Podcasts about Berlin Biennale

A conversation preceding the African Film Institute's inaugural screening at e-flux curated by Natacha Nsabimana, featuring two works by Rwandan filmmaker Amelia Umuhire. The African Film Institute is convened by Christian Nyampeta and hosted by e-flux Screening Room. Amelia Umuhire (b. 1991, Kigali, Rwanda) is a filmmaker and artist living in Kigali and Berlin. In 2015, she wrote and directed the award-winning web-series Polyglot, in which she follows the lives of young, deracinated London- and Berlin-based Rwandese artists. Her short film Mugabo was awarded Best Experimental Film at the Blackstar Film Festival, and screened at MOCA Los Angeles and the Berlin Biennale among many other places. In 2018, Umuhire produced the Prix Europa-nominated radio feature Vaterland for the German radio station Deutschlandfunk Kultur. She was a Villa Romana Fellow in 2020, and is currently working on her first feature film. Natacha Nsabimana teaches in the anthropology department at the university of Chicago. Her research and teaching interests include postcolonial critique, musical movements, and the cultural and political worlds of African peoples on the continent and in the diaspora. The African Film Institute aims to create a home and a place of intimacy with African cinema in New York, through developing gradually and organically a viewing program animated by fellowships; a growing library; an active writers' room; and an expanding catalog of recorded dialogs. The African Film Institute draws from the visual cultures that view cinema as an evening school: a popular information system in the service of education, aesthetic experience, and public dissemination—employing a methodology concerning the use of cinema's collective production, and investing in viewing methods informed by different uses of time, visual and textual histories, and social struggles and hopes in mutuality between their own locality and the world at large. 

This week's podcast episode is a super interesting conversation with Celina Baljeet Basra. In Celina's debut novel, Happy, she introduces us to the protagonist of the same name – Happy. Coming from a farming family in Punjab, we follow him as he makes a huge decision to leave his family home in India and to travel to Europe for work. Celina provides us with a witty and nuanced look into the food industry in Europe, as well as the experience of labour migrants and their families. She raises vital questions around human dignity, human rights, the pursuit for happiness and success in life, and whether we are asking the right questions with regards to living ethically. Happy is written in a non-traditional format, making the reading experience so much more interesting and nuanced.Celina is a writer and curator based in Berlin. She graduated from the Free University of Berlin, where she studied Art History in a Global Context, and has since worked with Berlin Biennale, Galerie im Turm, and other institutions at the local and international level. She has a range of residencies under her belt and she was awarded both curatorial and literary research scholarships from the Berlin Senate. She is a founder of The Department of Love, a curatorial collective.I hope you enjoy this episode :) Come and let me know your thoughts on social media:www.instagram.com/readwithsamiaYou can now support the show by joining my community on Patreon! Subscribe today and help me continue putting out great episodes, and receive an exclusive bonus episode each month:patreon.com/TheDiverseBookshelfPodcast Support the show

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. 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

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Erinnerungskämpfe: Neues deutsches Geschichtsbewusstsein (Ditzingen: Reclam, 2023) is a new, provocative volume on German memory cultures and politics edited by Jürgen Zimmerer. What can be loosely translated as Memory Wars: New German Historical Consciousness is a collection of chapters that lay bare a mosaic of a diverse German memory landscape as well as the major debates and turning points by which it is continuously shaped. It is subdivided in five sections together encompassing 23 chapters and covers German Empire and colonialism, National Socialism and the Second World War, the Holocaust and multidirectional memory, East/West Germany and reunification, and, finally, today's Berlin Republic. This volume gains in relevance by the day and shows how the German past(s) and the way they are debated, commemorated, and weaponized today and by whom has real-life, if not existential, consequences. It is far from an exclusively German matter. Memory Wars: New German Historical Consciousness is of interest for all those who critically engage with the instrumentalization of memory in ongoing cultural wars in other national contexts as well, such as the heated debates and rightwing attacks in the United States and elsewhere surrounding fields such as Critical Race Theory, Gender or Queer Studies that emerge out of the White Supremacist backlash and the concomitant increase in racism, trans- and homophobia. Jürgen Zimmerer is Professor of Global History and the head of the research center “Hamburg's (post-)colonial legacy” at the University of Hamburg. He served as the founding president of the International Network of Genocide Scholars for twelve years until 2017 and was the Senior Editor of the Journal of Genocide from 2005 to 2011. His research interests include German Colonialism, Comparative Genocide studies, Colonialism and the Holocaust, and Environmental Violence and Genocide and, for the specific German context, his work has been crucial in revealing the deep connections between the Holocaust and German colonialism – up until that point two German histories of violence hegemonically thought of as ontologically different, if thought together at all. His publications include German Rule, African Subjects: State Aspirations and the Reality of Power in Colonial Namibia (2021) and From Windhoek to Auschwitz? Reflections on the Relationship between Colonialism and National Socialism forthcoming in English in 2024. Miriam Chorley-Schulz is an Assistant Professor and Mokin Fellow of Holocaust Studies at the University of Oregon and the co-founder of the EU-funded project We Refugees. Digital Archive on Refugeedom, Past and Present. She holds a Ph.D. in Yiddish Studies from Columbia University and is the author of Der Beginn des Untergangs: Die Zerstörung der jüdischen Gemeinden in Polen und das Vermächtnis des Wilnaer Komitees (Berlin: Metropol, 2016) which was awarded the “Hosenfeld/Szpilman Memorial Award.” Henriette Sölter is a communications and PR consultant with expertise on the interface of contemporary art and culture, international perennial formats, and strategic institutional positioning. She has worked with institutions such as documenta, Berlin Biennale for Contemporary Art, and Haus der Kulturen der Welt (HKW), is a member of Bergen Assembly's executive board and is part of the New Patrons network for citizen-commissioned art. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Ep 175~ The paintings of Calida Rawles (b. 1976, Wilmington, DE; lives and works in Los Angeles, CA) merge hyper-realism with poetic abstraction. Situating her subjects in dynamic spaces, her recent work employs water as a vital, organic, multifaceted material, and historically charged space. Ranging from buoyant and ebullient to submerged and mysterious, Black bodies float in exquisitely rendered submarine landscapes of bubbles, ripples, refracted light and expanses of blue. For Rawles, water signifies both physical and spiritual healing as well as historical trauma and racial exclusion. She uses this complicated duality as a means to envision a new space for Black healing, and to reimagine her subjects beyond racialized tropes. Enhancing the seductive nature of water, the work tempers heavier subjects with aquatic serenity and geographic and temporal ambiguities, inviting multiple readings. Embedded in her titles and topographical notations in the compositions, Rawles' canvases represent an expansive vision of strength and tranquility during today's turbulent times, while insisting on the triumph of humanity. Rawles received a B.A. from Spelman College, Atlanta, GA (1998) and an M.A. from New York University, New York, NY (2000). Solo exhibitions of her work have been organized at Lehmann Maupin, New York, NY (2021); Various Small Fires, Los Angeles, CA (2020); and Standard Vision, Los Angeles, CA (2020). Her work has been featured in numerous group exhibitions including Generation*. Jugend trotz(t) Krise, Kunsthalle Bremen, Bremen, Germany (2023); Rose in the Concrete, San Francisco Museum of Modern Art, San Francisco, CA (2023); 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Black American Portraits, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2021), Spelman College Museum of Fine Art, Atlanta, GA (2023); A Shared Body, FSU Museum of Fine Arts, Tallahassee, FL (2021); View From Here, Los Angeles County Museum of Art (LACMA), Los Angeles, CA (2020); Art Finds a Way, Norton Museum of Art, West Palm Beach, FL (2020); Visions in Light, Windows on the Wallis, Beverly Hills, CA (2020); Presence, Fullerton College Art Gallery, Fullerton, CA (2019); With Liberty and Justice for Some, Walter Maciel Gallery, Los Angeles, CA (2017); Sanctuary City: With Liberty and Justice for Some, San Francisco Arts Commission, San Francisco, CA (2017); LACMA Inglewood + Film Lab, Inglewood, CA (2014); and Living off Experience, Rush Arts Gallery, New York, NY (2002). Rawles created the cover art for Ta-Nehisi Coates's debut novel, “The Water Dancer,” and her work is in numerous public and private collections, including Dallas Museum of Art, Dallas, TX; Los Angeles County Museum of Art (LACMA), Los Angeles, CA; Pérez Art Museum Miami, Miami, FL; Spelman College Museum of Fine Art, Atlanta, GA; and Studio Museum in Harlem, New York, NY. Photo credit: Marten Elder Artist https://www.lehmannmaupin.com/artists/calida-rawles/featured-works Lehmann Maupin https://www.lehmannmaupin.com/exhibitions/calida-rawles2 Various Small Fires https://www.vsf.la/exhibitions/35-calida-rawles-a-dream-for-my-lilith/overview/ Cultured Magazine https://www.culturedmag.com/article/2023/02/08/calida-rawles-painter-spelman-college-black-portraiture-exhibition Gagosian https://gagosian.com/quarterly/contributors/calida-rawles/ NYTimes https://www.nytimes.com/2021/04/09/t-magazine/calida-rawles-portrait.html The Cut https://www.thecut.com/2020/03/the-artist-whose-paintings-have-captivated-ta-nehisi-coates.html The Art Newspaper https://www.theartnewspaper.com/2022/02/19/calida-rawless-mural-makes-waves-at-new-inglewood-stadium This is Colossal https://www.thisiscolossal.com/2023/11/calida-rawles-a-certain-oblivion/ ARTnews https://www.artnews.com/art-news/artists/calida-rawles-water-paintings-lehmann-maupin-1234584059/

