the MOCA Museum of Contemporary Art Taipei, among others, and she has had solo exhibitions at Museum Belvedere 21 Contemporary, Vienna; Kunst Halle Sankt Gallen, and Gallery Tanja Wagner, Berlin, at Marabouparken konsthall, Stockholm and Stacion—Center for Contemporary Art, Prishtina, Kosovo. She took part in Aichi Triennial in 2019 and 2013; the Lux/ICA Biennial of Moving Images, London; the 6th Berlin Biennale of Contemporary Art, and Manifesta 7 in northern Italy, and is the winner of the Outstanding Artist Award of the Austrian Federal Ministry of the Arts, Culture, the Civil Service and Sport (2020), the Otto Mauer Prize (2018), the Art Prize ‘Future of Europe' (2015), the BC21 Art Award (2013), and the Art Prize of the Columbus Art Foundation (2008). The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Mykola Ridnyi & Anna Witt Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

Today our guest is John Veikos architect an architecture practice based in Athens, Greece. John Veikos is an architect. Educated at Cooper Union, Pratt and Cornell, John is the founder and director of Praxis Design Delivery, providing consulting to complex design projects, fabrication and façade designs, and a special projects director at Mossessian Architecture in London, UK, where John worked in projects in Shanghai, London, Doha and the UK among others. Also worked as Technical Coordinator for Raimund Abraham among other projects the Austrian Cultural Forum in New York, which is one of my favorite buildings. John has spent his career providing design and technical expertise in award winning architectural projects, and has associated his career with leading architects such as Aldo Rossi, I.M. Pei and others.

In this podcast, Jennifer Williams speaks to Iain Morrison about poetry and art, being able to write about sex and identity, the influence of Emily Dickinson and much more. Iain has a frequently collaborative practice as a writer and performer, presenting within live literature and live art contexts. Recent projects have included a night of drag queen poetry at the Scottish Poetry Library in January 2016, and Subject Index a durational installation of the complete poems of Emily Dickinson developed in residency at Forest Centre+ and toured to Berlin's SOUNDOUT! New Ways of Presenting Literature Festival in May 2014. Publishing includes work in the forthcoming collection of Edinburgh poems from Freight, poem-responses to fin de siècle Vienna in the Austrian Cultural Forum's Kakania anthology, and writing in magazines such as Gutter, The  Burning Sand, HOAX, Soanyway and Scree.

'What we cannot speak about we must pass over in silence'. Thus ends the only book the philosopher Ludwig Wittgenstein published in his lifetime. But it's a book that's had people talking ever since it was published a century years ago. In an event hosted by the Austrian Cultural Forum, and in collaboration with the British Wittgenstein Society, Shahidha Bari discusses the contexts and contents of the Tractatus Logico-Philosophicus at 100 with Wittgenstein's biographer Ray Monk, the philosophers Juliet Floyd and Dawn Wilson, and Wittgenstein's niece Monica Nadler Wittgenstein. In the Preface to his Tractatus Logico-Philosophicus, Ludwig Wittgenstein claims to have solved all the problems of philosophy. The youngest son of one of the wealthiest families in Europe, based in Vienna, Ludwig moved to England in 1908 to study the then cutting edge-topic of flight aerodynamics. From there he developed an interest in pure mathematics, which led him to philosophy, and to the revolutionary work of the logician Gottlob Frege. Frege recommended he went to Cambridge to study with Bertrand Russell, who quickly recognised him as "perhaps the most perfect example I have ever known of genius as traditionally conceived". The work that Wittgenstein began in Cambridge eventually led to the composition of the Tractatus, but not before the intervention of the First World War, during which he signed up to the Austro-Hungarian Army and fought in some of the fiercest battles on the Eastern Front, even volunteering for an observation post in no-man's-land. Finished whilst he was still in military service, the Tractatus combines an innovative account of the nature of logic with searching investigation of personhood and mysticism. Written in an aphoristic style that seems to conceal as much as it reveals, it is a major work of Viennese Modernism as well as a foundational text of analytical philosophy. You can find a playlist of conversations about philosophy on the Free Thinking website which include Wolfram Eilenberger, David Edmonds, Esther Leslie with Matthew Sweet looking at the different philosophical schools current in the 1920s Clare Mac Cumhaill and Rachael Wiseman on reclaiming the role of women in British 20th century philosophy Stephen Mulhall and Denis McManus, and the historian and New Generation Thinker Tiffany Watt Smith on Wittgenstein's Private Language Argument https://www.bbc.co.uk/programmes/p07x0twx Producer: Luke Mulhall

