Podcasts about Biennale

Part 2 of our Venice Biennale Architecture series! We look at this year's entries, featuring stunning art, works pushing the boundaries of what architecture is, and a Facebook rant.

Aujourd'hui, je reçois Sidi Larbi Cherkaoui, danseur, chorégraphe et metteur en scène. Il a choisi de défendre la place du corps et de la danse pour communiquer autrement, des matériaux humains pour construire des imaginaires, fragiles et nécessaires.  Pour la 20e édition de la Biennale de la danse à Lyon, Sidi Larbi présente Ukiyo-e, sa toute dernière création avec les 22 danseurs du Ballet du Grand Théâtre de Genève, jusqu'au 19 septembre à la Maison de la Danse à Lyon. On l'écoute avec joie. Cet épisode a été imaginé avec la Biennale de la danse qui célèbre toutes les danses jusqu'au 30 septembre.

事件简述： 当地时间9月9日，第80届“威尼斯双年展国际电影艺术展”(Mostra Internazionale d'Arte Cinematografica della Biennale di Venezia)正式闭幕，希腊男导演欧格斯·兰斯莫斯(Yorgos Lanthimos)执导的英语片《可怜的东西》(Poor Things)拿下金狮奖；滨口龙介凭《邪恶不存在》(悪は存在しない)获评审团大奖，彼得·萨斯加德(Peter Sarsgaard)与卡莉·史派妮(Cailee Spaeny)凭《记忆》(Memory)与《普瑞希拉》(Priscilla)分获帝后。 以下是本届影展的其它“文化事件”（详情见音频）： 9月2日，在与威尼斯影展同步进行的一项叫做“Filming Italy Best Movie Award”的外围奖项颁发前后，一位名为加布里埃尔·格瓦拉(Gabriel Guevara)的西班牙籍演员因涉嫌强奸，被威尼斯警方逮捕。 随后，威尼斯官方发布声明，明确表明该演员参加的活动与威尼斯官方毫无关系。而中国电影《封神》几天前领取的所谓“最佳艺术贡献奖”正是来自该演员所获得的同一奖项（详见下图），部分中国媒体予以高调报道。 9月2日下午，香港演员梁朝伟获颁“威尼斯电影节终身成就金狮奖”。两届金狮奖得主，与其合作《色，戒》的导演李安亲临现场为其颁奖，随后现场放映了带有“威尼斯80年”回顾性质的纪录片(La parte del Leone: una storia della Mostra)。 9月2日傍晚，众多伊朗女性随《柔道场》(Tatami)剧组在官方红毯仪式上进行了“解放伊朗女性”的表达。 同时也有部分人士举出释放男导演赛义德·鲁斯塔伊的标语——该导演因在2022年私自参加戛纳电影节且入围主竞赛单元（《金币灰黄》），在今年8月被伊朗当局拘留并判缓刑五年。 9月4日，或成为伍迪·艾伦(Woody Allen)“最后一部电影”的法语片《幸运一击》(Coup De Chance)举行首映式，87岁高龄的导演艾伦亲临现场。而在当晚，一群活动人士出现在了该片的红毯仪式周围，呼喊口号反对所谓“强奸文化”。而在威尼斯进行期间，在其官方设立的“列侬墙”上，对于威尼斯影展主席巴贝拉(Alberto Barbera)挑选伍迪·艾伦、波兰斯基(Roman Polanski)和吕克·贝松(Luc Besson)的电影入围本届威尼斯的抗议标语也层出不穷。 其中一副针对波兰斯基新作《瑞士华庭》(The Palace)的标语（金狮奖会颁给强奸犯吗？）被广泛报道。但实际上波兰斯基的新作并未入围此次主竞赛，从来也没有角逐金狮奖的可能性。 9月4日，《幸运一击》首映当天，威尼斯主席巴贝拉再度明确了自己支持伍迪·艾伦等导演的态度，他称伍迪·艾伦“早已洗清罪名”、“针对伍迪·艾伦的敌意让人无法理解”，巴贝拉同时也对烂番茄网站给予波兰斯基新片“打0分”的行为嗤之以鼻——“（这种行为）让我觉得有些低劣”。 9月6日上午，威尼斯官方组织了“乌克兰日”(Ukrainian Day)活动，分别举行了题为《战争期间的乌克兰电影业》和《与乌克兰拍摄：支持与合作》的两场论坛活动，乌克兰相关行业代表介绍了乌克兰遭遇入侵以来的电影业现状。 同时本届影展也有多部乌克兰电影进入各类单元，包括了入围“地平线拓展”单元的《永远-永远》(Назавжди-Назавжди)、入围“经典修复”单元的《被遗忘的祖先的阴影》(Тіні забутих предків)、入围“威尼斯日”单元的《恐光症》(Photophobia)和入围“VR非竞赛展映”单元的。

durée : 00:04:21 - Le zoom de la rédaction - La Biennale de Danse de Lyon anime aujourd'hui les rues de Lyon avec une parade chorégraphique géante. 3500 participants, danseurs, musiciens amateurs encadrés par des chorégraphes pro. Événement unique préparé pendant des mois. Un reportage sur place de Mathilde Imberty.

本期音频团队： 海老鼠（环球旅行家，《神奇女侠1984》等19期嘉宾，小红书seamouse） 波米 事件简述： 8月30日，第80届威尼斯双年展国际电影艺术展(Mostra Internazionale d'Arte Cinematografica della Biennale di Venezia)开幕。今年威尼斯影展的非竞赛展映和修复单元中，共有4部“2023年去世影人”的作品获得入围。 这包括了非竞赛展映单元的3部电影：万玛才旦(པད་མ་ཚེ་བརྟན།)导演的剧情长片《雪豹》，坂本龙一之子“空音央”根据其父生前“最后一场线上音乐会”素材整理的纪录长片（暂无官方译名），以及威廉·弗莱德金(William Friedkin)的翻拍长片《凯恩舰哗变》(The Caine Mutiny Court-Martial)。而经典修复单元则选择了卡洛斯·绍拉(Carlos Saura)拍摄于1966年的剧情长片《狩猎》(La caza)的4K修复版。 威廉·弗莱德金（1935-2023）是好莱坞导演，曾获得奥斯卡最佳导演奖（《法国贩毒网1》）与威尼斯终身成就金狮奖（2013年第70届），并在2011年凭《杀手乔》入围威尼斯主竞赛单元。弗莱德金于今年8月7日去世，享年87岁。 万玛才旦（1969-2023）是藏语导演、作家，电影代表作包括《静静的嘛呢石》与《寻找智美更登》，生涯3次入围“威尼斯地平线单元”（《塔洛》《撞死一只羊》《气球》），并在2018年凭《撞死一只羊》获“地平线最佳剧本奖”。万玛才旦于今年5月7日去世，享年53岁。 坂本龙一（1952-2023）是日本作曲家、配乐家，曾获奥斯卡与格莱美最佳原创配乐奖（《末代皇帝》），1983年以演员与配乐师等多重身份参与了大岛渚电影《圣诞快乐，劳伦斯先生》（Merry Christmas Mr. Lawrence），并从此开始电影配乐生涯；其最后一部参与配乐的电影为是枝裕和执导的《怪物》。坂本龙一于今年3月28日去世，享年71岁。 卡洛斯·绍拉（1932-2023）是西语导演，曾获得（西）柏林电影节金熊奖（《快，快》）与奥斯卡最佳外语片提名（《探戈狂恋》）；生涯作品9入戛纳主竞赛3次获奖，6入柏林主竞赛3次获奖，还曾3次入围威尼斯主竞赛。卡洛斯·绍拉于今年2月10日去世，享年91岁。 开场曲：（坂本龍一）； 结束曲：（坂本龍一）；

Signore e signori, si riparte. E Parenzo piange di nuovo. Doppia fotografia crucianiana. Vannacci e l'orsa Amarena. Uno è un eroe della libertà di pensiero, chi minaccia l'assassino dell'orsa è pazzo.Parenzo è circondato. Anche alla Biennale è stato attaccato. "Fai ballare la fresca".Favino e la "p......a sesquipedale" sugli attori italiani che devono interpretare personaggi italiani. E se l'avesse detto Lollobrigida?Enrico Rizzi, Amarena e le caprette. Una vicenda... accesa.Marco Zanasi, da Montese, è in studio e denuncia. La terra è piatta, come un foglio. Putin? Ci vorrebbe anche qui. Poi interviene il direttore Fabio Tamburini.