Tammy Nguyen was born and raised in San Francisco, and received a B.F.A. from Cooper Union in 2007, and an M.F.A. from Yale in 2013. Her recent solo exhibitions include the Institute of Contemporary Art, Boston, MA (2023); Lehmann Maupin, Seoul, South Korea  (2023); Brooklyn Public Library, Brooklyn, NY (2022); Nichido Contemporary Art, Tokyo, Japan (2022); François Ghebaly, Los Angeles, CA (2022); Tropical Futures Institute, SEA Focus, Singapore (2022); Smack Mellon, Brooklyn, NY (2021) among others. Tammy has been included in numerous group exhibitions, including Still Present!, 12th Berlin Biennale for Contemporary Art, Berlin, Germany (2022); Past/Present/Future: Expanding Indigenous American, Latinx, Hispanic American, Asian American, and Pacific Islander Perspectives in Thomas J. Watson Library, Thomas J. Watson Library, Metropolitan Museum of Art, New York, NY (2022); Greater New York 2021, MoMA PS1, Long Island City, NY (2021); Nha, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2021); Face of the Future, The Rubin Museum, New York, NY (2018); Bronx Calling: The Third AIM Biennial, The Bronx Museum of the Arts, Bronx, NY (2015); and DRAW: Mapping Madness, Inside-Out Museum, Beijing, China (2014). Her artist books are in many notable public collections, including Beinecke Rare Book & Manuscript Library, Yale University, New Haven, CT; The Center for Book Arts, New York, NY; Clark Art Institute Library, Williamstown, MA; Joan Flasch Artists' Book Collection, School of the Art Institute of Chicago, Chicago, IL; Mayer Library, Dallas Museum of Art, Dallas, TX; The Museum of Modern Art Library, New York, NY; New York Public Library, New York, NY; Philadelphia Museum of Art Library, Philadelphia, PA; Thomas J. Watson Library, Metropolitan Museum of Art, New York, NY; Wesleyan University Library, Middletown, CT; and the Whitney Museum of American Art Library, New York, NY.

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

In 2016, Philippine president Rodrigo Duterte launched a "war on drugs" that triggered a wave of massive terror among the population. It is estimated that up to 27,000 people were killed in large-scale extrajudicial killings. Last year, Duterte was replaced in the presidential seat by Bongbong Marcos, whose father imposed a harsh dictatorship on the country in the early 1970s. Kiri Dalena is a Filipina artist, documentary filmmaker and human rights activist. In this artist talk, moderated by Artalkt magazine editor Anna Remešová, she speaks about her work, Philippine society and political depravity and violence.Kiri Dalena graduated in Human Ecology and later studied 16mm documentary filmmaking at the Mowefund Film Institute. She is a recipient of the CCP 13 Artists Award and in 2009 her installation artwork Barricade, book of slogans, erased slogans, and isolation room received an Ateneo Art Award. Her works were also shown in many international events including the Berlin Biennale in 2020, the Manila Biennale 2017 and the Fukuoka Asian Art Trienniale 2014. You can learn more about the works mentioned in this episode in the festival book.Follow us on  Facebook, Instagram and Twitter.___V roce 2016 zahájil filipínský prezident Rodrigo Duterte „válku proti drogám“, která spustila vlnu masivního teroru obyvatelstva. Podle odhadů bylo při rozsáhlých mimosoudních popravách zabito až 27 000 lidí. Loni Duterteho vystřídal v prezidentském křesle Bongbong Marcos, jehož otec zavedl na začátku 70. let v zemi tvrdou diktaturu. Kiri Dalena je filipínská umělkyně, dokumentaristka a lidskoprávní aktivistka. V tomto artist talku hovoří o své práci, filipínské společnosti a politické zvůli a násilí. Moderovala redaktorka časopisu Artalk Anna Remešová. Kiri Dalena vystudovala sociální ekologii a dokumentární film na Mowefund Film Institute. Je držitelkou ceny CCP 13 Artists Award a v roce 2009 získala Ateneo Art Award za svou instalaci  Barricade, book of slogans, erased slogans, and isolation room. Její díla se objevila na několika mezinárodních výstavách, včetně Berlínského a Manilského bienále a Fukuoka Trienále asijského umění. O konkrétních dílech zmiňovaných v této epizodě se můžete dočíst více v naší festivalové knize.Sledujte nás na sociálních sítích Facebook, Instagram a Twitter.

First released: 19 Feb 2023 | To join New Models, find us via https://patreon.com/newmodels & https://newmodels.substack.com As DIS returns to Germany for the first time since members Lauren Boyle, Solomon Chase, Marco Roso, and David Toro curated 2016's hotly contested Berlin Biennale 9, Boyle joins New Models to talk about the generation-defining project's trajectory since its inception in the late-'00s, its recent film installation Everything But The World (on view through Feb 26 at the Schinkel Pavillon in Berlin), and its future vision. Along the way we discuss: subculture, pop culture, mass media, digital rot, and Gens X, Y, Z, and A. For more: dis.art @dis on IG & Twitter dismagazine.com (still partially accessible!) READ: https://www.interviewmagazine.com/art/dis-collective-is-back-in-berlin-with-everything-but-the-world (text: Carly / photos: Lil Internet)

