Podcasts about Biennial

The biennial update is something every trucker on his or her own authority has to do – but it's not that hard, and you can do it yourself. Also, the easy way isn't always the best way. That's why leased-on truckers should have their own insurance coverage. And Washington state's governor has OK'd a $15.5-billion, two-year transportation budget – one that includes new and increased taxes and fees. 0:00 – Newscast 10:12 – Biennial update is an easy do-it-yourself item for truckers 24:48 – Why it's better to have your own insurance and not the carrier's 39:16 – Washington state to spend billions on roads – and hike taxes

25 years in business - that surely is something to celebrate! This coming July 4th weekend, Spring Creek Model Trains will be doing just that. We discuss how the Zuckers went from the living room and a dream to a destination model railroad store located in the middle of America's Heartland, and how they bring the store to you with stops at hobby shows from coast to coast. Mike and Jeff share the plans for what promises to be a weekend not to forget, with modular layouts, top manufacturers, prizes, pies and much more!Learn more about this episode on our website:aroundthelayout.com/164Thank you to our episode sponsor, ScaleSigns.com:https://scalesigns.com/Thank you to our episode sponsor, Oak Hill Model Railroad Track Supply:https://ohrtracksupply.com/

Folakunle Oshun is an artist and curator currently based in Paris. He is the Founder of the Lagos Biennial, a non-profit contemporary art platform that privileges adventurous approaches to artmaking, presentation, and critical discourse–aspiring to broach complex social and political problems, cultivate new publics, and establish fresh modes of engagement within the city, as well as throughout the country and internationally. Its next exhibition is in 2026. You might know Folakunle from his work curating the incredibly popular Lagos, Peckham, Repeat Exhibition for the South London Gallery. He was also invited to Munich's Pinakothek der Moderne as a guest curator for the group exhibition LOOK AT THIS in 2021. He also served as an advisor for the Africa Season (2020). His solo exhibition “Museum of Hope” opened in the same year at the Berliner Dom.Oshun earned a B.A. in Visual Art from the University of Lagos, majoring in Sculpture, and an M.A. in Art History. He was the first recipient of the Curator-in-Residence grant by the Potsdam City Council, Brandenburg, Germany, in (2017).  In 2021, Folakunle Oshun was invited as Guest Professor to the Staatliche Hochschule für Gestaltung Karlsruhe to lead the seminar “Spatial Politics and Story Telling.” He is currently a Doctoral candidate at the Heritage Laboratory, of Cergy University, École Nationale Supérieure d'Arts de Paris-Cergy, France. He also lectures at the university. 

Badminton: Japan Defeat Taiwan to Advance to Semifinals of Biennial Sudirman Cup

It was while researching the provenance of a child's boomerang, found in topsoil near the site of Melbourne Zoo, that Kimberley Moulton found the key to her curatorial vision for We Are Eagles, the latest edition of the TarraWarra Biennial. The Yorta Yorta curator worked with artefacts and other historical material at Melbourne Museum for years before moving into contemporary art in her current role at the Tate in London. Kim explains how that boomerang unearthed a long-buried and disturbing history and earned its place in the biennial, which includes 20 new commissions from artists such as Lisa Hilli, Shireen Taweel, Iluwanti Ken, Nathan Beard and Warraba Weatherall.

The 2nd Biennial Africa Children's Summit starts today and runs through to April 7th. The Summit unites over 1,300 young delegates; 300 in Johannesburg and 1,000 online. Co-hosted by the Department of Social Development and the Nelson Mandela Children's Fund, it empowers youth to shape policies on education, technology, and human rights. Amid South Africa's rising sexual violence cases against minors, Siza Magangoe, Deputy Director General of Welfare Services, discusses this critical issue with Elvis Presslin

Robert Monroe graduated with a B.A. in Theater Arts from the State University of New York/Oswego. For twelve years, he worked as a New York casting director and talent executive. His credits include projects with the Walt Disney Company, the John Houseman Theater, the Annual MDA Telethon, and the now-defunct United Paramount Network. At the beginning of the millennium, he moved to Portland, Maine, to pursue a career as a photographer. His exhibitions include the Biennial at the Portland Museum of Art, Photographing Maine: Ten Years Later at the Center for Maine Contemporary Art, and Return to Peyton Place: Photographs by Robert Monroe at the Mohawk Valley Center for the Arts. He is a founding member of the Bakery Photographic Collective.

Robert Monroe worked for more than a decade as a New York casting director and talent executive. His credits include projects with the Walt Disney Company, the John Houseman Theater, the Annual MDA Telethon, and the United Paramount Network.  Robert won a Clio Award for casting the Best Performance for Children for a Dole Pre-Cut Vegetables commercial.Robert eventually moved to Portland, Maine to pursue a career as a photographer. Exhibitions of his work include the Biennial at the Portland Museum of Art, Photographing Maine: Ten Years Later at the Center for Maine Contemporary Art, and Return to Peyton Place: Photographs by Robert Monroe at the Mohawk Valley Center for the Arts. And he's a founding member of the Bakery Photographic Collective. Recently, Robert published his debut novel, Bungalow Terrace. I've read Bungalow Terrace and can tell you it's a beautifully written tale about four boys growing up to become a powerhouse rock ‘n roll group who endure all the breathtaking highs of success and harrowing challenges of the sex, drugs, and rock and roll fueled 50's, 60's, 70's and beyond.  Bungalow Terrace reads like an insider's account of the lives of The Beatles, The Four Seasons, and The Beach Boys all rolled into one.  I thoroughly enjoyed reading this book and highly recommend it to you.