Pictorial returns from summer break with an overview of the International Architecture Exhibition in Venice and some favorite exhibits from over the years.

We're so delighted to share this conversation with Ethel Brooks! We discuss feminism, Romani history, women's labor, fortune telling, and more! Ethel Brooks is Chair of Women's, Gender, and Sexuality Studies and Associate Professor of Women's, Gender and Sexuality Studies and Sociology at Rutgers University. Brooks is a Tate-TrAIN Transnational Fellow at the University of the Arts London, where, in 2011-2012, she was the US-UK Fulbright Distinguished Chair. Brooks was appointed under President Obama to the United States Holocaust Memorial Council, where she served from 2015-2020. She is Chair of the Board of the European Roma Rights Centre and member of the Bavarlipe Academy of the European Roma Institute for Arts and Culture, the RomaMoma Think Tank, and the US Delegation to the IHRA and its Roma Genocide Working Group. In 2022, Brooks was a curator for One Day We Shall Celebrate Again, the RomaMoma/OffBiennale contribution to Documenta 15 and contributed art and performance to Documenta 15 and to the 2022 and 2019 Venice Biennales. From 2022-2023, Brooks served as an editorial consultant for the Los Angeles TimesPodcast, Foretold.  Since 2007, she is co-Director of the annual Feminist Critical Analysis course in Dubrovnik, Croatia. Brooks is the author of the award-winning Unraveling the Garment Industry: Transnational Organizing and Women's Work. Her current book project focuses on encampment, claim-staking, and Romani futures.Our Romani crush this episode is all Romani women. You can follow Ethel Brooks on Instagram and Twitter.Thank you for listening to Romanistan podcast.You can find us on Instagram @romanistanpodcast, and on Facebook under the same name, and on Twitter @romanistanpod. Join our Patreon for extra content. We started a Ko-fi fundraiser to help us grow. We would love it if you could contribute and spread the word. Ko-fi.com/romanistan.Please rate, review, and subscribe. It helps us so much. If you would like to advertise with us, email us at romanistanpodcast@gmail.com. We offer sliding-scale for Romani, Sinti & related businesses, so reach out!You can find Jez on Instagram @jezmina.vonthiele, and on Twitter, TikTok, and Patreon, and you can find Jez's vintage and curiosities shop Evil Eye Edit on Instagram @evileyeedit & Etsy.You can find Paulina Verminski on Instagram @_paulina_v_ and at https://romaniholistic.com/. Follow Paulina's store, Romani Holistic, in Newport Beach, CA, on Instagram @romaniholistic Romanistan is hosted by Jessica Reidy/Jezmina Von Thiele and Paulina VerminskiConceived of by Paulina VerminskiEdited by Viktor PachasWith Music by Viktor PachasAnd Artwork by Elijah Vardo

Aujourd'hui, je reçois (LA)HORDE qui a choisi le corps en mouvement comme espace créatif, sociologique, disruptif et polymorphe. Pour la 20e édition de la Biennale de la danse à Lyon, (LA)HORDE présente Age of Content - sa toute dernière création avec le Ballet national de Marseille.  - les 19, 20 et 21 septembre à la Maison de la Culture de Grenoble et les 27, 28 et 29 au TNP de Villeurbanne On les écoute avec joie.

durée : 00:05:56 - Les Nuits de France Culture - par : Albane Penaranda - Si l'ouvre de Bernard Dufour est méconnue aujourd'hui, il faut sans doute remonter au début des années soixante lors de son passage de l'abstraction à la figuration pour comprendre cet oubli. Dans cette courte interview de 1964, le peintre explique sa décision, voire justifie son choix du figuratif. Deux mois avant la Biennale de Venise de 1964 dont il était l'invité de la section française, Bernard Dufour, qui avait commencé sa carrière de peintre depuis une dizaine d'années, était convié dans l'émission "L'art vivant" à parler de son tournant figuratif. Un passage progressif à la peinture figurative L'étiquette de "nouvelle figuration" que l'on pose sur lui, Bernard Dufour dit l'accepter tout naturellement. Il raconte son passage de l'abstraction à la figuration au milieu des années 1960. Cela s'est fait progressivement, d'abord sa peinture a pris des formes de paysages et d'architectures imaginaires jusqu'aux tentatives d'autoportraits. "Je ne pourrais pas être figuratif comme je le suis maintenant si je n'avais pas été abstrait", affirme-t-il. "La figuration m'intéresse de plus en plus", explique Bernard Dufour et d'ajouter, "la lisibilité des choses" aussi. Il se refuse de penser à ceux qui ne supportent pas la figuration. Et à la question, "comment peut-on être figuratif en 1964 quand on est né en 1922 ? ", il répond en toute simplicité, "c'est ce que j'ai envie de faire". C'était en 1964, et Bernard Dufour, alors en haut de l'affiche, ne savait pas encore que son passage de l'abstraction à la figuration allait lui coûter cher en l'éjectant du marché de l'art. Retrouvez l'ensemble du programme d'archives "Bernard Dufour, la poursuite du réel", proposé par Albane Penaranda. Par André Parinaud Extrait : L'art vivant - Bernard Dufour expose à la galerie de L'Oil en 1964 (1ère diffusion : 01/05/1964) Avec Bernard Dufour, peintre Réalisation Arlette Dave Édition web : Documentation de Radio France Archive Ina-Radio France

O Festac'77 foi um festival de artes e afirmação cultural africana realizado na Nigéria, mas não foi um festival no sentido que a gente está acostumado. Foi menos um Lollapalooza, mais algo como as Olimpíadas. Hoje é amplamente reconhecido que o Festac'77, ou "Segundo Festival Mundial de Artes de Cultura Negras e Africanas", foi um ponto de virada na diplomacia nigeriana e sua contribuição à cultura diplomática global. A gente conta o que aconteceu e como ele dá continuidade a um antigo sonho de união pan-africana ensaiado em Festival de Artes Negras em Dakar (1966) e no Panaf da Argélia (1969). Bibliografia: LIVROS Chris Abani. Lagos: A Pilgrimage in Notations. In: Ntone Edjabe & Edgar Pieterse. (ed.) African Cities Reader. Cape Town: University of Cape Town, 2009. p. 1-8. Andrew Apter. Beyond Négritude: Black cultural citizenship and the Arab question in FESTAC 77. Journal of African Cultural Studies, 2015, p. 1-14. Andrew Apter. Festac 77: A Black World's Fair. in: Oxford Research Encyclopedias, African History (online). Alice Aterianus-Owanga. A Pan-African space in Cape Town? The Chimurenga archive of Pan-African festivals. Journal of African Cultural Studies, 2019, p. 1-19. Jonathan Fenderson. Building the Black Arts movement: Hoyt Fuller and the cultural politics of the 1960s. Urbana: University of Illinois Press, 2019. Emmanuel C. Ojukwu & Chuka Enuka. Culture as an instrument of Nigeria's Afrocentric Foreign Policty: the Festac'77 example. Nigerian Journal of African Studies, Vol. 2 No. 1, 2020, p. 59-66.] Arthur Monroe. Festac 77: The Second World Black and African Festival of Arts and Culture: Lagos, Nigeria. The Black Scholar, vol. 9, no. 1, (September 1977), p. 34-37. Ugochukwu-Smooth C. Nzewi & Thomas Fillitz (ed.) Dak'art: The Biennale of Dakar and the Making of Contemporary African Art. London: Routledge, 2021. Alma Robinson. "African Art in Foreign Hands", in: Festac'77. Lagos: Africa Journal Limited, 1977, p. 56-69. Bénédicte Savoy. A luta da África por sua arte (trad. Felipe Vale da Silva). Campinas: Unicamp, 2023. MATÉRIAS DE JORNAL e BLOGS Jonathan C. R et al. FESTAC: Culture, Confusion And Dust. The Washington Post (24/01/1977) Jonathan C. R et al. FESTAC: Upbeat Finale . The Washington Post (14/02/1977) Ernest Danjuma Enebi. 40 Years Later…Why FESTAC still matters. Medium, 15/01/2020 (https://medium.com/@thedanjuma/40-years-later-why-festac-still-matters-87a2a7c4f71d) Benin Kingdom's most symbolic treasure - The Queen Idia Mask. Vervepoints, 29/07/2019. (https://vervepoints.blogspot.com/2019/07/queen-idia-festac-mask.html#more) DOCUMENTÁRIOS e PODCASTS story story (Lanaire Aderemi Productions, Nigeria). Episode 4: Festac'77 (28/10/2021) NKATA: Dots of Thoughts (Nikata Podcast Station, Nigeria). Episode 03: Morrison's Black Book, Chimurenga's Festac '77 - "Unwritable Stories" in a Book Form (29/04/2020) The Sample Axis Podcast (Nigeria). Episode 77. Festac'77 feat Dele Adeyanju (28/05/2023). África: Mundo Novo (prod. Hermano Penna, TV Cultura). 1977 (em 4 blocos).