Im täglichen Austausch, den die U.S. Botschaft in Berlin mit Deutschen pflegt, wird klar, viele Deutsche haben irgendeine Beziehung zu den USA. In “AmerikaStories” sprechen wir mit verschiedenen Gästen darüber, was sie mit den USA verbindet. In Episode #6 von AmerikaStories spricht Diplomat Andy Halus mit Magnus Elias Rosengarten, Kurator und Kulturjournalist, der mit dem Parlamentarischen Patenschafts-Programm CBYX seine ersten Auslandserfahrungen in den USA gesammelt hat.Magnus Rosengarten veröffentlichte und arbeitete u.a. für arte/ZDF, ContemporaryAnd Magazine (C&), Berlin Biennale und als Kurator im Team des Berliner Gropius Bau.Seine Arbeit ist von den reichen Wissensarchiven und -systemen der globalen afrikanischen Diaspora bestimmt. Er schloss sein Studium der Amerikanistik und Regionalstudien Asien/Afrika an der Humboldt-Universität zu Berlin ab und absolvierte anschließend ein Studium der Performance Studies an der New York University, Tisch School of the Arts.Shownotes:Das Parlamentarische Patenschafts-Programm (PPP) bzw. Congress-Bundestag Youth Exchange (CBYX) Program gibt seit 1983 deutschen und amerikanischen Schülerinnen und Schülern sowie jungen Berufstätigen die Möglichkeit, mit einem Stipendium des Deutschen Bundestages und des U.S. amerikanischen Kongresses ein Austauschjahr in dem jeweils anderen Land zu erleben. Inzwischen haben rund 28.000 amerikanische und deutsche Jugendliche und junge Erwachsene an dem Programm teilgenommen. Mehr Informationen finden Sie hier: https://www.bundestag.de/ppp Weitere Informationen zu den zahlreichen transatlantischen Austauschprogrammen der U.S. Regierung finden Sie hier: https://de.usembassy.gov/education/ Alle Infos zum Podcast hier: https://de.usembassy.gov/de/amerikastories-transatlantische-geschichten/ Hosted on Acast. See acast.com/privacy for more information.

BREAKING GLASS hosted by Dennis Broe. Tuesday and Friday at and 13:00 pm CET. Dennis Broe presents an overview of TV series shows and events. This week, Dennis talks about an attack against the art festivals Documenta 15 and of the Berlin Biennale.

BREAKING GLASS hosted by Dennis Broe. Tuesday and Friday at and 13:00 pm CET. Dennis Broe presents an overview of TV series shows and events. This week, Dennis talks about a description of the art festivals Documenta 15 and of the Berlin Biennale in the first segment. 

BREAKING GLASS hosted by Dennis Broe. Tuesday and Friday at and 13:00 pm CET. Dennis Broe presents an overview of TV series shows and events. This week, Dennis talks about a description of the art festivals Documenta 15 and of the Berlin Biennale. 

On this episode of Showcase, watch: House of the Dragon 00:02 Guest: John Bleasdale, Host of 'Writers on Film' Podcast Turtle Power 10:44 Shortcuts 13:24 Dispute at Berlin Biennale 15:22 Guest: Sajjad Abbas, Multidisciplinary Artist Contemporary Art in Iran 23:02

This year's Berlin Biennial will probably be remembered for its controversy. At the heart of it, is an artwork which references the atrocities committed at Abu Ghraib prison during the US invasion of Iraq. And it has caused a backlash among artists. Guest: Sajjad Abbas, Multidisciplinary Artist

Dekolonizací procházejí muzeální sbírky i prestižní přehlídky současného umění. Je v praxi uskutečnitelná? Poslouchejte rozhovor s kurátorem Rado Ištokem a teoretičkou Annou Remešovou.Dekolonizace se stala hojně diskutovaným tématem v paměťových institucích, jakými jsou muzea, a to především v západním světě. Část kulturního dědictví, které ve svých sbírkách vlastní např. Britské muzem, se do vlastnictví Velké Británie dostala během plenění zemí, které britské impérium kolonizovalo. Avšak mnohé státy se těchto ukradených artefaktů v řadě případů odmítají vzdát.Podcast Raut je součástí projektu Centrum a periferie: Kulturní pouště ve východní Evropě, který pořádá iniciativa tranzit.cz v rámci aktivit platformy bienále Ve věci umění. Projekt byl podpořen grantem z Islandu, Lichtenštejnska a Norska (Fondy EHP) v rámci programu Kultura. Série vzniká za podpory Státního fondu kultury České republiky. Hlavním partnerem tranzit.cz je nadace ERSTE.www.matterof.art

In seiner Installation „Lösliches Gift“ im Hamburger Bahnhof in Berlin benutzt Jean-Jacques Lebel schockierende Bilder von Folterpraktiken des US-Militärs im Irak. Das empört irakische Künstler bei der Berlin Biennale: Sie sprechen von Retraumatisierung.Carsten Probst im Gespräch mit Britta BürgerDirekter Link zur Audiodatei

Freerk wartet auf Paketdrohnen und Linn zieht ein Halbjahresrésumé. Mit dem 9-Euro-Ticket im Gepäck sprechen wir diesen Monat darüber, wie wir von A nach B kommen und wohin wir flüchten, wenn uns die Stadt zu trubelig wird. Außerdem: Medikamententests in der DDR, das kleine Grosz Museum, die Zukunft der Mobilität im Futurium, Freiluftkinos, die Berlin Biennale und eine Ausstellung zur Oper im Palais Populaire.

Reber, Simonewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Die 12. Berlin Biennale für internationale zeitgenössische Kunst wird kuratiert vom algerisch-französischen Künstler Kader Attia. Kunstkritiker Carsten Probst konnte sich einige Werke schon vor der Eröffnung ansehen: Es geht um sozial-dokumentarische Kunst, die sich marginalisierten Gruppen in aller Welt zuwendet.Probst, Carstenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

„Die Welt ist von den Wunden gezeichnet, die im Laufe der Geschichte der westlichen Moderne entstanden sind“, das hat Kader Attia gesagt, Kurator der 12. Berlin Biennale. Die startet am Wochenende und wir sich unter dem Titel "Still Present" mit den Hinterlassenschaften der Moderne beschäftigen wird. Was da zu erwarten ist, erzählt uns Monopol-Chefredakteurin Elke Buhr. Moderation: Til Schäbitz detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

It's biennial season in a big bi-annual year. The Toronto Biennial just opened, the Venice Biennale opens next week, and around the corner are the German heavyweights, the Berlin Biennale and documenta—which is actually a quinquennial, but who's quibbling. This would be an exciting time in any year, but in 2022, it has the added dimension of being the first time that the world's art community will be able to get together with a ton of important new work in person after these past two pandemic years, as Cecilia Alemani, the curator of this years Venice Biennale, recently discussed on this very podcast.  This episode is dedicated to another sprawling show near and dear to our hearts that opened earlier this month. Of course, it's the Whitney Biennial, a signature offering of the Whitney Museum of American Art, where it tries to live up to its full name by taking a snapshot of what the country's artists have been making, thinking, and feeling. Artnet News, chief art critic, Ben Davis joins to shed some light on this very ambitious, very interesting show.

It's biennial season in a big bi-annual year. The Toronto Biennial just opened, the Venice Biennale opens next week, and around the corner are the German heavyweights, the Berlin Biennale and documenta—which is actually a quinquennial, but who's quibbling. This would be an exciting time in any year, but in 2022, it has the added dimension of being the first time that the world's art community will be able to get together with a ton of important new work in person after these past two pandemic years, as Cecilia Alemani, the curator of this years Venice Biennale, recently discussed on this very podcast.  This episode is dedicated to another sprawling show near and dear to our hearts that opened earlier this month. Of course, it's the Whitney Biennial, a signature offering of the Whitney Museum of American Art, where it tries to live up to its full name by taking a snapshot of what the country's artists have been making, thinking, and feeling. Artnet News, chief art critic, Ben Davis joins to shed some light on this very ambitious, very interesting show.