SUNDAY SERVICE & CIRCUIT MYF BIENNIAL DELEGATES CONFERENCE THANKSGIVING ||TRINITY METHODIST SOCIETY || MADINA ESTATE || GHANA || MAIN CHURCH AUDITORIUM || PREACHER: SIS BENEDICTA OCRAN DUODOO || LITURGIST: SIS AMBA DUAA MENSA FORSON || 9TH MARCH 2025.

Ep.235 Alicia Knock Head curator for the Contemporary Creation and Prospective Department at Centre Pompidou. Alicia Knock seeks to develop a transnational history of art. Her acquisitions and exhibitions – Ernest Mancoba, 2019; Chine-Afrique, Crossing the World Color Line, 2020; Global(e) Resistance, 2020 – focus specifically on post-colonial practices (Modern and contemporary African art and Central European art). Concurrently, she is also exploring exhibition formats through dynamic projects that reflect on the future of museums (Museum On/Off, 2016). In 2023, she co-curated Kaunas Biennial, Survival Kit in Riga and Ljubljana graphic arts Biennial focusing on "Long-distance Friendships" and non aligned solidarities between Africa and Eastern Europe. She curated the Albanian Pavilion at the 58th Biennale, and co-curated an exhibition devoted to Boris Mikhailov at the Pinchuk Art Centre in Kyiv in 2019. Photo credit: Alicia Knock © DR Centre Pompidou Black Paris https://www.centrepompidou.fr/en/program/calendar/event/VRo249Y (English) Paris Noir - Circulations artistiques et luttes anticoloniales, 1950 – 2000 - Centre Pompidou (French) https://www.centrepompidou.fr/en/magazine/article/paris-noir-pour-une-histoire-panafricaine-et-transnationale-de-lart https://www.centrepompidou.fr/en/program/calendar/event/7OFuMJz https://amis.centrepompidou.fr/en/activities/1230 Villa Albertine https://villa-albertine.org/va/events/black-paris-talk-series-comes-to-five-us-states/ Les Echos https://www.lesechos.fr/weekend/livres-expositions/alicia-knock-la-tete-chercheuse-du-centre-pompidou-2139352 Gagosian https://gagosian.com/quarterly/contributors/alicia-knock/ Le Quotidien de l'Art https://www.lequotidiendelart.com/articles/23456-le-centre-pompidou-nomme-alicia-knock-et-claudine-grammont.html Lawrie Shabibi https://www.lawrieshabibi.com/exhibitions/110-global-e-resistance-nadia-kaabi-linke-at-centre-pompidou-paris/overview/ Global Atlanta https://www.globalatlanta.com/event/a-conversation-on-black-paris-and-the-atlanta-connection/ E-flux https://www.e-flux.com/announcements/529604/alicia-knock-and-inga-lce-to-curate-14th-kaunas-biennial-and-survival-kit-festival/ Instituto Inclusartiz https://inclusartiz.org/en/midia/instituto-inclusartiz-promove-conversa-entre-os-curadores-do-centro-georges-pompidou-fr-alicia-knock-e-paulo-miyada-2/ Cite internationale des arts https://www.citedesartsparis.net/media/cia/183726-pr_chimurenga.pdf Kauno Bienale https://bienale.lt/2025/en/curators/ Ernest Mancoba https://ernestmancoba.org/2020/05/09/alicia-knock/ C& https://contemporaryand.com/exhibition/museum-onoff-group-show/ Say Who https://saywho.fr/mondains/alicia-knock/

President of Ausglass, Bronte Cormican-Jones, tells Kaz and Tubes all about the 2025 Biennial Ausglass Conference in Poatina this weekend.See omnystudio.com/listener for privacy information.

A haunting reimagining of Chris Isaak's “Wicked Game,” in honour of the late David Lynch recorded for the Beta Biennial of Architecture. The release arrives as a tribute to David Lynch, featuring visuals from his recreation of the Trinity nuclear test as seen in Twin Peaks: The Return. “The Biennial originally commissioned the track, and I closed my show with it there, but it felt like the right time to finally share it with the world. David was a big influence on a lot that underpins Fantastic Twins and this is my swan song to an amazing person.” Following her acclaimed 2023 album, “Two Is Not A Number,” the great Julienne Dessagne's Fantastic Twins project continues to surprise; in this instance, transforming the original into something entirely new. DOWNLOAD HERE: https://fantastictwins.bandcamp.com/track/wicked-game-fantastic-twins-trinity-version @fantastictwins

The Texas Legislature begins its work creating a state budget for the next two years with slightly less revenue available than it had during the previous biennium. Texas Comptroller Glenn Hegar projects lawmakers will have 4.6 billion available during the 2026-27 budget cycle, down 1.1 percent. Hegar said the decrease is because the state is starting with a beginning balance that is nearly billion less compared to 2024-25. He noted the state is in good financial shape and predicts revenue collections will continue to rise in the upcoming biennium. Sales tax collections continue to make up the state's largest...Article Link

LISTEN: On the Dec. 11 edition of Georgia Today: Lawmakers gather in Athens to talk priorities ahead of next year's legislative session; state officials are creating a special zone for oyster farming in Glynn County; and getting the famed Stuckey's brand "Unstuck;" we'll talk about the pecan log roll empire with its new CEO. 