durée : 00:47:42 - Les Nuits de France Culture - par : Albane Penaranda - Dans "Les après-midi de France Culture", le peintre Bernard Dufour racontait en 1982 vingt ans d'autoportraits qui étaient autant de révélations sur son rapport au sexe, à la mort et à l'identité. Passé au début des années 1960 de l'abstraction au figuratif, Bernard Dufour s'explique et s'interroge. En 1982, à l'initiative de Marianne et Pierre Nahon, une partie des très nombreux autoportraits qu'avait signés Bernard Dufour depuis 1962 était présentée à la Galerie Beaubourg. À cette occasion, le peintre s'entretenait avec Pierre Descargues dans "Les après-midi de France Culture". Des autoportraits de Bernard Dufour tenus au secret "Qu'est-ce qu'un autoportrait ?" C'est la question posée dans cet entretien durant lequel Bernard Dufour raconte comment il est arrivé à l'autoportrait dans les premières années de son passage à la figuration, dans un élan pour aller d'emblée vers ce qu'il y a de plus figuratif au moment où il décidait de laisser de côté la peinture abstraite. Dans cet entretien où le tutoiement est de rigueur, Bernard Dufour évoque sa "trajectoire assez morcelée" qui a été la sienne depuis 1962 et que retrace cette exposition de 1982. "Il y a une grande émotion chez moi à retrouver des tableaux de 1966-67 que j'ai tenus au secret pendant 15 ans", explique-t-il. Ces tableaux de 1966-67 ont été faits dans une grande période d'isolement. "L'art échappe à l'artiste" selon Bernard Dufour Cette exposition est donc l'occasion de revenir sur le parcours de Bernard Dufour depuis la peinture abstraite abandonnée en 1959-60 puis les autoportraits commencés dès 1962, pour comprendre ce geste qui a pu paraître surprenant. La série d'autoportraits à partir de 1966, Bernard Dufour dit ne pas la comprendre lui-même : "La nouveauté de cette peinture était incompréhensible pour moi." Il revient sur la période après 1964, quand il rencontre l'échec à la Biennale de Venise au moment de son tournant figuratif. Il en parle toujours avec émotion bien que près de vingt ans soient passés. Entre 1966 et 1978, ce furent des années de "néant" mais Dufour refuse l'idée de malédiction, de peintre maudit. Il sait que tout dépend du "déroulement de l'histoire de l'art" et qu'il ne pouvait pas lutter contre l'opposition qui était faite à sa peinture à partir de 1967. Il lui a fallu attendre cette année 1982 pour que les marchands Marianne et Pierre Nahon décident de montrer ces tableaux parce que l'époque rendait enfin possible cet éclairage sur son ouvre. Bernard Dufour et la peinture figurative : quelque chose d'inatteignable En tentant de cerner au plus près ce qu'étaient ses propres autoportraits, Bernard Dufour évoque les autoportraits de l'histoire de la peinture dans la filiation desquels il veux s'inscrire. Ceux de Rembrandt, Goya, Cézanne et Giacometti tout particulièrement. Affirmant que dans l'autoportrait c'est toujours le double, l'altérité qui est visée, et que ses autoportraits ne sont pas sa réalité, Bernard Dufour rappelle dans cette émission ce que sont les deux pôles de sa peinture : "L'autoportrait et le sexe des femmes, ce sont mes deux pôles qui sont constants dans mon travail." La peinture figurative est quelque chose d'"inatteignable" pour Bernard Dufour. Il insiste pour dire que "la peinture est la peinture" et qu'en ce sens elle ne nous apprend rien sur la vie. Ainsi sa femme, souvent représentée sur ses toiles, n'a jamais posé pour lui, ses portraits ont été peints à partir de photographies car l'amour "empêche de peindre". Retrouvez l'ensemble du programme d'archives Bernard Dufour, la poursuite du réel , proposé par Albane Penaranda. Par Pierre Descargues Extrait : Les après-midi de France Culture - Les Autoportraits de Bernard Dufour (1ère diffusion : 22/09/1982) Avec Bernard Dufour, peintre Édition web : Documentation de Radio France Archive Ina-Radio France

What was it like curating the 1st Diriyah Islamic Arts Biennale? And how do you capture the essence of a place that is in the hearts and minds of Muslims around the world? Sumayya Vally talks to us about her personal relationship with Saudi Arabia, suspended geographies, adding to the Islamic Art canon, and reimagining Jeddah's Western Hajj Terminal as an exhibition space. She talks us through it from the very conceptualization of the Diriyah Islamic Arts Biennale in Saudi Arabia to individual pieces that caught Mikey's attention when he attended the opening. We also touch on what it's like letting go of a creative project once it has come to fruition, with Sumayya likening the process to post-partum depression. Lastly, we hear about what Sumayya and her research and architecture practice, Counterspace, are working on now.Sumayya Vally is an award-winning architect from South Africa. In 2022, the World Economic Forum chose her as one of its Young Global Leaders. She has been featured as a TIME100 Next List Honoree. Vally is also on the board of directors for the World Monuments Fund and is the founder of Counterspace, a research and architecture practice. In 2019, Counterspace was chosen to design the 20th Serpentine Pavilion in London. This made Vally the youngest architect to ever win this prestigious commission. Finally, Vally worked as artistic director for the very first Islamic Arts Biennale in Jeddah that ran from January through to April of 2023. Created & hosted by Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by: Tarek Yamani https://www.instagram.com/tarek_yamani/About Outline:Outline is a process-focused conversation that looks at guests' individual projects rather than their full bodies of work. The conversation sketches the journey of the project; the spark of curiosity that led to the project, the process of implementing the idea, the struggles that emerged throughout the implementation, and the aftermath of the project that includes new questions and new ideas. The name “Outline” stems from the idea of creating a retroactive project outline which is part of a broader emphasis on the process of curiosity, creativity, and critical thinking from a nuts and bolts perspective. Outline is not discipline-specific; the series will be held with artists, academics, writers, filmmakers, among others. Join the live audience: https://www.afikra.com/rsvp   FollowYoutube - Instagram (@afikra_) - Facebook -Twitter Support www.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. Read more about us on  afikra.com 

Hüster, Wiebkewww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Marta Sylvestrova is a curator and art critic, and has headed the graphic design department at the Moravian Gallery in Brno, Czech Republic, since 1986. She is a graduate of Masaryk University where she studied art history, and has, over the years, been involved in the organizing of many Brno Biennieles. They feature and evaluate graphic designs from around the world every two years, alternating for many years, between celebration of book jacket design and poster design. It closed, somewhat controversially, in 2018, I went to Brno to talk to Marta about this controversy, but also, primarily, to talk about a big, beautiful four kilogram exhibition catalogue she edited 20 years ago entitled Czech Film Posters of the 20th Century, published in 2004 by the Moravian Gallery.  