Probst, Carstenwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

We discussed: moving and starting over, art guides, working at biennials, the need for time, the separation between academics and the art world, artistic research, burnout, being a parent in the art world, parenthood, freedom of access to research, paywalls, academic research, research ethics, and professionalism.   People + Places mentioned: The Berlin Biennale for Contemporary Art - https://www.berlinbiennale.de Documenta 11 - https://www.documenta.de/en/retrospective/documenta11 Oslo Art Guide - https://ufoguide.no Okwui Enwezor Fotogalleriet - http://www.fotogalleriet.no Bull.Miletic - https://bull.miletic.info ROM - https://r-o-m.no Worlding Northern Art - https://uit.no/research/wona Ute Meta Bauer - https://act.mit.edu/2020/12/ute-meta-bauer-named-one-of-three-curators-for-2021-istanbul-biennial/ The Office for Contemporary Art Norway - https://www.oca.no     https://www.norskkuratorforening.no/stephanie-von-spreter https://en.uit.no/ansatte/person?p_document_id=627873     Audio editing by Jakub Černý Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no    

We discussed: moving and starting over, art guides, working at biennials, the need for time, the separation between academics and the art world, artistic research, burnout, being a parent in the art world, parenthood, freedom of access to research, paywalls, academic research, research ethics, and professionalism.   People + Places mentioned: The Berlin Biennale for Contemporary Art - https://www.berlinbiennale.de Documenta 11 - https://www.documenta.de/en/retrospective/documenta11 Oslo Art Guide - https://ufoguide.no Okwui Enwezor Fotogalleriet - http://www.fotogalleriet.no Bull.Miletic - https://bull.miletic.info ROM - https://r-o-m.no Worlding Northern Art - https://uit.no/research/wona Ute Meta Bauer - https://act.mit.edu/2020/12/ute-meta-bauer-named-one-of-three-curators-for-2021-istanbul-biennial/ The Office for Contemporary Art Norway - https://www.oca.no     https://www.norskkuratorforening.no/stephanie-von-spreter https://en.uit.no/ansatte/person?p_document_id=627873     Audio editing by Jakub Černý Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com + Kunstsentrene i Norge – https://www.kunstsentrene.no    

https://artsfuse.org/224483/visual-arts-review-letter-from-new-york-goya-grief-and-grievance/https://www.newmuseum.orgMassimiliano Gioni  is the Edlis Neeson Artistic Director of the New Museum and the director of the Trussardi Foundation, a nomadic museum in Milan  which organizes exhibitions by contemporary artists in forgotten buildings, public monuments and abandoned palazzos across the city.  He has curated numerous international exhibitions and biennials including the 55th Venice Biennale (2013), the 8th Gwangju Biennale (2010), the first New Museum Triennial (co-curated with Lauren Cornell and Laura Hoptman in 2009), the 4th Berlin Biennale (co-curated with Maurizio Cattelan and Ali Subotnick in 2006) and Manifesta 5 (co-curated with Marta Kuzma in 2004).At the New Museum Massimiliano Gioni has curated  both solo  and group exhibitions. In 2018 in London at The Store X Gioni organized “Strange Days – Memories of the Future”, an anthology of video works originally presented at the New Museum. In 2019 he curated “The Warmth of Other Suns,” a collaboration between the New Museum and the Phillips Collection in Washington DC, and at Museo Jumex in Mexico City he curated “Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even”, the first exhibition to bring in dialogue the works of Marcel Duchamp and Jeff Koons – with nearly 500,000 viewers, the exhibition was the most visited in the museum's history.  Since 2015 he has organized the presentations of the Tony and Elham Salame Collection at the Aishti Foundation in Beirut. Gioni has contributed to many publications and magazines including Artforum, Flash Art (for which he served as US editor from 1999 to 2003), Frieze, Parkett, Tate Etc., among others. He co-founded the “Wrong Gallery” with Maurizio Cattelan and Ali Subotnick, with whom he has directed the independent art magazines “The Wrong Times” and “Charley”. He is the commissioning editor of “2000 Words,” a series of monographic books published by the Dakis Joannou Collection/Deste Foundation, with which he has frequently collaborated, co-curating numerous exhibitions in Athens.      

*Note: At 24:00, what Sarnt meant here is a contemporary ethnic segregation amongst Southeast Asians in middle-class milieus, which happens less in the Berlin environment, in comparison to Bangkok. Historically, however, in West/East Germany there had been huge racial segregation imposed by both states, for example, between migrant "contract" workers who weren't allowed to live or interact with regular citizens through out the 1970/80s — another complex topic of another in-depth conversation. Sarnt Utamachote talks to us about postcoloniality, migrant movements and migrant spaces, internationalism, forms of survival for artists and queer and queer artists, the Diaspora ↔ War ↔ Tourism Complex, and how access to language affects access to archival research. Plus some K-pop, Sundance, Bangkok art scene, and the Berlin club scene. Sarnt Utamachote is a queer filmmaker, photographer and curator. He is interested in deconstructing the “surfaces”, what rendered the “humans” behind invisible, by highlighting/curating the fragments; the humane subtleties often overlooked in everyday life - possible sources of social dignity and subject positions. He studied Industrial Design at Chulalongkorn University, and Cinema Studies and Literature Studies at the Freie Universität of Berlin. He co-founded collective un.thai.tled (of Thai-German diasporic critical creatives), through which he curates critical cultural exhibitions. His last project was the exhibition “Beyond the Kitchen: Stories of Thai Park”, where he curated and researched the archive of Thai migration in Berlin with Bezirksmuseum Charlottenburg-Wilmersdorf. The collective also holds film screenings, including the annual un.thai.tled Film Festival Berlin. He researches and collects the archive of Thai migrations and movements in Berlin/Germany, in an attempt to redefine how migrant spaces and micro-histories are relevant to the postcolonial urban discourses. He was one of the selected participants of the Young Curators Workshop for 11th Berlin Biennale for Contemporary Art 2020, organized by Pip Day. As a film producer/director/ editor, Sarnt utilizes cinema as a means for social engagement and an exercise of creative freedom beyond social conditional realities. His video installation “I Am Not Your Mother” was commissioned and exhibited at International Rotterdam Film Festival 2020 and nominated for “R.D. Pestonji Award” for best Thai short film at Thai Short Film and Video Festival Bangkok 2020. He is the 2020 recipient of Xposed Short Film Fund, granted by Xposed Queer Film Festival Berlin. His music video for Coco Elane's 'Deep Talk' was nominated for a Bucharest Film Award. www.sarntutamachote.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/sugar-nutmeg/support

Thiago de Paula Souza nasceu em Taboão da Serra, São Paulo, Brasil, em 1985. É curador com formação em Ciências Sociais. Membro da equipe curatorial de "We don't need another hero", a 10a Bienal de Berlim (2018). Sua prática curatorial e colaborativa está interessada em como a arte contemporânea pode articular plataformas de negociação, que mesmo de maneira efêmera contribuam para a reorganização da maneira como entendemos o mundo hoje. Atualmente é membro da equipe curatorial da 3a edição de Frestas – Trienal de Artes de Sorocaba. [Thiago de Paula Souza was born in Taboão da Serra, São Paulo, Brazil, in 1985. He's a curator with a bachelor in Social Sciences. He was part of the curatorial team of "We don't need another hero", the 10th Berlin Biennale (2018). His curatorial and collaborative practice is interested in how contemporary art can articulate platforms of negotiation that, even in an ephemeral way, can contribute to the reorganization of how we comprehend the world today. At the moment he's part of the curatorial of the 3rd edition of Frestas - Arts Triennale of Sorocaba, Brazil] ///imagens selecionadas|selected images: exposição (exhibition) "A labour of love", Johannesburg Art Gallery, 2017/// [entrevista realizada em 20 de agosto|interview recorded on august 20th] [link para YouTube: https://www.youtube.com/watch?v=ZteO3avpp8o]