Vancouver adopts its 2025-26 budget, addressing priorities like public safety, homelessness, and economic development. Learn more about the city's $2.1 billion budget at https://www.clarkcountytoday.com/news/vancouver-city-council-adopts-2025-26-biennial-budget on www.ClarkCountyToday.com. #ClarkCountyWa #localnews #VancouverBudget

Today on AirTalk, we will talk about the Los Angeles city attorney office's decision not to prosecute the couple at the center of the racist city hall recording scandal. Larry will talk with director Carl Franklin about his experience in the film industry and his newest projects. Also on the show, we will look into how grading inflation might impact student success and college readiness. At the end of today's show, we will have the AirTalk Ballot Cram Session. Today on AirTalk: LA city attorney will not prosecute the couple at the center of the city hall recording scandal (0:15) Has grading inflation impacted student success? (16:17) Director Carl Franklin on his career in the film industry (33:30) AirTalk's Ballot Cram Session (51:25)

October 2024: This month's speaker tour is instead Secular AA's Biennial General Membership Meeting, held on Sunday October 6th, 2024. During this session, general membership votes were held on:the location of ICSAA 2026,nominated members to the Board of Secular AA,and ratification of Board-amended Bylaws.This is an open and welcoming meeting and should be interesting for anyone, newcomer and long-timer alike (or just curious).Next month's Secular AA Global Speaker Tour will be featuring "Beyond Belief" from Ottawa, ON on Sunday, November 3rd with simultaneous translation at:2 pm EST1 pm CST12 pm AZ11 am PST7 pm UK6 am AEDT (Monday)Everyone is welcome to join our monthly open/public secular AA meeting.ZOOM ID 864 4074 0033Passcode 121212(CON TRADUCCIÓN SIMULTÁNEA INGLÉSESPAÑOL)For more info on secular AA including Zoom meetings, in-person meetings, and virtual gatherings, check out:- https://aasecular.org- secularAA@gmail.comSecular AA is AA sobriety without the God-stuff, one of the fastest growing subcultures within Alcoholics Anonymous offering 100 agnostic/atheist/freethinkers AA meetings every day + regional events and the International Conference of Secular AA (ICSAA). More @ https://aasecular.org

The recommended 2025/26 biennial budget for Vancouver has been submitted, aiming to align with the city's strategic priorities while addressing a projected $43 million budget gap. Find out how the proposed budget affects services, infrastructure, and more by reading the full story at https://www.clarkcountytoday.com/news/city-manager-submits-recommended-2025-26-biennial-budget-to-vancouver-city-council on www.ClarkCountyToday.com. #VancouverBudget #CityServices #NewRevenues #StrategicPlan #CapitalExpenditures #HomelessnessEmergency #EconomicDevelopment #TransportationInfrastructure #LocalNews #ClarkCountyWa

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Learn more at TheCityLife.org --- Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

"Live Podcast with Grace for the Grind and Beautifully Woven. Karen, Heather, Dan and Mike sit down at Biennial 2024 for our first live podcast event! In this episode we field questions from our live audience on the spot. The questions ranged from “what are our most embarrassing ministry moments?”, “are the Stenberg's hoping for another baby?”, “does God control everything in my life and if so does that mean I can't make my own decisions?”, to “what are some things we do to build healthy culture in our churches?” We have a lot of laughs as well as a few serious thoughts on this episode.  A big thanks to O'Crepe who catered our event! WMCLB Website: https://www.wmclb.org Oh Crepe Facebook page: https://www.facebook.com/profile.php?id=100094325597247" Grace for the Grind: https://clbforge.org/all-podcasts/