Aujourd'hui, je reçois Vinii Revlon, artiste polymorphe et première légende du Voguing en Europe. Vinii de la House of Revlon raconte cette culture flamboyante qui va au-delà du geste puisqu'elle protège et célèbre toutes les identités. Pour la 20e édition de la Biennale de la danse à Lyon, Vinii orchestrera le 16 septembre une journée folle : une immersion participative dans la scène ballroom et ses légendes aux Usines Fagor. Au programme : workshops, conférence, ball, pour finir dans la fête à l'After party au Club Bingo. Let's celebrate.

durée : 02:00:25 - Les Matins d'été - par : Quentin Lafay - - invités : Jean-Paul Paloméros Ancien Chef d'État-Major de l'armée de l'air; Gérard Araud Diplomate, ancien ambassadeur de France aux États-Unis; Alexandra de Hoop Scheffer Senior vice-présidente pour les questions géopolitiques au German Marshall Fund of the United States; Enrique Ramírez Artiste-cinéaste chilien

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durée : 00:28:00 - Les Nuits de France Culture - par : Albane Penaranda - "Le Voleur de paratonnerres", "Le Petit Soldat" et bien sûr, "Le Roi et l'Oiseau", on doit ces chefs-d'ouvre du dessin animé au réalisateur Paul Grimault, au poète Jacques Prévert et à André Sarrut du studio des Gémeaux. Entretiens avec Grimault et Sarrut pour "Ainsi va le monde" en 1949. Au lendemain de la seconde guerre mondiale, le cinéma d'animation français en est à ses balbutiements commerciaux. Il ne peut rivaliser avec l'ogre américain incarné par Walt Disney et se heurte à plusieurs problèmes : le manque de moyens techniques et de main-d'ouvre qualifiée, réticence des investisseurs et des distributeurs à parier sur des films d'animations. Il y a pourtant, parmi la poignée d'artisans de l'animation à faire vivre la scène française de l'époque, une équipe dont le travail se démarque par sa qualité et sa fantaisie : c'est celle du studio des Gémeaux, fondé en 1947 avec à la direction artistique Paul Grimault, qui deviendra l'une des figures les plus importantes de l'histoire du cinéma d'animation. Prévert, Grimault, Andersen, le trio magique qui a permit la naissance du film "La Bergère et le Ramoneur" Dans ce numéro de l'émission "Ainsi va le monde" diffusé de janvier 1949 sur la Chaine Parisienne, Simone Dubreuilh interroge André Sarrut et Paul Grimault sur le processus créatif et technique exigé par le travail titanesque qu'est la réalisation d'un long métrage d'animation, surtout à une époque où la technologie informatique n'avait pas encore été mise au service de cet art. On pénètre également dans l'intimité du studio des Gémeaux, où se prépare justement La Bergère et le Ramoneur. Un document précieux qui donne à voir les coulisses d'un entreprise ambitieuse et pionnière, qui a ouvert le chemin à l'industrie aujourd'hui florissante du cinéma d'animation français. Paul Grimault, après avoir remporté un vif succès avec ses courts métrages, notamment Le Voleur de paratonnerres et Le Petit Soldat, tout deux récompensés à de la Biennale de Venise en 1948, s'attèle à un projet autrement plus ambitieux : un long métrage d'animation. Ce long-métrage s'inspire d'un conte d'Andersen intitulé La Bergère et le Ramoneur. Pour les dialogues, Grimault s'est allié au poète Jacques Prévert. Une version tronquée et inachevée sortira contre le gré des auteurs en 1953 avant de sortir bien plus tard, en 1980, dans sa version finale sous le nom du Roi et l'Oiseau. Par Simone Dubreuilh Avec Paul Grimault et André Sarrut Ainsi va le monde - Le dessin animé (1ère diffusion : 14/01/1949 Chaîne Parisienne) Indexation web : Documentation Sonore de Radio France Archive Ina-Radio France Retrouvez l'ensemble du programme d'archives "Le cinéma d'animation, de l'ombre à la lumière" proposé par Mathias Le Gargasson.

Silvia Bongiovanni"Nuovi Mondi Festival"dal 30 giugno all'8 luglioTra gli ospiti: Hervé Barmasse, Alex Txikon, Lynn Hill, Massimo Zamboni, Domenico Quirico, Piergiorgio Odifreddi, Guido Catalano, Irene Borgna, Luca PeyronDal 30 giugno all'8 luglio torna il Nuovi Mondi Festival, il più piccolo festival di cinema di montagna del mondo.Giunto alla sua dodicesima edizione si terrà oltre che nella storica sede di Valloriate (CN), anche nei borghi di Moiola, Rittana e Roccasperavera.Il tema che legherà tutti gli appuntamenti del programma, che oltre al cinema toccherà la musica, il teatro e la letteratura, è “Oltre le nuvole”.“Dodici edizioni del Nuovi Mondi Festival rappresentano un traguardo importante. - spiegano Silvia Bongiovanni e Fabio Gianotti che il festival lo hanno creato - Abbiamo scritto, dal 2012 ad oggi, una storia, che ai nostri occhi appare meravigliosa e che ci ha sempre aiutato a gettare il cuore oltre l'ostacolo”.Bisogna avere una certa dose di coraggio e una buona dose di voglia di sognare, per riuscire a realizzare un festival in quattro piccolissimi paesi di montagna: Valloriate, Rittana Moiola e Roccasparvera. Qualche centinaio di abitanti in tutto.“Bisogna volare oltre le nuvole - proseguono Silvia e Fabio - inseguire i sogni e fare ciò di cui siamo capaci: aiutare la montagna a non morire di isolamento, attraverso gli eventi culturali.”Anche quest'anno, per gli amanti dell'alpinismo non c'è che l'imbarazzo della scelta.Ci saranno l'alpinista spagnolo di origine basca, Alex Txikon (il 6 gennaio 2023 ha raggiunto la vetta del Manaslu, in Nepal, realizzando la prima invernale integrale dell'ottava montagna della Terra), Lynn Hill, statunitense, non è solo una straordinaria arrampicatrice, ma una vera leggenda vivente dell'arrampicata, a compiuto imprese ritenute impossibili più di un decennio prima di chiunque altro. Infine Hervé Barmasse, alpinista e scrittore valdostano, che ha improntato la sua vita, istintivamente rivolta alla scoperta e all'avventura in montagna.Musica, poesia, scienza e letteratura si incroceranno grazie ai talk con il poeta Guido Catalano con il suo “Smettere di fumare baciando”, il musicista Massimo Zamboni, che presenta “Bestiario selvatico”, il corridore Marco Olmo, campione di ultra trail, l'antropologa alpina Irena Borgna e il teologo Luca Peyron con i loro due ultimi libri “Cieli neri” e “Cieli sereni”, il giornalista Domenico Quirico, reporter di razza che racconterà il nuovo mondo che verrà alla luce dei fatti che stanno ridisegnando l'intera geopolitica del pianeta; il matematico cuneese Piergiorgio Odifreddi.Sul versante cinematografico i film in concorso saranno 19 provenienti da Italia, Russia, Benin, Stati Uniti, Iran, Lituania, Ucraina, Venezuela e Perù. Tra i titoli scelti, molti sono quelli in anteprima mondiale o europea, altri sono stati in concorso o hanno vinto importanti premi internazionali, come la Genziana d'oro al Trento Film Festival, il Festival dei Popoli, l'Idfa di Rotterdam, la Biennale di Venezia.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