Francisco Sanchez MartinezTel.: 0171 - 899 14 65Email: francisco.sanchez@gmx.dehttp://www.francisco-sanchez.deCurriculum VitaeTätigkeit als Choreograf(*Choreografisches Profil)Pädagogische Tätigkeitenseit März 2014 Künstlerische Leitung des “In Time!” Tanztheaters Berlinim Tanzhaus Berlin Mitteseit Juli 2013 Freiberufliche Tätigkeit als Choreograf an Schulen fürInklusion-Emigration-Projekte, Berlin2010 - 2013 Ballettdirektor und Chefchoreograf des Theaters Lüneburg2003 - 2018 Freiberufliche choreografische und pädagogische Tätigkeitseit März 2017 Freiberufliche Tätigkeit als Dozent für Tanztheater für dieTheater AG an der “Schule am Bienwaldring”,Sonderpädagogisches Förderzentrum Berlinseit Sept. 2016 Freiberufliche Tätigkeit als Tanzpädagoge für Inklusions-Tanztheater-Projekte an der “Grundschule am Rüdesheimer Platz”, Berlinseit 2015 Freiberufliche Tätigkeit als Dozent für Bewegungskoordination,Feinmotorik, Rhythmik, Kreativität, Raumwahrnehmung und sozialesVerhalten am “Sonderpädagogischen FörderzentrumFinkenkrug-Schule”, Berlinseit Juli 2013 Freiberufliche Tätigkeit als Tanzpädagoge für Ballett, Jazz undzeitgenössischen Tanz an der “Fanny Hensel Musikschule”, BerlinPersönliche DatenGeboren: 14.12.1965 in Zürich (Schweiz)Nationalität: SpanischSprachen: Deutsch - MutterspracheEnglisch - Gut in Wort und SchriftSpanisch - Gut in Wort und SchriftItalienisch - Erweiterte GrundkenntnisseTätigkeit als TänzerBerufsausbildungArbeit mit zahlreichen Choreografen, u.a. Uwe Scholz, Heinz Spoerli, Hans van Manen,Paolo Bortoluzzi, Germinal Casado, Erich Walter, David Pool, Peter Breuer,José de Udaeta, Irene Schneider, Nick Navarro, Jürg Burth1995 - 2004 Friedrichstadtpalast, Berlin1991 - 1995 Vereinigte Städtische Bühnen Krefeld und Mönchengladbach1988 - 1991 Deutsche Oper am Rhein, Düsseldorf1987 - 1988 Capab Ballett, Kapstadt, Südafrika1985 - 1987 Staatstheater Nürnberg1984 - 1985 Badisches Staatstheater, Karlsruhe2002 - 2006 Studium an der Hochschule für Schauspielkunst “Ernst Busch”, BerlinStudiengang Choreografie, Pädagogik und Regie beiProf. Dietmar SeyffertAbschluss mit Auszeichnung1983 - 1984 Hochschule für Musik, Heinz Bosl - Stiftung, MünchenStipendiat der Migros-Stiftung, Tanzstipendium der Stadt Zürich1975 - 1983 Ballettakademie ZürichFebruar 2020Freie choreografische Arbeiten seit 201409/2019 “Maske in Blau”, MusicalChoreografie für den Titel: “Ja, das Temperament”Aufführung 22.09.19, Atze Musiktheater Berlin09/2019 “Töne, Tänze, Tempramente”Da Capo, das Jahreskonzert der Musikschule Fanny Hensel, BerlinAufführung am 22.09.19 im Atze Musiktheater, BerlinRegie Francisco Sanchez MartinezSzenen - Ausschnitt 3. Akt aus der Oper “Orpheus und Eurydike”06/2019 Projektwoche Tanztheater intensivMit 24 Schülern und Schülerinnen derGrundschule am Rüdesheimer PlatzPräsentation 03. - 06.06.201905/2019 Einstudierung schwedischer Volkstänze mit demKammerorchester “Unter den Linden”Rudolf Steiner Haus, Berlin05/2019 “LUCKY PUNCH”Ballett GalaChoreografie Francisco Sanchez MartinezAufführung am 05.05.2019, Werkstatt der Kulturen, Berlin03/2019 “FREMD-SEIN”In-Time TanztheaterRegie und Choreografie Francisco Sanchez MartinezAufführung am 31.03.2019, Pfefferberg Theater, Berlin10/2018 “THE WELCOME SYMPHONY”Ein Projekt mit Schülern aus Willkommensklassen verschiedenerBerliner Schulen in Kooperation mit dem Kammerorchester“Unter den Linden”Leitung und Choreografie Francisco Sanchez MartinezAufführung am 09.10.2018, Fontane-Haus, Berlin07/2018 “Musical Moments”Da Capo, das Jahreskonzert der Musikschule Fanny Hensel, BerlinAufführung am 01.07.18 im Atze Musiktheater, BerlinRegie u. Lichtdesign Francisco Sanchez MartinezChoreografie “Tea for Two” aus dem Musical “No, No Nanette”06/2018 “DER FROSCHKÖNIG”Kinderballett - getanzt von ca. 100 SchülerInnen der MusikschuleFanny Hensel, BerlinAufführung am 03. Juni im Pfefferberg Theater, BerlinInszenierung, Bühnenbild u. Lichtdesign FranciscoSanchez MartinezChoreografie Kati Burchart u. Francisco Sanchez MartinezChoreografisches Profil10/2017 “THE WELCOME SYMPHONY”Projekt mit und für geflüchtete SchülerInnenKooperation zwischen dem Kammerorchester “Unter denLinden” e.V. und dem Bezirksamt Reinickendorf, BerlinWorkshop - Leitung und Choreografie Francisco Sanchez MartinezAufführung am 19.10.2017, Ernst - Reuter - Saal, Berlin07/2017“HEIMAT”Theater AG der Schule am Bienwaldring, Berlin mit demFörderschwerpunkt “Geistige Entwicklung”Regie und Choreografie - Markus Müller Film und CuttingAufführung am 27.09.17 in der TU Berlin05/2017 “DAS ZAUBERSCHLOSS”Kindertanzstück von Kindern für Kinder und ElternAufführung am 13.05.17, Pfefferberg Theater, BerlinIdee, Choreografie und Texte Kati Burchart und FranciscoSanchez Martinez07/2017 “ZAHLEN BEWEGEN”Da Capo - das Jahreskonzert der Musikschule Fanny Henselmit 240 MitwirkendenAufführung am 16. Juli im ATZE Musiktheater, BerlinKonzept, Regie und Choreografie06/2017 “WIR, DU UND ICH”Aufführungsprojekt mit Inklusion - Klassen der Finkenkrug Schule undder Grundschule am Rüdesheimer Platz, BerlinAufführung am 22. und 29. Juni in der Aula der Grundschule amRüdesheimer Platz, BerlinKonzept und Choreografie03/2017 “UNEXPECTED”Aufführung des In Time Tanztheaters im Pfefferberg Theater, BerlinIdee und Choreografie07/2016 “BITTE ANSCHNALLEN”Jahreskonzert “Da Capo” der Musikschule “Fanny Hensel”,ATZE Musiktheater BerlinGesamtregie, Textbuch, Choreografie04/2016 “FUNNY-FAMILY-MITMACH-SINFONIE”Choreografie für das Projekt des “SonderpädagogischesFörderzentrum Finkenkrug-Schule”, BerlinAufführung im Kammermusiksaal der Berliner Philharmonie09/2015 “STARS”Inszenierung und Choreografie, zeitgenössisches TanztheaterNordharzer Städtebundtheater, Kammerbühne Halberstadtund Kammerbühne Quedlinburg07/2015 “TANZ DER SCHWÄNE”ChoreografieBallettgala der Musikschule “Fanny Hensel”, Berlin05/2015 “COOL SCHOOL SYMPHONY”Inszenierung und ChoreografieEin preisgekröntes Projekt des “SonderpädagogischenFörderzentrum Finkenkrug-Schule”, Berlin und desKammerorchesters “Unter den Linden”, BerlinAufführung in der Philharmonie, BerlinInszenierung und ChoreografieNordharzer Städtebundtheater, Halberstadt und Quedlingburg01/2015 “IM WEIßEN RÖSSL”ChoreografieStadttheater Klagenfurt, Regie: Aron Stiehl06/2014 “GUTE NACHT”Ballettgala mit Schülerinnen des Tanzhaus Berlin MitteChoreografie, Aufführung Russisches Haus, Berlin05/2014 “PREPARATORY NOTES FOR A CHICAGO COMEDY”Produktion Goshka Macuga, Choreografische Mitarbeitund Performance8. Berlin Biennale für zeitgenössische Kunst09/2014 “OPHELIAS SCHATTENTHEATER”Gemeinschaftsprojekt der Musikschule Fanny Henselund der Wilhelm-Hauff-Grundschule, BerlinChoreografie des Teilstückes “Begegnung mit dem Tod”Atze Musiktheater, Berlin09/2014 “STRAWINSKY - ABEND”Inszenierung und ChoreografieNordharzer Städtebundtheater, Halberstadt u. Quedlingburg06/2013 “WORK IN PROGRESS”, 2. Stück, Tanztheater “Black out”06/2013 “ZAR UND ZIMMERMANN”, Spieloper05/2013 “ZWISCHENTANGO”, moderner Ballettabend05/2013 “SEHT MICH AN!”, Tanztheater01/2013 “AUF DEM SEIL”, Ballettabend mit Orchester09/2012 “DER FROSCHKÖNIG”, Ballett für Kinder06/2012 “WORK IN PROGRESS”, 1. Stück, Tanztheater “Black out”05/2012 “100% TANZWERK”, moderner Ballettabend01/2012 “BEWEGENDE ZEITEN”, Ballettabend mit Orchester09/2011 Künstlerische Leitung des Tanztheaters “Black Out”mit Laientänzern ab 45 Jahren08/2011 “DER ZAUBERLEHRLING”, Ballett für Kinder05/2011 “ZWISCHENTRÄUME@DIALOG.DE”, moderner BallettabendChoreografische Arbeiten/ Produktionen am Theater Lüneburg02/2011 Künstlerische Leitung “TANZLABOR”,zeitgenössische Choreografien des BallettensemblesTheater Lüneburg01/2011 “BACHGEFLÜSTER”, Ballettabend mit Orchester11/2010 “AIDA”, Musical, Regie Iris Gerath-Prein09/2010 “DES KAISERS NEUE KLEIDER”, Ballett für KinderTrainingSonstigesseit Juli 2013 Tanzpädagoge für Ballett, Jazz und zeitgenössischen Tanzan der “Fanny Hensel Musikschule”, Berlin2010/11 Ballett- und Moderntraining für das BallettensembleTheater Lüneburg2009 Ballett-Training für Studenten der Hochschule für Schauspielkunst“Ernst Busch”, Berlin2008Ballett-Training für arbeitssuchende Tänzer im Auftrag der“Zentralen Bühnen-, Fernseh- und Filmvermittlung” (ZBF)05/2019 Musikschule Kongress17. -19.2019, Berlin11/2017 Fortbildungsseminar für kreative Körper- und Bewegungsarbeitmit schwerst-mehrfachbehinderten Schülern und SchülerinnenGrundlage des Tanztheaters mit dem FörderschwerpunktGeistige EntwicklungTOUSCH Theater und Schule Berlin08-10/13 WeiterbildungsseminarMS Word & Excel 2010 - Microsoft Office Specialist