Nana Wolke by Inna Svyatsky / installshots.art Nana Wolke explores the nature of perception, focusing her attention on modes of apprehension of space and time. Her series of works usually begins on film-like sets, where the artist records the unfolding of staged situations and improvised actions occurring in spaces spanning across social hierarchy. Wolke proceeds to assemble and edit both original and found footage to create distinctly monochromatic visual atmospheres and rhythms that she then translates into painting and sound installations. Using commonplace lighting to model space and generate the grain, textures and slippages of her images and sequences, Wolke utilizes a variety of devices chosen as much for their technical properties as for their social significance – e.g. CCTV equipment, home video camcorders, inventory cameras, intercom systems, etc. Considering the multiple viewpoints from which an action can be witnessed, Wolke's work conjures a tension between observation and control, often inviting viewers to navigate environments that interrogate notions of access and inclusion – whether for economic, social, or security purposes. In so doing, Wolke reflects upon the conflation of desire and shame in contemporary modes of production and consumption of images and visual culture. By constantly confronting the logic of live actions, cinema, and paint, Wolke ultimately seeks to analyze the progressive inextricability between actual and artificial realities. Wolke holds an MFA from Goldsmiths, University of London. Solo exhibitions include Breed at Management, New York; Wanda's at NiCOLETTi, London; High Seat at Castor Gallery, London; 4:28 - 5:28 am at VIN VIN, Vienna; and Some Girls Wander by Mistake at Fondazione Coppola, Vicenza. Group exhibitions include Over you/you at the 31. Biennial of Graphic Arts, Ljubljana; Daddy at G2 Kunsthalle, Leipzig; Painters Painting Painters: A Study of Muses, Friends, and Companions at the Green Family Art Foundation, Dallas; Love is the Devil: Studies after Francis Bacon at Marlborough, London; and No Angels at Wilhelm Hallen, Berlin among others. Wolke was also selected for the 2021 cohort of Bloomberg New Contemporaries. Nana Wolke 00:02:26,417 - - > 00:02:29,010 (Empire), 2023 Oil, sand, and iron dust on linen 70 7/8 x 94 1/2 inches / 180 x 240 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art Nana Wolke 00:00:00,000 - - > 01:36:06,960 (It's good enough for Nancy. It's good enough for Nancy), 2024 Oil on linen 24 x 36 inches / 61 x 91.5 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art Nana Wolke, 02:10:34,195 - - > 02:18:06,207, (Sleeping pills, sneakers, turtleneck, power cord), 2024, Oil and construction sand on linen, 24 x 36 inches / 61 x 91.5 cm. Image courtesy of the artist and Management, New York. Photography by installshots.art

USTR releases a two-year report on AGOA, noting how this program has helped sub-Saharan countries and US companies. Listen for more on Two Minutes in Trade. 

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Marilyn Nance was 23 when she photographed Festac '77, a global celebration of Black and African art that she described as ‘the Olympics, plus a Biennial, plus Woodstock'. In his review of Nance's book, Sean Jacobs traces a more fraught history of the festival than her photographs would suggest. Sean joins Tom to discuss what Festac meant for politicians, attendees and the proponents of négritude, third worldism and pan-Africanism.Find further reading on the episode page: https://lrb.me/festacpodFind out more about Serious Readers: https://www.seriousreaders.com/ Hosted on Acast. See acast.com/privacy for more information.

The RISD Black Biennial features the work of 68 artists who are either connected to RISD or the greater Providence area and are from the African diaspora. The show's theme is “Sonder,” a relatively new word meaning “the realization that everyone, including strangers, has a life as complex as one's own.”

The OECD has released its detailed biennial report on New Zealand's economy, ahead of the 2024 Budget. It lays out suggestions to improve productivity - highlighting competition. NZ Herald Wellington business editor Jenee Tibshraeny says the OECD thinks the Government could more aggressively break up monopolies and duopolies, like supermarkets. "It did recognise that, in a small country like New Zealand, we have some of these big players dominating key sectors. They have such control over the market - that does stymie the innovation." LISTEN ABOVESee omnystudio.com/listener for privacy information.

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For the last 60 years, activist and artist Mary Lovelace O'Neal's bold, large-scale paintings have explored mythology and deeply personal narratives. Now, she has a new solo show at the Marianne Boesky Gallery in Chelsea, which coincides with her inclusion in the 2024 Whitney Biennial. She joins us alongside the gallery's founder Marianne Boesky to discuss the show, titled HECHO EN MÉXICO—a mano.*This episode is guest-hosted by Kousha Navidar

Kentucky General Assembly passes biennial budget worth more than $100 billion, a massive anti-crime bill known as the Safer Kentucky Act is on its way to the governor's desk, if a House measure becomes law, Kentuckians would have fewer options when they try to buy vapes or e-cigarettes, and hundreds gather at Western Kentucky University to protest a guest speaker.

The 2024 Whitney Biennial has just opened to the public. The biennial is always a must-see exhibition in the New York contemporary art world, and this year it's titled, Whitney Biennial 2024: Even Better Than the Real Thing, featuring work from seventy one artists. Curators Chrissie Iles and Meg Onli joins to discuss the show, which is on view through August 11. 

The first of three live Design Doha podcast recordings features an interview with the Biennial's deputy director Fahad Al Obaidly. He takes us behind the scenes of Design Doha, breaks down what "Celebrating Regional Design Excellence" means in practice, and how the Biennial roots itself in locality. Fahad tells us about the strength of the design industry in the Arab World as well as his personal highlights from the Biennial.Fahad Al Obaidly is the Deputy Director of Design Doha, as well as a fashion designer, artist and filmmaker.Connect with Fahad