The third and final installment of the Biennale Breakdown is at hand: We speed-ran the national pavilions so you don't have to. Here's the rundown on our 16 most notable national showings, complete with two interviews of the curators of Latvia and Canada pavilions, all in less than 50 minutes.   Intro/Outro: “Natural's Not in It,” by Gang of Four   Discussed:   Austria: Partecipazione / Beteiligung Switzerland: Neighbors South Korea: 2086: Together How? The Netherlands: Plumbing the System USA: Everlasting Plastics Bahrain: Sweating Assets UAE: Aridly Abundant Applied Arts Pavilion: Victoria & Albert Museum – Tropical Modernism Australia: Unsettling Queenstown Germany: Open for Maintenance Uzbekistan: Unbuild Together Czech Republic: The Office for a Non-Precarious Future Latvia: T/C LATVIJA (TCL): Interview with curator Ernests Cerbulis             Intro/Outro:“Lost in the Supermarket,” by The Clash Estonia: Home Stage Canada: Not for Sale!!: Interview with curators Matthew Soules and Adrian Blackwell             Intro/Outro: “New Home” by Toro y Moi

Il professor Barbero, ospite dell'edizione 2023 della Biennale Democrazia di Torino, tiene una lezione sulla nascita del concetto politico di Europa, dal mondo antico alla modernità. Registrazione originale: https://www.youtube.com/watch?v=RstDo5rB-4cCommunity Podcast: https://barberopodcast.it/discordTwitter: https://twitter.com/barberopodcasFacebook: https://facebook.com/barberopodcastInstagram: https://instagram.com/barberopodcastMusic from https://filmmusic.io - "Bossa Antigua" by Kevin MacLeod (https://incompetech.com) licensed with CC BY (http://creativecommons.org/licenses/by/4.0/)

Il professor Barbero, ospite dell'edizione 2023 della Biennale Democrazia di Torino, tiene una lezione sulla nascita del concetto politico di Europa, dal mondo antico alla modernità. Registrazione originale: https://www.youtube.com/watch?v=RstDo5rB-4cCommunity Podcast: https://barberopodcast.it/discordTwitter: https://twitter.com/barberopodcasFacebook: https://facebook.com/barberopodcastInstagram: https://instagram.com/barberopodcastMusic from https://filmmusic.io - "Bossa Antigua" by Kevin MacLeod (https://incompetech.com) licensed with CC BY (http://creativecommons.org/licenses/by/4.0/)

La decolonizzazione e la decarbonizzazione sono al centro della Mostra internazionale di architettura 2023. Come spiega il professor Tony Giannone, si tratta di temi molto cari all'Australia.

The visceral installation artwork Decoding Difference, by UK disabled Visual and Conceptual Artist Zoe Partington, has been selected for exhibition at the London Design Biennale 2023 which is on at Somerset House, Strand, London until 25 June 2023.  Decoding Difference uses Zoe's experience of being partially blind and living with diabetes for 50 years. The installation's light and sound mirrors the physiology of Zoe's glucose levels and heartbeat, as live captured data is transmitted directly from a sensor implanted within her arm.   RNIB Connect Radio's Toby Davey caught up with Zoe to find out more about her living and breathing installation artwork Decoding Difference and what it means to her having the work selected for this major exhibition.  The biennale is the global gathering of the world's most ambitious and imaginative designers, curators and design institutes. It takes place at Somerset House, London from 1- 25th June. Zoe Partington's artwork is part of King's College London's “Eureka” exhibition, within the Seeking Connection Pavilion.   Decoding Difference by Zoe is on display at the London design Biennale 2023 at Somerset House, Strand, London until 25 June and more Details about the Biennale can be found by visiting the following website -  https://londondesignbiennale.com/  For more about Zoe and her work please do visit her website via the following link - https://www.zoepartington.co.uk/home  Image shows a close up of Decoding Difference, vertical strips of lights that are purple on the left and light yellow on the right illuminated from the bottom the varying heights. The lights are next to a window with the street behind

Oggi a Cult: il regista Erik Gandini sul film "After Work"; Massimiliano Tarantino sul festival Welcome to Socotra e sulla scomparsa di Cormac McCarthy; il regista teatrale svedese Mattias Andresson alla Biennale teatro di Venezia; la Banda Osiris e Telmo Pievani in "AquadueO" all'Elfo Puccini; la mostra "W. Szimborska. La gioia di scrivere" a Villa Croce di Genova...

The 18th Venice Architecture Biennale was one with “no architecture,” some critics have alleged, but there was no shortage of consequential exhibition. Shaking off jetlag and whiplash from the contrasts on hand, Greg and Dan attempt to unpack their initial impressions of “The Laboratory of the Future.”   Intro/Outro: “The Boys are Back in Town,” by Thin Lizzy   -- Discussed:   Olalekon Jeyifous – winner of the Silver Lion for “The African Conservation Effort” Killing Architects + Buzzfeed + local Chinese journalists: “Investigating Xinjiang's Network of Detention Camps” Wilson, Yoon, Howeler, Begley, Han – Unknown Unknown: A Space of Memory Albanian Pavilion: Untimely Meditations Looty Liam Young – The Great Endeavour Big Shovel – Daniel Yergin Robots of Brixton – Kibwe Tavares Forensic Architecture – The Nebelivka Hypothesis The Dawn of Everything – David Graeber & David Wengrow Sapiens – Yuval Noah Harari The Economy of Cities – Jane Jacobs Sweet Water Foundation – “chaord” DAAR – winner of the Golden Lion for “Ente di Decolonizzazione — Borgo Rizza” Black City Astrolabe – J. Yolande Daniels Saudi Arabia – “Irth” UAE – Aridly Abundant Bahrain – Sweating Assets   NEOM Zero-Gravity Urbanism –     Opening talk with Sir Peter Cook – Archigram -      What the Biennale criticizes is what NEOM is built on… -      Parallel: Brasilia – 50 years of progress in 5 -      Contrast: V & A's exhibition on Tropical Modernism -      Edifice Complex / The Myth of Tabula Rasa:   You can't build your way out of a lack of institutions – it leads to disastrous consequences. - Contrast with Canada Pavilion's “Not for Sale!”   Rating the Tote Bag Designs:   No. 5 – Saudi Arabia No. 4 -- Hungary No. 3 – UAE No. 2 – Switzerland (“Neighbors” with Venezuela) No. 1 – Canada – AAHA!   Oliver Wainwright's review for the Guardian        

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

We're discovering what's on at London's Design Biennale which opens on the 1st June at Somerset House.  Now in its fourth edition, the Biennale sets out to celebrate and showcase innovation in design that has the power to make our world a better place.  Victoria Broackes, the Director, explains that this year's title and theme, which is ‘The Global Game: Remapping Collaborations'.  Victoria tells us about the 40 exhibitors coming together from around the world – including from Ukraine. We discuss the global issues - migration, climate change and the impending impact of AI and technology that designers are collaborating to confront and find solutions for.  Ai-Da, the robot artist, will be at the fair and Victoria tells us what to expect from her. The London Design Biennale is now in its fourth edition and has become a mandatory fixture in the international cultural calendar. The world needs a truly innovative and collaborative approach to addressing all the current crises we face, so this is fascinating and optimistic listening. Follow us on Facebook, Twitter, Instagram

durée : 00:58:54 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny - Devenu photographe officiel du Mali indépendant et socialiste, comment le parcours de Seydou Keïta nous renseigne-t-il sur la trajectoire économique et démocratique du Mali contemporain ? - invités : Simon Njami curateur, organisateur entre autres de la Biennale de photographie de Bamako.; Romain Tiquet Historien, spécialiste de l'histoire de l'Afrique de l'Ouest; Laëtitia Chantrait Doctorante en histoire à l'Institut des Mondes africains, spécialiste du Mali contemporain

In einem Gespräch zwischen dem Architekturtheoretiker und CO-Curator des deutschen Pavillons der diesjährigen Architektur-Biennale von Venedig und Lisa Zeitz erfahren wir mehr zum Konzept „Open for Maintenance – Wegen Umbau geöffnet“ für die Architekturbiennale und wieso ökologische Nachhaltigkeit untrennbar mit sozialen Fragen verknüpft ist. Der "WELTKUNST-Podcast - Was macht die Kunst?" wird in Partnerschaft mit Volkswagen produziert.