Germano Dushá nasceu em Serra dos Carajás, Pará, Brasil, em 1989. É escritor, curador, crítico e gestor cultural baseado em São Paulo. Trabalha principalmente com organizações culturais e experimentos curatoriais, e tem colaborado com galerias, instituições e publicações em diferentes países. Entre outros projetos, é co-fundador das plataformas Fora e BANAL BANAL, além do programa "um trabalho um texto", do espaço autônomo Observatório e do Coletor, campo itinerante de ações culturais e práticas artísticas contemporâneas. [Germano Dushá was born in Serra dos Carajás, Pará, Brazil, in 1989. He's a writer, curator, critic and cultural manager based in São Paulo. He works mainly with cultural organizations and curatorial experiments and collaborates with galleries, institutions and publications in different countries. Among his projects, he's the co-founder of the platforms Fora and BANAL BANAL, besides the program "um trabalho um texto", the autonomous space Observatório and Coletor, a travelling field of cultural actions and contemporary artistic practices.] ///imagens selecionadas|selected images: "Tambor de Mina", Missão de Pesquisas Folclóricas ("Mission of Folklore Research"), 1938 + Miro da Mangueira com o (with the) “P2 - Parangolé Bandeira 1” de (by) Hélio Oiticica, 1964 + Robert Smithson, “Bingham Copper Mining Pit—Utah / Reclamation Project”, 1973 + Lygia Pape, “Espaços imantados” ("Magnetized spaces"), 1995 + TELFAR, “TELFAR: RETROSPECTIVE”, 9ª Bienal de Berlim (9th Berlin Biennale), 2016 + Pierre Huyghe, “After ALife Ahead”, Skuptur Projekte, Münster, 2017 + Castiel Vitorino Brasileiro, “Minha garganta dói, minha garganta pode doer?” ("My throat hurts, can my throat hurt?"), 2018/// [entrevista realizada em 22 de agosto/interview recorded on august 22th] [link para YouTube: https://www.youtube.com/watch?v=kKxeZt8zOa4]

Im Herbst 2020 widmet sich MdbK [talk] der Ausstellung ZERO WASTE, die bis 8. November 2020 im MdbK zu sehen ist. In der Folge #21 sprechen wir in Form eines "Walk the Talks" mit der Künstlerin, Architektin und Expertin für Staub und Abfallwirtschaft Bettina Vismann sowie mit dem Experten für Geografien und Ökonomien des Abfalls und der Entsorgung Dr. Yusif Idies über unsichtbaren Müll wie Feinstaub, Staub und Rauch sowie die Entsorgung und Verbringung von kleinsten Reststoffen und Partikeln. "Walk the Talk" ist ein dialogisches Führungsformat mit zwei Expert*innen aus verschiedenen wissenschaftlichen Bereichen. In einer moderierten Diskussion tauschen sie sich mit dem Publikum zu einem Themenkomplex der ZERO WASTE Ausstellung in Bezug auf ausgewählte Kunstwerke aus. Aufgrund der Corona-Schutzmaßnahmen können daran im MdbK aktuell leider nur 5 Personen teilnehmen. Deshalb zeichnen wir alle vier "Walk the Talks" auf und stellen sie als MdbK [talk] Podcast-Episoden zur Verfügung. Moderatorinnen: Lena Fließbach, kuratierte zusammen mit Hannah Beck-Mannagetta die Ausstellung ZERO WASTE im MdbK in Kooperation mit dem Umweltbundesamt und Laura Jansen ist eine Texterin aus Leipzig. Seit ihrem Engagement im "Café kaputt" (Leipziger Repair Café) bringt sie das Thema Abfall in das Bewusstsein der Öffentlichkeit: ob als Mitorganisatorin von Veranstaltungen wie dem "Markt der Müllvermeidung" oder als Mitgründerin des "Leipziger Bündnis Abfallvermeidung" – ein Netzwerk für Leipziger Abfallvermeidungs-Initiativen. Expert*innen: Bettina Vismann ist Architektin, Künstlerin und Staubtheoretikerin. Ihre interdisziplinär ausgerichtete Forschung zum Thema Staub als Element und Material in Naturwissenschaft, Kunst und Architektur präsentierte sie u.a. auf der Berlin Biennale, Haus der Kulturen der Welt, Stadtforum Graz, AA London. Lehrtätigkeiten an der TU–Berlin, ETH–Zürich, Greenwich University, Kunsthochschule Weißensee, HafenCity Universität Hamburg. Bettina Vismann lebt und arbeitet in Berlin. und Yusif Idies, *1979 in Frankfurt am Main, lebt in Steinfurt. Er ist derzeit als Akademischer Rat a.Z. am Institut für Geographie der Westfälischen Wilhelms-Universität Münster beschäftigt. Nach seinem Studium in Frankfurt a. M. arbeitete er als wissenschaftlicher Mitarbeiter an der Universität Leipzig, wo er 2015 über nachhaltigen Konsum im Alltag promovierte. Aktuell befasst er sich mit Geografien des Abfalls und der Entsorgung. Besonders interessiert ihn dabei, wie verschiedene Abfallprobleme gerahmt werden und welche Lösungen auf dieser Grundlage ins Auge gefasst werden.