In this episode we’re proud to present Illegal Helpers, a documentary play written by German-Italian playwright Maxi Obexer, translated into English by Neil Blackadder, and arranged for audio presentation by Play for Voices. Illegal Helpers was recorded before a live audience at the Czech Center New York in Manhattan, as part of an event called Freedom and Movement that was held in November 2018 to commemorate the anniversary of the Velvet Revolution. Illegal Helpers, which premiered in Salzburg in 2016 and was named one of the 2016 winners of the German-language Eurodram Prize, explores the current refugee crisis in Europe through the eyes of ordinary citizens. The play is based on verbatim interviews the playwright conducted with Swiss, Austrian, and German residents from all walks of life—doctors, judges, social workers, activists, and students—who took it upon themselves to help refugees. Some of these helpers broke the law multiple times and were charged with providing aid to illegal immigrants, and others could still be subject to legal action at any time. The Play for Voices production of Illegal Helpers was directed by Katrin Redfern and performed by JJ Condon, Roberto De Felice, Guenevere Donohue, Mariam Habib, Asta Hansen, Wayne Maugans, Joe Primavera, Francisco Solorzano, Harold Tarr, and Pauline Walsh. Asa Wember recorded, designed, and mixed the audio.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the Author and TranslatorMaxi Obexer (author) writes drama, prose, and radio plays, and has made a name for herself in particular with political plays and essays, focusing especially in recent years on the refugee crisis. Her most widely produced play is Das Geisterschiff (The Ghost Ship), which deals with would-be immigrants crossing the Mediterranean. In 2011, Obexer published her first novel, Wenn gefährliche Hunde lachen (When Dangerous Dogs Laugh), a critically acclaimed work that tells the story of a young Nigerian woman who hopes to find a better life in Europe. Obexer’s plays have been produced in many cities, including Basel, Jena, Freiburg, and Stuttgart, and she has held residencies at the Literarisches Colloquium in Berlin and the Akademie Schloss Solitude. Obexer lives in Berlin and South Tyrol.Neil Blackadder (translator) recently retired as Professor of Theatre at Knox College, where he had taught since 1998. He began translating drama and short fiction in 2002. In 2011, he was awarded a fellowship from the Howard Foundation (Brown University) and a PEN Translation Fund Grant to translate plays by Lukas Bärfuss. He has twice held residencies at the Banff International Literary Translation Centre and Writers Omi at Ledig House. His work has often been supported by the Goethe-Institut, as well as by the Consulate General of Switzerland and the Austrian Cultural Forum. He is the Translations Editor for Another Chicago Magazine and the author of Performing Opposition: Modern Theater and the Scandalized Audience (Praeger, 2003). His short play Dad’s Guns appeared in 24 Gun Control Plays, ed. Caridad Svich and Zac Kline (NoPassport Press, 2013), and has been presented in staged readings in Australia and the US; a film version is in post-production.For a complete list of Illegal Helpers music credits, please visit Play for Voices.The complete translation was published by No Man's Land magazine here. See acast.com/privacy for privacy and opt-out information.

Who in the world would eat bugs? On Purpose? If you ask our SMACtalk Host Daniel Newman, the answer would be no one, but if you talk to “Foresight Extraordinaire,” MIT Ph.D. Mitch Joachim, he says there is a problem that we are trying to solve and from a sustainability standpoint eating bugs may have its place. Before you jump or grab your silverware, the context is far more enticing than just bug eating, but the real direction of the conversation is how can thinking outside of what is normal provoke us to solve new problems. In this fascinating episode of SMACtalk, Newman gets Joachim to share the whole “Bug” story and much more about how to keep your business from being disrupted. Don’t miss it, download now! Mitchell Joachim, Co-Founder, Terreform ONE Mitchell Joachim is a leader in ecological design, architecture and urbanism. He is a founding Co-President of Terreform ONE in 2006. He earned a Ph.D. at Massachusetts Institute of Technology, MAUD Harvard University, M.Arch. Columbia University. Mitchell is an Associate Professor at NYU and EGS (European Graduate School). He previously taught at Columbia University, Syracuse University, Parsons, Washington University, and the Frank Gehry Chair at University of Toronto. He was formerly an architect at Gehry Partners, and Pei Cobb Freed. He has been awarded fellowships at TED 2010, Moshe Safdie Assoc., and Martin Society for Sustainability at MIT. He won the Zumtobel Group Award for Sustainability and Humanityy, the History Channel and Infiniti Excellence Award for City of the Future, Time Magazine Best Invention of 2007, Compacted Car w/ MIT Smart Cities and a Bronze Medal at iGEM (International Genetically Engineered Machine) for Gen2Seat. His project, Fab Tree Hab, has been exhibited at MoMA and widely published. He was chosen by Wired magazine for "The 2008 Smart List: 15 People the Next President Should Listen To". Rolling Stone magazine honored Mitchell in "The 100 People Who Are Changing America". In 2009 he was interviewed on the Colbert Report. Popular Science magazine has featured his work as a visionary for “The Future of the Environment” in 2010. Mitchell was the Winner of the Victor Papanek Social Design Award sponsored by the University of Applied Arts Vienna, Austrian Cultural Forum, and Museum of Arts and Design in 2011. Dwell magazine featured Mitchell as one of "The NOW 99" in 2012.