Tracey Rose, born in South Africa, is best-known for her revolutionary performative practice which often translates to and is accompanied by photography, video, installation, and digital prints. Often described as absurd, anarchic, slapdash and carnivalesque, Rose's work explores themes around post-coloniality, gender and sexuality, race and repatriation. Tracey was born in Durban, South Africa. In 1990 she joined the Johannesburg Art Foundation before obtaining a B.A. in Fine Art from the University of the Witwatersrand in Johannesburg in 1996. In 2004 Tracey attended The South African School of Motion Picture Medium and Live Performance and later obtained her Master of Fine Arts, Goldsmiths College, University of London, UK in 2007. Tracey currently lives and works in Johannesburg, South Africa. Tracey has taken part in several residencies including the WysingArts Centre, Cambridgeshire, UK (2014);  DAAD, Berlin, Germany (2012/13); Darb1718, Cairo, Egypt (2012); Cruzes, Montevideo, Uruguay (2011); KhojInternational Artists Workshop Vasind, India (2005); Africa 2005 Residency, The London School of Hygiene and Tropical Medicine, London, UK, (2004); Hollywood Hills Horrorhouse, Los Angeles, CA, USA (2001); Fresh, South African National Gallery, Cape Town, South Africa (2001) and OK Centrum, Linz, Austria (2000). Tracey has exhibited widely internationally, most notably, May You Live in Interesting Times South African National Pavilion, the 58th La Biennale di Venezia, Venice, Italy (2016); Body Talk -Feminism, Sexuality & Body, 49 Nord 6 Est -Frac Lorraine, Metz, France (2016); False Flag, Art Parcours, Art Basel, Basel, Switzerland (2016); Toro Salvaje, Museum of Modern Art, Buenos Aires, Argentina (2016); Reina Sofi­a Museum, Madrid, Spain (2014); Waiting for God, Johannesburg Art Gallery, Johannesburg, South Africa and Bildmuseet, Sweden (2011); Rose O'Grady (with Lorraine O'Grady),Goodman Gallery, Johannesburg, South Africa (2011); Lubumbashi Biennial, Lubumbashi, Democratic Republic of Congo (2017); Performa 17, New York, USA (2017); Documenta14, Athens, Greece and Kassel, Germany (2017); 11th Biennale de Lyon, Lyon, France (2011); Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, Liverpool, UK (2010); StedelijkMuseum Amsterdam, Netherlands (2008); Africa Remix, The Haywood Gallery, London, UK and Centre George Pompidou, Paris, France(2005); and Africaine, The Studio Museum, New York, USA (2002) to name a few.

Anna Maciejewska, prezes Polskiej Fundacji Artystycznej w Melbourne opowiada o możliwości składania prac do konkursu Biennale Rysunku Współczesnego 2023.

Ben Eastham talks to Shubigi Rao about her long term project Pulp, and curating the Kochi-Muziris Biennale.  Artist and writer Shubigi Rao makes layered installations of books, etchings, drawings, pseudo-scientific machines, metaphysical puzzles, video, ideological board games, garbage and archives, and has been exhibited and collected in Singapore and internationally. Her interests include archaeology, neuroscience, libraries, archival systems, histories and lies, literature and violence, ecologies and natural history. Since 2014 she has been visiting public and private collections, libraries and archives globally for Pulp, a decade-long film, book and visual art project about the history of book destruction. See here for more info. Rao curated the Kochi-Muziris Biennale 2022–23. The biennale was originally planned for 2020–21, but was delayed due to COVID-19.

- Báo chí CH Séc đánh giá cao chuyến thăm của Thủ tướng Petr Fiala tới Việt Nam.- Mỹ và Việt Nam tăng cường hợp tác trong lĩnh vực nông nghiệp.- Photo Hanoi'23 – Biennale nhiếp ảnh quốc tế lần đầu tiên được tổ chức ở Việt Nam. --- Support this podcast: https://podcasters.spotify.com/pod/show/vov1sukien/support

On this episode of The Creative Insider Podcast, we had the pleasure of speaking with Boris Tikvarski, a Bulgarian architect and winner of the design competition for the Bulgarian Pavilion at the 2023 Biennale di Venezia.

We are hosting Nomeda & Gediminas Urbonas (artists and educators, born in Lithuania). They work together as Urbonas Studio, with an artistic practice that combines new media, urbanism, social science, ecology, and pedagogy to transform civic spaces and collective imaginaries. We'll start off the conversation focusing on their work on Swamps, that disregarded wealth of organic complexity; and together unpack questions around ecology, technology, and artistic practice. You'll also get to hear about their mode of operation within often contested social and political realities.This Episode includes sound samples that act as interludes from the work:The Swamp Observatory. Nomeda & Gediminas UrbonasSound mixing by Mouse on Mars based on sampling by pupils at the Innovitaskolan Visby, Sweden. 2022Ecotones are transitional spaces between two biological communities. https://en.wikipedia.org/wiki/EcotoneRiparian Territories are zones that tie and lie in-between land and rivers or streams.“Drain the swamp” refers to the removal of water from marsh areas which causes the removal of creatures dependent on the water. The phrase is adopted by politicians from Mussolini to Donald Trump who used it as a metaphor for ‘cleansing' of various sorts.Bruno Latour is a philosopher, anthropologist, and sociologist. http://www.bruno-latour.fr/Established in 1895, La Biennale di Venezia is a cultural institution that organizes events and exhibitions in Art (1895), Architecture (1980), Cinema (1932), Dance (1999), Music (1930), and Theatre (1934) departments. https://www.labiennale.org/enSwamp School took place in Swamp Pavillion curated by Nomeda and Gediminas Urbonas, the first individual pavilion Lithuania presents as a part of the 16th Venice International Architecture Biennale, Freespace, in 2018. Throughout the biennale, Swamp School functioned as a changing, flexible, open-ended infrastructure that supports experiments in design, pedagogy and artistic intelligence. https://www.swamp.lt/George Washington was one of the investors of the Dismal Swamp Company, a land speculation venture founded in 1763 to drain, tame and make profit from the Great Dismal Swamp, a wetland that stretches between Norfolk, Virginia, and Edeltan, North Carolina.The Baltic Pavillion was the joint contribution of Latvia, Lithuania, and Estonia to the 15th Venice International Architecture Biennale in 2016. https://balticpavilion.eu/Located in the Church of San Lorenzo in Venice, Ocean Space is a global center for exhibitions, research, and public programs harboring contributions to ocean literacy and advocacy through the arts. https://www.ocean-space.org/Barrenas refers to emerged lands and sandbanks of Venetian geography.Giardini della Biennale is the traditional site of La Biennale Art Exhibitions since the first edition in 1895.Swamp Radio is the independent chapter of Swamp School, featuring a number of contributors to explore spatial qualities of sonic experiments.Jana Winderen is a sound artist based in Norway. https://www.janawinderen.com/Sam Auinger is a sound artist based in Austria. http://www.samauinger.de/Petteri Nisunen is a sound artist based in Finland. https://g-n.fi/Tommi Gronlund is a sound artist based in Finland. https://g-n.fi/Nicole L'Huillier is an architect based in Chile and USA. https://nicolelhuillier.com/The Marsh Labrador Tea (Rhododendron tomentosum) is an evergreen shrub that preferably grows in moors and peat soils. https://en.wikipedia.org/wiki/Rhododendron_tomentosumPirate radio refers to a radio station that broadcasts without a valid license. https://en.wikipedia.org/wiki/Pirate_radioSant'Erasmo is an island in the Venetian Lagoon lying north-east of the Lido island and east of Venice, famous for its blue artichokes. https://en.wikipedia.org/wiki/Sant%27ErasmoSundews are one of the largest groups of carnivorous plants. https://en.wikipedia.org/wiki/DroseraMaroons were people who inhabited in the Great Dismal Swamp after escaping enslavement. https://en.wikipedia.org/wiki/Great_Dismal_Swamp_maroonsSwamp Thing is a fictional humanoid/plant elemental character, created by writer Len Wein and artist Bernie Wrightson. In the mid-1980s a storyline by Alan Moore elevated this character and comics series by reworking the whole origin story building a new world around it. This new Swamp Thing was timely, philosophical and ahead of its time in many ways. https://en.wikipedia.org/wiki/Swamp_ThingAlan Moore (b. 1953) is an English author known primarily for his work in comic books. https://en.wikipedia.org/wiki/Alan_MooreStaying with the Trouble: Making Kin in the Chthulucene is a 2016 book by Donna Haraway, published by Duke University Press. https://www.dukeupress.edu/staying-with-the-troubleWalden is a book by American transcendentalist writer Henry David Thoreau.Swamp Observatory (2020) is an installation by Urbonas Studio, commissioned for the exhibition, Critical Zones – Observatories for Earthly Politics, curated by Bruno Latour and Peter Weibel at ZKM Center for Arts and Media. The installation proposes to approach to the swamp as an interface to Gaia and continues to regenerate itself at different locations and through different mediums.Swamp Game is the extension of Swamp Observatory installation and stands as an invitation to experience the relations between organisms and their environments.Jutempus is a non-profit, artist-run initiative that was founded in 1993 and re-organized in 1997 on the initiative of Nomeda and Gediminas Urbonas in collaboration with other artists and creative people at the former Cultural Palace of the Railway Workers in Vilnius, the capital and largest city of Lithuania. http://www.vilma.cc/jutempus/Simone de Beauvoir (1908 – 1986) was a French existentialist philosopher, writer, social theorist, and feminist activist. https://en.wikipedia.org/wiki/Simone_de_BeauvoirGround Control: Technology and Utopia is a collection of essays that expand upon an exhibition programme of the same name. The contributors of the collection reflect on the broad divisions and links in culture and history between Eastern and Western Europe.Baltic Art Center is a residency for contemporary art on the island of Gotland in the Baltic Sea. https://www.balticartcenter.com/home/Curated by Marco Scotini, Disobedience Archive, is an ongoing, multi-phase video archive and platform of discussion that deals with the relationship between artistic practices and political actions. The latest edition of the archive was presented as a part of the 17th İstanbul Biennial through a display setting designed by Can Altay. http://www.disobediencearchive.othe rg/Mel King (b. 1928) is an American politician, community organizer, and educator. https://en.wikipedia.org/wiki/Mel_KingThe Tent City Protests in Boston was a public revolt demanding the right to affordable housing, led by Mel King in 1968.Naomi A. Klein (b. 1970) is a Canadian author, social activist, and filmmaker. https://en.wikipedia.org/wiki/Naomi_KleinThe Occupy movement is an internationally localized socio-political movement in search of “real democracy”. https://en.wikipedia.org/wiki/Occupy_movementThe Black Panthers, also known as the Black Panther Party, was a political organization founded in 1966 by Huey Newton and Bobby Seale to challenge police brutality against the African American community. https://en.wikipedia.org/wiki/Black_Panther_PartySylvère Lotringer (1938 – 2021) was a French-born literary critic and cultural theorist. https://en.wikipedia.org/wiki/Sylv%C3%A8re_Lotringers. This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on November 23rd, 2022. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