Alles elitäre Kunstscheiße! Also nicht die Kunst (ganz im Gegenteil), sondern wie sie verpackt wird. Freerk regt sich in dieser Folge so sehr über die mobile Website der Berlin Biennale auf, dass er vergisst, sein Mikrofon richtig einzustellen. Tja… Aber der Rest des Septembers versöhnt uns dann doch wieder mit der Stadt. Mit der Berlin Art Week | Berlin Art Fair | Gallery Weekend | Berlin Biennale | A Handhulf of Dust | Kunst Tag und Nacht in den Gerichtshöfen | Aby Warburg: Bilderatlas Mnemosyne | Festival für selbstgebaute Musik | Die Demokratie und ihre Adler (Museum der Dinge)

Autor: Probst, Carsten Sendung: Fazit Hören bis: 19.01.2038 04:14

Autor: Probst, Carsten Sendung: Kultur heute Hören bis: 19.01.2038 04:14

From the Archives. My interview with Tabita Rezaire in Johannesburg, South Africa in May 2015. I decided to re-release because our conversation seems to speak to our chaotic times. Tabita Rezaire (b.1989, Paris, France) is infinity incarnated into an agent of healing, who uses art as a means to unfold the soul. Her cross-dimensional practices envision network sciences – organic, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of resilience, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, she reminds us to open our inner data centers to bypass western authority and download directly from source. Tabita is based in Cayenne, French Guyana. She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (Uk). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB. Tabita has shown her work internationally – Centre Pompidou, Paris; Serpentine London; MoMa NY; New Museum NY; MASP, Sao Paulo; Gropius Bau Berlin; MMOMA Moscow, Museum of Contemporary Art Chicago; ICA London; V&A London; National Gallery Denmark; The Broad LA; MoCADA NY; Tate Modern London; Museum of Modern Art Paris – and contributed to several Biennales such as the Guangzhou Triennial, Athens Biennale, Kochi Biennale (2018); Performa (2017); and Berlin Biennale (2016).

Im September füllt sich der Kunstkalender in Berlin mit Art Week, Gallery Weekend und der 11. Berlin Biennale. Was gibt es da Interessantes zu sehen? Und was läuft aktuell schief im Berliner Kunstbetrieb? [03:50] Thomas Demands Blick auf Berlin [17:13] Neue Perspektiven bei der 11. Berlin Biennale [34:33] Wie bildet die Berlinische Galerie die Kunststadt Berlin ab?Der Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-kunststadt-berlin

Im September füllt sich der Kunstkalender in Berlin mit Art Week, Gallery Weekend und der 11. Berlin Biennale. Was gibt es da Interessantes zu sehen? Und was läuft aktuell schief im Berliner Kunstbetrieb? [03:50] Thomas Demands Blick auf Berlin [17:13] Neue Perspektiven bei der 11. Berlin Biennale [34:33] Wie bildet die Berlinische Galerie die Kunststadt Berlin ab?Der Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-kunststadt-berlin

Im September füllt sich der Kunstkalender in Berlin mit Art Week, Gallery Weekend und der 11. Berlin Biennale. Was gibt es da Interessantes zu sehen? Und was läuft aktuell schief im Berliner Kunstbetrieb? [03:50] Thomas Demands Blick auf Berlin [17:13] Neue Perspektiven bei der 11. Berlin Biennale [34:33] Wie bildet die Berlinische Galerie die Kunststadt Berlin ab?Der Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-kunststadt-berlin

In this episode, edna bonhomme and Skye Tinevimbo Chirape discuss Decolonising Forensic Psychology, migration, and decolonial research practices especially as it relates to the United Kingdom, South Africa, and Zimbabwe. Zimbabwean born, Skye is a Forensic Psychology scholar, visual activist, and doctorate candidate at the University of Cape Town (UCT), South Africa. Her research, provisionally titled, ‘The Hare and the Baboon: Human (In)Security, migration and victimisation of African LGBT asylum seekers in the context of the UK asylum interview process investigates broader issues around structural violence and the ongoing conversation on the politics of migration and borders of gender and sexuality. It specifically centres African LGBT persons seeking asylum in the UK. Skye is also a part time lecturer (teaching post-graduate Political Psychology) and a member of, the hub for decolonial feminist Psychologies in Africa at UCT. Skye’s visual activism has continued to centre migration, gender & sexuality, trauma, structural violence, gendered violence and decolonial feminist psychology. In the recent years Skye’s academic and community work has focused on the conversation of trauma, decolonising work on trauma, healing / healing justice, collective healing and holding space within black LGBTIQ+ communities and movements. Skye's MSc in Forensic research; “He was treated like a criminal”. Evaluating the impact of detention related trauma on LGBTI refugees, has been presented at universities in London, New York, Amsterdam and Berlin and, was published in 2018. Often in collaborating with other artists and organisations, she has used visual art/ activism to examine geopolitical issues, drawing from personal/ lived experiences. Skye has curated exhibitions in London, taken part in the 10th Berlin Biennale performance, and participated in an exchange with the British artist Emma McGarry, at the Tate Modern gallery. In 2018 Skye appeared on the cover of Diva Magazine; in 2014 on the cover of Complexd woman magazine and was nominated for a BEFFTA award in 2010. In 2014 Skye was identified as one of 15 British based womxn campaigners making changes in the world and was published in the book, Here We Stand: Women changing the world. You can visit her work at: www.skyetshookii.com Podcast Image Credit: Left side: featuring Skye sitting down, a collaboration between Cloudy Moroni & Skye Skyetshookii, 2014. Right side: a person lowering their knickers is from an exhibition that Skye co-curated with Priscillar Gurupira and the image belongs to a Zimbabwean artist, Nancy Mteki. Bibliography • Chirape, S. R. T. (2018). He was treated like a criminal”: Evaluating the impact of detention related trauma on LGBTI refugees In The Colour of Madness. Stirling Publishing edited by Linton, S. and Walcott, R. Skiddaw publishers. • Chirape, S. R. T. (2015). Trauma: Not just for the victims, a review. Convenor: Lorraine Perry. Published in The Forensic Update No 119, 2015. • Skyetshookii[1], S. (2017). Hidden in the open: An honorarium essay to South African photographer, Zanele Muholi’s body of photographic work, Somnyama Ngonyama, Hail the Dark Lioness, catalogue edited by Renee Mussai. Autograph ABP, London. • Chirape, S. R.T. (2014). The freedom of others, In Here we stand: Women changing the world. Edited by Helena Earnshaw and Angharad Penrhyn Jones. Honno, UK. • Chirape, S. R.T. (2014). The ritual communication of (black queer) bodies in The Ladybeard magazine. The Sex issue. UK. • Skyetshookii, S. (2014). Transgender day of Remembrance: An artist view. Published on the Commonwealth writers’ website.