What you'll learn in this episode: What to expect at the second Lisbon Contemporary Jewelry Biennial and tips for attending. How Portugal's 48-year authoritarian regime and the Carnation Revolution continue to influence Portuguese artists and jewelers today. Why jewelry is so closely linked to power and politics. How artists can use masterclasses and workshops to refocus their work. How Marta is working to promote Portugal's art jewelry scene.   About Marta Costa Reis Marta Costa Reis started studying jewelry in 2004, as a hobby, in parallel with other professional activities. She dedicated herself fully to this work in 2014. Costa Reis completed the jewelry course at Ar.Co – Centro de Arte e Comunicacção Visual, in Lisbon, and the Advanced Visual Arts Course at the same school, in addition to workshops with renowned teachers including Iris Eichenberg, Ruudt Peters, Lisa Walker, and Eija Mustonen, among others. In addition to being a jewelry artist, Costa Reis teaches jewelry history at Ar.Co, writes about jewelry, and curates exhibitions. She also serves as artistic director of the Lisbon Contemporary Jewelry Biennial and as a board member of Art Jewelry Forum. Additional Resources: Marta's Website Marta's Instagram   Photos Available on TheJewelryJourney.com Transcript: How does jewelry symbolize power, and where do jewelry and politics intersect? That's the central question that Marta Costa Reis and her fellow curators, artists and speakers will explore at this year's Lisbon Contemporary Jewelry Biennial. Marta joined the Jewelry Journey Podcast to talk about why this year's theme is so timely; how Portugal's turbulent political history influences jewelry today; and how to plan your trip to make the most of the biennial. Read the episode transcript here. Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, we're going to be talking about the Lisbon Contemporary Jewelry Biennial. I am talking with Marta Costa Reis, who is going to tell us all about it. Welcome back.   Sharon: Are you a maker?   Marta: I am a maker.   Sharon: Have you been developing jewelry that's linked to power?   Marta: Actually, not so much. My themes are a bit more, maybe spiritual is the word. I don't know. I'm interested in themes that revolve around time and our connection to time and what is behind us. It's quite different, but this was already the theme of the first biennial. We have to move on and have different themes. Of course, I couldn't do work myself for this biennial. I don't have the time or the mindset to be making at this time. I'm fully focused on the biennial.   Sharon: I was noticing you have several curators. How did you choose the curators of different seminars and exhibits? How did you choose them?   Marta: I can speak, for instance, about the main show that is called Madrugada, daybreak. The main title. I wanted someone that was not a Portuguese person so we don't stay too closed in our own bubble. I wanted someone from another country but who could understand what happened here. Mònica Gaspar is Spanish. Besides being an amazing intellectual and teacher and writer and very knowledgeable about jewelry and design, being Spanish, they had a similar process as ours. They also had a very long dictatorship, and at almost the same time as we did, they became a democracy. So, she could understand more or less the same events. That was important, to have someone with that experience of changing from the dictatorship into a democracy.    We spoke last year Schmuck in Munich about it, and she was interested, but she has a lot of work, so it took a little while to convince her. It's because we are a team and we can share the work that were able to do it and Mònica is able to do it. Patrícia Domingues is the other curator. She's Portuguese, but she's younger than we are.   Sharon: Who is that?   Marta: Patrícia Domingues. She recently had a show in Brooklyn. I can write it down for you later, maybe afterwards.   Sharon: Okay. Patrícia. How do you spell the last name?   Marta: Domingues, D-O-M-I-N-G-U-E-S. I think I got it right. I know how to spell it, but sometimes saying it in English is more difficult. She has been living abroad for a quite a long time, but she's Portuguese, so she has a perspective that is both an insider but also an outsider. I wanted that very much, someone that is not closed here in our little bubble. She's she recently finished a Ph.D. She's younger. She's very much in contact with everything that is being reflected about jewelry in the world right now.    I think they are amazing curators, and they bring a lot to the biennial and to the show. I am there as well not only because I enjoy it, but I wanted to help out with the work, sending the invitations and keeping track of everything so that everything goes smoothly. We are a very small organization, and we do a lot of it ourselves on a voluntary basis. We have to take different jobs in this process. But I'm happy they joined us, and I'm very happy to be working with them on this show.   Sharon: Are you the main curator? Is there a main curator who chose the other ones?   Marta: Yes, that is me. I am the main curator for the whole biennial. Then there is a team and we discuss. We basically invited Mònica and Patrícia and they agreed. The other shows, for instance, the tiara show is curated by Catarina Silva, who is also the head of the jewelry department at ARCO. I'm also taking care of, it's called Jewels for Democracy. That's the show that I mentioned about the women being honored. There's a lot of people involved, but it's quite smooth.   Sharon: Somebody has to keep everything moving and coordinate. How are you promoting the show in Portugal and in general? Anything?   Marta: We will start promoting now. We have the two shows in April. We did the launch last November for the whole biennial. We try to be active on Instagram. Not so much on Facebook, but mainly on Instagram. We will start a more intense campaign. We have a professional communications person that will take care of this. We will start a more intense communication campaign very soon. We have it in two parts, so we are focusing on April. Then we'll have the other show in May, and then it's the end of June. It will be in different parts.    