Dans cet épisode, nous échangeons avec Anne Immelé, directrice artistique et co-fondatrice avec Jean-Yves Guénier de la Biennale de la photo de Mulhouse. Elle est revenue sur son expérience à la galerie de la Filature à Mulhouse, sa recherche universitaire en histoire de la photo et son enseignement à l'école de la HEAR. Elle est revenue sur les différentes évolutions de la Biennale depuis sa création en 2013 et sur l'importance de son ancrage local : ancrage local au niveau de la ville de Mulhouse, de la région Grand Est et de sa position transfrontalière. Bonne écoute !01'30 – Une formation à l'école d'Arles et un master d'art visuel à l'université Laval de Québec. 07' – Une expérience de 5 ans à la Filature (Galerie de photo de la scène nationale à Mulhouse), une thèse de doctorat sur la notion de séquences en photographies et l'enseignement à l'école de la HEAR.16'40 – La création de la Biennale de la Photographie de Mulhouse avec Jean-Yves Guénier. Elle revient sur l'intérêt fort territorial pour la photo depuis le passé industriel de la ville au 19e siècle. L'importance de l'ancrage locale : contexte de la ville, de la région Grand Est et sa position transfrontalière avec aussi une envie d'inviter des photographes internationaux jamais exposés en France. Mise en relation et collaboration avec l'équipe du Musée des Beaux-Arts et les autres musées municipaux de la ville depuis le début.24' – Les subventions : ville, région Grand Est, Drac, le département et des mécènes privés depuis la dernière édition.Dès le début de la Biennale, ils se sont entourés de personnes pour la communication, site web, dossier de presse…Ancrage local en collaborant avec des talents de la région : artisans tireurs, encadreurs basés à Mulhouse, la Revue Nouveau, ...32'30 – La thématique pour chaque édition unit les expositions de chaque édition : 2013 : Play and replay. 2016 : L'autre est le même. 2018 : Attraction. 2020 : This is the end. 2022 : Corps célestes.38' – Elle a dû mettre en pause sa pratique photographique personnelle de 2012 à 2018. L'expérience lui a permis de n'avoir par peur de se confronter à de grandes expos. 41' – Les œuvres dans l'espace représentent 1/3 des œuvres de la Biennale. 42' - Ses conseils pour des photographes : -Se construire un réseau dans les écoles-Faire une recherche des lieux où la programmation semble en adéquation avec son travail et envoyer un PDF en basse définition-Se déplacer pour aller voir des expositions et des vernissages et demander des rendez-vous en physique à des professionnels de la photographie. Les choses se font dans la durée et un suivi est nécessaire-Penser à l'internationale.Ses conseils pour des personnes qui veulent créer des événements photo : -Se demander pourquoi. Comment l'événement s'articule-t 'il avec les autres événements de la région ? Se concerter avec les acteurs locaux.Site de la Biennale de Photographie de Mulhouse : http://www.biennale-photo-mulhouse.com/2022/Pour suivre l'actualité du podcast vous pouvez vous inscrire à la newsletter ici : https://beacons.ai/lesvoixdelaphoto et retrouvez le podcast sur Instagram, Facebook et LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Both through his own works and his activities in education, Richard Meitner has had a profoundly positive and highly visible impact on art in glass internationally. His works have been shown around the world and have been included in almost every major international museum exhibition of art in glass for the last 25 years. In spite of his considerable reknown, Meitner's work has never been mainstream. His place is always on the outer edge of what is happening, searching, challenging, discovering, taking risks, as if he were a child at play. It is this desire to discover and speak as a child does, to learn and rejoice in that learning, but also the willingness to be caught off guard, and amazed or puzzled by experience, which has always been at the heart of his activities.  Anna Venini wrote: “The best way to express what I like most about Richard and his work is perhaps this: he lives in an extraordinary world, one that is not simply the pleasing world of fairy tales but is at the same time a breeding ground for some serious (albeit elusive) philosophical thought and research. It is from this place that he creates. It is my feeling that he has not only already accomplished great things, but has, in addition, a long career in front of him as an important artist. I come from a family of glass makers. I love Richard's work most certainly not only for that reason, but also because Richard is able to approach that material and to use it with culture, with great fantasy and originality, with authority and great thoughtfulness. That combination is, in my experience, highly unusual.”  An artist with decades of experience and practice in art and art education, Meitner has lived in Amsterdam since 1972. He has lectured and conducted workshops in the U.S.A., Great Britain, the Netherlands, Germany, France, Spain, Malta, Portugal, Sweden, Denmark, the Czech Republic, Italy and Japan. He has been invited artist-in-residence in many countries and has worked as a designer for the glass industry in Italy, Germany, Austria, Switzerland, the Netherlands, and Belgium. Additionally, Meitner has served on the Dutch National Commission for Endowments for the Arts and the Dutch National Advisory Board for the Arts. Together with Mieke Groot, he was responsible from 1981 to 2000 for the glass department of the Gerrit Rietveld Academy in Amsterdam. In 2006, he was appointed to the faculty for Science and Technology of the Universidade Nova de Lisboa (New University of Lisbon), Portugal. Meitner's major exhibitions include a retrospective at the Musee des Arts Decoratifs of the Louvre in Paris, and solo shows at the National Museum for the History of Science and Medicine in Leiden, Netherlands, the National Glass Museum in Sunderland, England, the Stedelijk Museum in Amsterdam, and the Corning Museum of Glass in the U.S.A. His work is included in the permanent collections of more than 60 museums in 16 countries. In 2020, the artist received the Lifetime Achievement Award from the Glass Art Society. In 2016, Meitner earned a PhD in sculpture from the Faculty of Fine Arts of the University of Lisbon, Portugal. His doctoral thesis made the case that in education and public policy for art, the way we define, make policy for and teach art is in many respects incorrect and ineffective. He formulates his arguments citing science and many other sources that strongly suggest that we need urgently to discuss, rethink and come to much more accurate and useful understandings of what making and appreciating art are really about.  In 2023, Meitner will begin work for his upcoming solo show at Galeria Caterina Tognon in Venice during the Biennale and continue to build a working collaboration with his partner, Nataliya Vladychko, a talented Ukrainian artist. He will also carry on his work with the Vicarte Research Unit at Universidade Nova in Lisbon, i.e. working with young student artists in the Master's degree program for the Art and Science of Glass and Ceramics.  Saya Meitner: “Helping young talented artists as a teacher is something I've done for many decades, and has become quite an important aspect of both my career and my life.”  