Leading the first all-black curatorial team for the 10th Berlin Biennale, Gabi Ngcobo has made international headlines this year, speaking about the importance of revisiting history in our art institutions. This MTalks event, co-presented by the Monash University Museum of Art (MUMA), brought a lecture by Gabi, the curator and educator titled 'Working with the unknown', which was MUMA's Boiler Room Lecture for 2018. In this talk, Gabi Ngcobo spoke about her collaborative curatorial practice starting from the founding and ending of the collaborative platform Centre for Historical Reenactments (2010–2014) to co-establishing NGO—Nothing Gets Organised. Both projects traverse her artistic and educational approaches and have influenced some of the large scale projects she has been worked on during the past five years, including A Labour of Love, 32nd Sao Paulo Biennale and the 10th Berlin Biennale for Contemporary Art. The lecture was convened by Hannah Mathews, MUMA’s senior curator.

'Anthem' is a collection of artistic and musical creations curated by US-based producer Total Freedom released as a series of limited edition 12″ records and is the soundtrack to the 9th Berlin Biennale, published by The Vinyl Factory. The purpose of 'Anthem' is to bring together artists and musicians in an environment that testifies the importance of collaboration and sharing. The episode features: Amalia Ulman with Carles Santos, Patricia Satterwhite with Jacolby Satterwhite and Nick Weiss, Trevor Jackson, Kelela Elysia Crampton with Not Adrian Piper, Ryoji Ikeda, Fatima Al Qadiri with Hito Steyerl and Juliana Huxtable, Isa Genzken with Total Freedom, Jamie Lidell, Jeremy Deller.

Agustin Pérez Rubio was born in Valencia, Spain in 1972. He has a degree in art history from the Universidad de Valencia . He has curated over one hundred and fifty exhibitions at important museums and art centres, biennales, etc. mainly in Europe and Latin America. Before he was Chief curator and Director of MUSAC 2003- 2013, he organized monographic exhibitions of major artists like Pierre Huyghe, Julie Mehretu, Dora García, Pipiloti Rist, Sejima + Nishizawa / SANAA, Elmgreen and Dragset, Harun Farocki, Dave Muller, Ana Laura Aláez, Ugo Rondinone, Azucena Vietes and Lara Almarcegui. Later, as an independent curator, he curated projects that include solo shows by artists such as SUPERFLEX, Sophie Calle, Nestor Sanmiguel Diest, Rosangela Rennó, Carlos Garaicoa, and many group shows thematically related to gender, linguistics, architecture and politics. He is currently a member of the board of Istanbul Biennial and CIMAM for the period 2017-2019. He has been the Artistic Director of MALBA, Museo de Arte Latinoamericano de Buenos Aires since May 2014, where he developed a socio-political programme dedicated to female Latin- American artists that already included the exhibitions of Teresa Burga, Annemarie Heinrich and Claudia Andujar plus the ones planned for the future. In addition, Pérez Rubio worked together with Andrea Giunta, on a new curatorial script of MALBA’s collection titled VERBOAMERICA a postcolonial revision of the Collection. He curated solo shows of artists such as Jorge Macchi, Yoko Ono, Voluspa Jarpa, Carlos Motta, Alexander Apóstol and the retrospective show of the collective “General Idea: Broken Time” which will tour though Latin America. He is the curator of the Chilean Pavillion at 58th Venice Biennale with the decolonial project of the female artist Voluspa Jarpa and one of the curators for the 11th Berlin Biennale 2020. Charcot’s Hysterical Women  ©farrenkopf Hegemonic Museum ©farrenkopf

SONIC ACTS FESTIVAL 2019 – HEREAFTER Emma Wolukau-Wanambwa – Carrying Yours and Standing Between You 24 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Emily Pethick. During her talk, Emma Wolukau-Wanambwa will be reflecting on the similarities and differences between the contexts and research processes that led her to produce the 2015 video Promised Lands and Carrying Yours and Standing Between You, a research/installation recently created for the exhibition Women on Aeroplanes at the Showroom Gallery in London. The opportunity to view these works so close together (Promised Lands was shown at both the Berlin Biennale and the London Film Festival last year) and to observe responses to them has given rise to a new set of questions for the artist about her artistic/research practice that have implications for how she wants her work to develop and what her ‘position’ is (or might be). Emma Wolukau-Wanambwa, born in Glasgow, studied Literature at Cambridge University and Art at the Slade School of Fine Art, University College London. Formerly a participant in the LUX Associate Artist Programme and a researcher at the Jan van Eyck Academie, she is currently a doctoral candidate in Fine Art at the University of Bergen, Norway and Convener of the Africa Cluster of the Another Roadmap School. Recent or upcoming exhibitions include: Actually, the Dead Are Not Dead (Bergen Assembly 2019, Bergen), Women on Aeroplanes (The Showroom Gallery, GB & Museum of Modern Art, Warsaw) and We Don’t Need Another Hero (10th Berlin Biennale of Contemporary Art).

Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level. Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York. She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.

Fred Tomaselli is an artist born in Santa Monica who is based out of New York City. He’s had solo shows at the Metropolitan Museum, the Orange County Museum, James Cohan, the Brooklyn Museum, White Cube, The Rose Museum, the Albright-Knox, Site Santa Fe, the Whitney Museum and many others. He’s been included in group shows at the Aspen Art Museum, LAMOCA, the Whitney Biennial, the Berlin Biennale, and at MoMA just to name a few. His work is in the collection of the Addison Gallery of American Art, the Albright-Knox Art Gallery, the Art Institute of Chicago, the Brooklyn Museum of Art, the Carnegie Museum of Art, the Cornell Fine Arts Museum, the Guggenheim Museum, the Hirshhorn Museum, the The Metropolitan Museum of Art, the Museum of Modern Art, The Whitney Museum of American Art, New York, NY, and many others. Brian stopped by Fred’s East Village studio to talk about perceptual portals, the James Turrell moment, escapist art and the seeing the Germs live and more. Sound & Vision is supported by Topo Designs. Based in Denver Colorado, Topo is committed to creating quality bags and clothing that stand the test of time. Check out their products at topodesigns.com Sound & Vision is also brought to you by Charter Coffeehouse. Charter is on Graham Avenue in East Williamsburg, just one block from the Graham L Stop. Find out more at www.chartercoffee.com, follow them on Instagram at @charter_bk

We explore the two big European art world events of the past week: Arsalan Mohammad is in Berlin with the curator Serubiri Moses and the critic and curator Annika von Taube, and Ben Luke speaks to Melanie Gerlis, writer for the Financial Times and The Art Newspaper, on the line from Basel. See acast.com/privacy for privacy and opt-out information.

Fußball Weltmeisterschaft | 14.06. – 15.07. Berlin Biennale | 09.06. – 09.09. Food Revolution 5.0 | 18.05. – 30.09. Wanderlust | 10.05. – 16.09. Fête de la Musique | 21.06. Staatsoper für alle | 16.06. Welt ohne Außen | 08.06. – 05.08. Philippe Parreno | 25.05. – 05.08. Torstraßenfestival | 08.06. – 10.06. Crescendo | 25.05. – 09.06. Between Art & Fashion | 02.06. – 18.11. Erotik der Dinge | 3.05. – 27.08. Performing Arts Festival Berlin | 05.06. – 10.06 Comedy Café | Improv

On this week’s podcast, we take a look at the 9th Berlin Biennale, which has met with both ire and praise for its tech-heavy and ironic curatorial vision. We look beyond the controversy to ask: What were the highlights? Despite the criticisms, is it actually charting a new path for art amid a rapidly digitizing world? And is talking about all the reviews a distraction from the work itself? Next, we take an expanded dive into what it means for artists to disavow their work. Disavowal may seem like a strange power—and it is pretty unique statute within American law. Why are only some artists protected? And, moreover, what conceptual questions are raised by artists disavowing their work? Read more: https://www.artsy.net/article/artsy-editorial-the-artsy-podcast-no-8-that-s-not-my-artwork

May 31 2012 - First Air Date