This week: Scandal! Economics! Wendy's ads from the 80's!! We talk to Oliver Ressler and Gregory Sholette about It's the Political Economy, Stupid. The economic crisis that we face today has also become a major crisis for representative democracy. The very idea of the modern nation state is in jeopardy as the deterritorialized flow of finance capital melts down all that was once solid into raw material for market speculation. It is the social order itself, and the very notion of governance with its archaic promise of security and happiness that has become another kind of modern ruin. It’s the Political Economy, Stupid brings together an international group of artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to the current calamity, this exhibition asks if it is not time to push back against the disciplinary dictates of the capitalist logic and, by use of artistic means, launch a rescue of the very notion of the social itself. The Austrian Cultural Forum New York is pleased to present this new group exhibition which was curated by the Austrian-American team of Oliver Ressler and Gregory Sholette. The show derives its title from the slogan which in the early 1990s came to define then presidential candidate Bill Clinton’s campaign, “It’s the economy, stupid”. PRESS QUOTES: "In the wake of the capitalist crisis, very few cultural institutions have dared to address the horrors of greed that plague us in such a direct and haunting way as the Austrian Cultural Forum." - Alexander Cavaluzzo, Hyperallergic.com, Feb. 13, 2012 "Curated by Gregory Sholette and Oliver Ressler, this is a good old political exhibition, full of sarcasm, hope, protest, and information." - William Corwin, Saatchi Online Magazine, Feb. 21, 2012 A "confrontational, intellectual, and occasionally amusing group show, which squarely aligns itself with the Occupy movement." - Robert Shuster, The Village Voice, Feb. 8, 2012 "Curated by Oliver Ressler and Gregory Sholette, this is a smart exhibition that I suspect will be preaching to the converted, but in style.  [...]  This is the gallery version of Occupy Wall Street." - Andrea Kirsh, Feb. 14, 2012, theartblog.org "Visible from the sidewalk on a block that the Austrian Cultural Forum shares with Cartier, Ferragamo and Tourneau, the work [by Dread Scott] affirms a disheartening truth about the cultural mindset this well-curated exhibition aims to critique: many would prefer to see their money burn than have it distributed equitably." -David Markus, Art in America, Mar. 28, 2012 "Ressler’s and Sholette’s show does indeed achieve its objectives, occupying the Austrian Cultural Forum through a diverse range of artworks stemming from the 2008 crisis of finance capitalism. It does so principally by drawing together a selection of works which both educate and entertain, offering invaluable information and welcome critical reflection." - Thom Donovan, Art:21 Blog, Apr. 16, 2012  

The headlines from Europe this summer are as persistent as a bad sunburn: the Dutch government has slashed arts funding by 25 percent, Italy’s La Scala opera house has announced a $9 million shortfall, and Madrid and Barcelona's main opera houses have both implemented cuts in productions and staff. Portugal abolished its ministry of culture altogether. Yes, dire news about arts organizations isn’t just for Americans any more. Throughout much of Europe – most notably in Italy, Portugal, the Netherlands and Spain – generous public arts funding is being slashed as governments impose severe austerity measures. What will this mean for classical music? Will more arts organizations turn to private donors and corporations for support? Could there be an upside, as groups are forced to be more self-sufficient? In this podcast, three experts join host Naomi Lewin to debate the future: Johannes Grotzky, a journalist and director of the radio for the Bavarian Broadcasting System (Bayerischer Rundfunk) in Munich Norman Lebrecht, author, blogger at Artsjournal.com and a cultural commentator for the BBC Andreas Stadler, the director of the Austrian Cultural Forum here in New York and former president of the New York branch of the European Union National Institutes for Culture.   Weigh in: Would American-style funding best preserve Europe's cultural heritage? Please leave a comment below.

Beauty and its construction and deconstruction in art can be seen in great diversity at the MUSA in Vienna. An exhibition portrait by CastYourArt