We will also announce the masterclasses very soon. I haven't mentioned the masterclasses yet. That's what I was forgetting. There will be two masterclasses, one with Lin Cheung and one with Manuel Vilhena from the 22nd to 26th of June. We'll open the registrations very, very soon. This week we'll open the registration. You'll start seeing more about it, and we will promote it in different venues. I did an interview for SMCK Magazine, the European magazine about jewelry. It just came out in their last issue. I did it in October or at the end of September, but it just came out. So, we're doing a number of things, but it will become more intense at the end of this month, in February. We will reinforce the communication and the advertising.    Sharon: How long are the shows in the biennial? Does it go through the summer, or is there an ending point or beginning point?   Marta: The main thing is that in the last week of June, everything will be open. The shows in the Royal Treasure Museum, the shows at the Design Museum, the colloquium, the schools, the masterclasses, the students, the galleries. Everything will be open in that last week of June. That will be the right moment to come to Lisbon. That's when we are concentrating everything. On the 30th of June, the two shows at the Royal Treasure Museum will close, but the show at MUDE, the Design Museum, will continue until the end of September, so it will go through the summer.   Sharon: Why do you call it a masterclass? Who's teaching it and what are they teaching?   Marta: It's Lin Cheung. She's from the UK. Manuel Vilhena is a quite well-known Portuguese artist and amazing teacher as well. It's five days. I'm not sure how to differentiate between a workshop and a masterclass, which I guess is a workshop with the masters, and they are masters. They are some of the top teachers I know. I did a small course with Manuel Vilhena a few years ago. Not yet with Lin, but I know they are amazing teachers. I'm sure everyone who comes will enjoy it.    Last biennial, we also had masterclasses, one with Caroline Broadhead and the other with Christoph Zellweger. They are very interesting moments of sharing and learning and deepening your understanding of your own work, not just for students but for artists in every moment of their careers. It's super interesting to be able to have these few days to stop and look at what you do, what you want to do next with very good teachers like they are. This can be a very special moment. For a long time, I did as many workshops and masterclasses as I could, and it was so great.   Sharon: The people who teach the classes, do they vet the people coming, or can anybody who wants to come into the class and take it?   Marta: There is a small vetting process, but basically you send a CV and your motivation, not even a letter, but a few words of why you want to do these classes. That will be the vetting process. But it's pretty much open to everyone in every stage of their education or career.   Sharon: The exhibits and going to galleries, are there charges? Are they free? What is the story with that?   Marta: To visit the galleries, some of the venues will be free. The museums have tickets, but most of the venues that are not museums are free.   Sharon: MUDE is the design museum that just opened.   Marta: Yes. It opened a while ago, but it was under renovation for a long time. It's the only museum in Portugal that has a contemporary jewelry collection. They have been building a collection, and hopefully it will grow. They also have lots of fashion and all kinds of product and graphic design. It's a very interesting collection, very interesting building. They haven't opened yet. We will be one of the first shows. The first temporary show after the renovation will be this one.    Sharon: Wow.    Marta: Yeah, it's exciting.   Sharon: Do you think there'll be a triennial?   Marta: Hopefully we'll do the next one. I have a few ideas. I cannot say yet, but yes. I like to start thinking about the next one while still doing this one. If the team wants to, if we get the support we need, for sure there will be another one.   Sharon: Now for somebody who wants—I started thinking of myself and other people, but members of the audience, if there somebody who wants to come alone, who wants to come to Portugal alone to see the exhibit, where do they stay? You said the end of June is the best time to come.   Marta: The last week of June, yes.   Sharon: Okay, and they stay at a hotel?   Marta: Lisbon is a wonderful, very safe and, I think, easy to navigate town. We don't have a special hotel to recommend, but you can reach out to us and we can help give some suggestions. Stay in a hotel, you will get your program, tell us you are coming. We will try as much as possible to help you out. If you want to organize a group, we can help organize the group as well. But it's easy. Uber goes everywhere, taxis go everywhere, you have the subway, you have buses, you can walk, bike. There are all kinds of ways to travel in town. It's not very big. We're not always able to do it, but many of the events, the venues, will be quite close. There will be a few groups in different locations, but you can visit a lot of things by foot that will be very close by. I think it will be very easy to come even if you're alone.   Sharon: Okay. As long as I have you, tell us about the market for art jewelry in Portugal. Has it grown? Do people care about it?   Marta: I think like almost everywhere else, it's a specialist market that certain people enjoy a lot. Actually, it's not very known by everyone. Most people, when you say jewelry, think about more traditional, more commercial jewelry. Like everywhere, there's a way to go, I think. But there is a group of interested people. There's certainly very interesting artists.    We've had contemporary jewelry, art jewelry being done and presented in shows here since the 60s. We've had a school, the specialized school in Lisbon, since the 70s. We have two galleries. One of them just turned 25. The other I think even more, maybe 30. So, we have had the market for a long time. Now, of course, it's a little bit slow, but I think that happened everywhere with the recent crisis. But it exists, and it's been here for over 40 years, 50 years now. Like everywhere else, it's a continuous work, but people love it. Many people love it. I think it will never stop being interesting and important to a number of us.   Sharon: Okay. Go ahead, if there's anything else you wanted to say.   