We meet legendary artist MIKE NELSON!!!Nelson's installations take the viewer on enthralling journeys into fictive worlds that eerily echo our own.Constructed with materials scavenged from salvage yards, junk shops, auctions and flea markets, the immersive installations have a startling life-like quality.Weaving references to science fiction, failed political movements, dark histories and countercultures, they touch on alternative ways of living and thinking: lost belief systems, interrupted histories and cultures that resist inclusion in an increasingly homogenised and globalised world.Utterly transforming the spaces of the Hayward Gallery, the exhibition features sculptural works and new versions of key large-scale installations, many of which are shown here for the first time since their original presentations.Nelson represented Great Britain at the 54th Venice Biennale in 2011 and has shown in leading galleries around the world. He has also been featured in numerous international exhibitions, including the 13th Biennale of Sydney, the 8th Istanbul Biennial and the 13th Lyon Biennale.Follow @HaywardGalleryVisit Mike's major solo exhibition EXTINCTION BECKONS at Hayward Gallery, runs until 7th May 2023: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/mike-nelson-extinction-beckons Hosted on Acast. See acast.com/privacy for more information.

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“There are a lot of women who influenced my life, starting with my mother. My mother is of those women who managed the house, our lives, our family. And she's still there with incredible intelligence, curiosity...She reads, and sometimes I have conversations with her about themes that relate to the Biennale, to art, to architecture, and I'm always surprised. How can she know all this? And sometimes there are even things that maybe I, I knew quite confidentially in my job, and I said, 'How did you get to know that? This is not public?' She said, 'Well, I read this in this newspaper, this in the other, and then I put the things together. It's quite clear.' You know, women have this power to analyze, to observe, then to elaborate, and act. I think history and tradition are super important, and this is the point because each generation is sort of translating to the next one. There is almost never a gap. So each generation is in a way interpreting and hopefully also adding something to what is transmitted and continued. And so this is why I think the younger generations now have tools that we didn't have at their age. They are probably able to interpret. And now we go back to the whole discussion about the necessity for sustainability and attention to social and environmental injustice. They probably have a vision or perspectives that we don't have. So in a way, in this transmission, we should be able to learn from them too.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“There are a lot of women who influenced my life, starting with my mother. My mother is of those women who managed the house, our lives, our family. And she's still there with incredible intelligence, curiosity...She reads, and sometimes I have conversations with her about themes that relate to the Biennale, to art, to architecture, and I'm always surprised. How can she know all this? And sometimes there are even things that maybe I, I knew quite confidentially in my job, and I said, 'How did you get to know that? This is not public?' She said, 'Well, I read this in this newspaper, this in the other, and then I put the things together. It's quite clear.' You know, women have this power to analyze, to observe, then to elaborate, and act. I think history and tradition are super important, and this is the point because each generation is sort of translating to the next one. There is almost never a gap. So each generation is in a way interpreting and hopefully also adding something to what is transmitted and continued. And so this is why I think the younger generations now have tools that we didn't have at their age. They are probably able to interpret. And now we go back to the whole discussion about the necessity for sustainability and attention to social and environmental injustice. They probably have a vision or perspectives that we don't have. So in a way, in this transmission, we should be able to learn from them too.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credits: Anselm Kiefer, Sylviane Sarfatiwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.And the very first lesson I learned is that we are there for the artists. And when I say artists, I mean also architects, of course. There would be no Biennale and probably no institution, no museum, without the artists. And to be able to deal with the artists, architects, curators, let's say the creative part of the process, you have to develop empathy and mutual respect and trust, but also you have to be very flexible and very decisive and firm when necessary. So it's quite easy to say, but it's not so easy to put it into practice, I must say.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.And the very first lesson I learned is that we are there for the artists. And when I say artists, I mean also architects, of course. There would be no Biennale and probably no institution, no museum, without the artists. And to be able to deal with the artists, architects, curators, let's say the creative part of the process, you have to develop empathy and mutual respect and trust, but also you have to be very flexible and very decisive and firm when necessary. So it's quite easy to say, but it's not so easy to put it into practice, I must say.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Die Architektin Çağla Ilk kuratiert den Deutschen Pavillon bei der kommenden Kunstbiennale in Venedig. Dabei ist sie im Theater ebenso zuhause wie in der Kunst. Ihre Projekte führen sie durch Deutschland, die Türkei und zuletzt bis nach Russland.Bürger, Brittawww.deutschlandfunkkultur.de, Im GesprächDirekter Link zur Audiodatei

A post-mortem on the 59th Venice Biennale, The Milk of Dreams, with curator Cecilia Alemani. Cecilia and Helen Molesworth discuss the unique challenges of mounting an exhibition at scale in the COVID era and what it was like being the first Italian woman to curate a Biennale.

Archie Moore è stato nominato come rappresentante per l'Australia alla Biennale di Venezia, il secondo artista indigeno a venire scelto nella storia della manifestazione.

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Shirin Neshat discuss her latest multimedia project, Land of Dreams which combines photographs, video installation, and a feature length film. Shirin and Sasha talk about what brought Shirin back to making art after an 11 year hiatus and how Shirin thinks about her identity as an Iranian artist. https://www.gladstonegallery.com/artist/shirin-neshat/ https://www.instagram.com/shirin__neshat https://www.radiusbooks.org/all-books/p/shirin-neshat-land-of-dreams Shirin Neshat is an Iranian-born artist and filmmaker living in New York. Neshat has held numerous solo exhibitions at museums internationally including the Pinakothek der Moderne, Munich; Modern Art Museum of Fort Worth; The Broad, Los Angeles; Museo Correr, Venice, Italy, Hirshhorn Museum, and the Detroit Institute of Arts. Neshat has directed three feature-length films, Women Without Men (2009), which received the Silver Lion Award for Best Director at the 66th Venice International Film Festival, Looking For Oum Kulthum (2017), and most recently Land of Dreams, which premiered at the Venice Film Festival (2021). Neshat was awarded the Golden Lion Award, the First International Prize at the 48th Biennale di Venezia (1999), and the Praemium Imperiale award for Painting in (2017). She is represented by Gladstone Gallery in New York and Goodman Gallery in London.

What if the world was without ethics? What if financial value was no longer the way we talk about success? Cecilia Alemani, artistic director of the 59th Venice Biennale and director and chief curator of High Line Art in New York City joins host Charlotte Burns to discuss the role of the curator today.  Cecilia masterminded the recent Biennale through the pandemic to rave reviews, notably for the cool manner in which she presented a new version of art history, bringing focus without fanfare to female and non gender conforming artists and to Indigenous artists.    Tune in for more.