Marta: About the market, that's basically it. It's an issue, and also what we wanted to promote. That's why we did the biennial, to help people see there's a lot more jewelry than the ones they're used to in the traditional way. That's part of the reason we're doing this, not just for ourselves or the ones who already know what jewelry content actually is all about, but for the ones who don't and might be interested in knowing. Getting the beautiful works that are done out there and reaching out to more people, that's it.   Sharon: Okay. I'm trying to read my handwriting here. I was reading your information last night again, but let's see. The cost, the people and most of the stuff is in English as well as Portuguese.   Marta: Yes, everything will be translated. The colloquium will be in English. Everyone will speak English at the colloquium, and in the museums you will have English. Everything will be translated. Our website is translated. Our Instagram, not all is translated, but because it translates automatically, it's not even an issue anymore, I think. But yes, usually you will always have Portuguese and English, except the colloquium that will be fully in English. It will be quite easy for everyone. English is indeed the common language for almost everything, so we just assume. In Portugal everyone speaks English more or less.   Sharon: Do they learn it in school?   Marta: Yes, yes. In school, movies. The movies are not dubbed. They are in the original English, so we are used to listening to English from when we are very young. It becomes a very common language.   Sharon: That's interesting. We'll have the Instagram and the website listed when we post this.   Marta: Okay, great. Going back, if people want to travel to Lisbon, if they by chance come before June, they will still have very interesting things to see besides the program of the biennial. There are the galleries that will have shows in Lisbon. There's Galeria Reverso and Galeria Tereza Seabra. They both will have shows as they usually have. In April and May, if you visit Portugal, come, because there will be jewelry to be seen. If you plan to come for the biennial, June is a very exciting month. The city is beautiful. It's when there are flowers, there's green, there's the sun. People are just happy in June, everywhere I guess.   Sharon: How is the weather then? Is it hot?   Marta: No, it's warm. June is still quite good. End of July, August is maybe a bit too much, but June usually is still quite good. I won't say the number because I would say it in Celsius so it doesn't mean anything, and I don't know how to say it in Fahrenheit. I won't say a number for the temperature, but it's really nice. The best thing is that the evenings are warm. That's the best, when in the evening it's still warm and it's nice outside. That's June.   Sharon: Are there a lot of people in the streets still when it's warm outside and warm in the evenings? I know you don't live in the center.   Marta: Yes, people will go out. As I said, in June you have traditional parties. The patron saint of Lisbon, his day is in June. From there, you have many, many parties. People go outside, they will eat outside. There will be concerts outside, there will be movies outside, everything will be outside and it will be very nice.   Sharon: I hope that we can all go. I have here the official name is the Second Lisbon Contemporary Jewelry Biennial, right?   Marta: Exactly.   Sharon: What is the theme once more again?   Marta: The theme is political jewelry and jewelry of power.   Sharon: Okay. And PIN is involved with this also? PIN is the art jewelry—   Marta: PIN is the Portuguese Contemporary Jewelry Association, and it's the organizer of the biennial.    Sharon: Reading through this information I was ready to book my flight. It looks wonderful.   Marta: Yes. I'm happy you come. But surely, if people want to come, reach out to us. If you write to us through Instagram, the website, it will be easy to reach out to us, and we will help in any way. If you want to come, we can help make it happen in the easiest way possible for you. We're happy to have you and everyone who wants to come.   Sharon: Well, thank you very much for telling us about it.   Marta: Thank you for having me and helping us tell our story.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: What to expect at the second Lisbon Contemporary Jewelry Biennial and tips for attending. How Portugal's 48-year authoritarian regime and the Carnation Revolution continue to influence Portuguese artists and jewelers today. Why jewelry is so closely linked to power and politics. How artists can use masterclasses and workshops to refocus their work. How Marta is working to promote Portugal's art jewelry scene.   About Marta Costa Reis Marta Costa Reis started studying jewelry in 2004, as a hobby, in parallel with other professional activities. She dedicated herself fully to this work in 2014. Costa Reis completed the jewelry course at Ar.Co – Centro de Arte e Comunicacção Visual, in Lisbon, and the Advanced Visual Arts Course at the same school, in addition to workshops with renowned teachers including Iris Eichenberg, Ruudt Peters, Lisa Walker, and Eija Mustonen, among others. In addition to being a jewelry artist, Costa Reis teaches jewelry history at Ar.Co, writes about jewelry, and curates exhibitions. She also serves as artistic director of the Lisbon Contemporary Jewelry Biennial and as a board member of Art Jewelry Forum. Additional Resources: Marta's Website Marta's Instagram   Photos Available on TheJewelryJourney.com Transcript: How does jewelry symbolize power, and where do jewelry and politics intersect? That's the central question that Marta Costa Reis and her fellow curators, artists and speakers will explore at this year's Lisbon Contemporary Jewelry Biennial. Marta joined the Jewelry Journey Podcast to talk about why this year's theme is so timely; how Portugal's turbulent political history influences jewelry today; and how to plan your trip to make the most of the biennial. Read the episode transcript here. Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception. Sharon: Hello, everyone. Welcome to the Jewelry Journey podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're going to be talking about the Lisbon Contemporary Jewelry Biennial. I am talking with Marta Costa Reis, who is going to tell us all about it. I met Marta about eight to 5 years ago at the first biennial in Lisbon, Portugal. One of the goals was to gather together examples and information about the history of modern Portugal and the jewelry that's associated with it. When we think of Portuguese jewelry, we don't automatically think of art jewelry. But it has a history of more than several decades about the work that's been going on and art jewelry in general. The second Lisbon Contemporary Jewelry Biennial is coming up this summer in Lisbon. The last one was held in Lisbon, too. Marta Costa Rice is going to be telling us about this biennial and what to expect this summer in Lisbon. There will be a lot going on in many venues. There is the exhibition at MUDE, which is a very well-known Portuguese design museum. There's an international symposium with people coming from all over the world to discuss the theme of the exhibition, which I'll let Marta tell you about. A lot is taking place at many of the galleries. One of the key exhibits is taking place at the Royal Treasure Museum. But I don't want to steal Marta's spotlight. Today, she'll tell us all about the second Contemporary Jewelry Biennial in Portugal. Marta, welcome to the program. Marta: Thank you so much. Thank you for having me and for this very nice introduction. So, where should I start? I don't even know. There's so much to tell. I'm currently organizing the second Lisbon Contemporary Jewelry Biennial. I do it as a new chairwoman of PIN, which is a Portuguese contemporary jewelry association. Sharon: PIN, P-I-N? Marta: PIN, yes. PIN has existed now for 20 years. It will be 20 years this September. It was created to organize quite a big event. At the time, Cristina Filipe was one of the founders and was the chairwoman for a very long time. Of course, you know her by the Susan Beach Grant. She received the first Susan Beech Grant for Mid-Career Artists, and that allowed us to publish a book which came from Cristina's Ph.D. about Portuguese jewelry, contemporary jewelry in Portugal. That time, when the book was published, that's when she had traveled to Portugal and we met. We had this challenge for ourselves, saying that if we managed to do a good program to present interesting shows, good visits, we could be able to do a biennial. That's its inspiration, this trip, how all this came to happen. Of course, the timing for the first biennial—we called it the AJF trip. It was like year zero, the pilot episode. The first biennial happened in the middle of the pandemic, so we were never sure that we really would be able to make it happen because there was still a lot of restrictions. But luckily it happened in September 2021, when people were able to travel a little bit. Then we managed to have a huge number of artists and collectors and interesting people. The theme was about the pandemic. It was jewelry of protection and connecting contemporary objects, contemporary jewelry of protection in the 21st century with very old relics and sacred objects that were shown together in an exhibition in a museum here in Lisbon. Of course, we did call it the biennial to force ourselves to do the second one. Sharon: I wanted to ask, what does biennial mean, literally? Marta: It's supposed to be every two years. That that's what it means. It's supposed to happen every two years. Of course, it's a little bit more than two years now. It's two years and a half between the first one and the second one. But because we have this idea to always have as a theme for the biennial something that is happening in the world at the moment. The first one was the pandemic. Now in Portugal 2024, we will have this very important event, which is the 50th anniversary of our revolution when we became a democratic country. I don't know if people are aware that we had an authoritarian regime for 48 years, and it happened in 1974. It was a very smooth revolution. Let's just say that, because it happened without almost any gun being shot. Of course, it took a little while. The Democratic constitution was approved a bit later, but that is the fundamental moment when we became a democratic country or started to become a democratic country. It happened 50 years ago now, so it's really a whole new generation, a whole new world, and we want to celebrate that. Jewelry, of course, has a lot to do with power or representations of power. There is also in contemporary jewelry a lot of political work. Many artists do work that is political or can be read in a political way. We wanted to consider those issues, jewelry of power and political jewelry. That's basically the idea of how it came about. Sharon: Why is it called the Carnation Revolution? Marta: That's an amazing story, actually. It happened because literally a woman that had some red carnations in her hands started to put carnations, the flowers, in the guns of the soldiers. Some of the most famous images of the revolution are soldiers with the flowers in their guns. It represents a lot of things, namely that the guns were not being shot. They were holding flowers. It happened by accident. It's suggested that this lady, apparently one of the soldiers asked her for a cigarette. She said she didn't have cigarettes, but she had a flower, and she put the flower in his gun. And then people started to replicate the gesture. Until today, the red carnation--there were also white carnations, but basically the red carnation is still very much a symbol of that movement, that revolution, and it took the name. For us, thinking about that, the gesture she had is also very much a gesture of adornment, the gesture of adorning that gun with the flower. So, we wanted to pick up on that and what it could mean. Sharon: How is jewelry linked to power? Marta: You have that example, for instance, in the Royal Treasure Museum that you mentioned, which shows the jewelry of the national treasure, jewels that belonged to the state—well, to the crown, basically. Some of them were private jewelry worn by kings and queens. Some of them are more royal estate jewelry. Basically, it's that representation of the power that it can show and the time when diamonds and precious stones and even precious metals were not used by everyone. It showed how powerful a person was, how important or how close to the eye of power. It's the idea of a crown or a tiara, of a whole set of diamonds, but also all the objects that you can put on your body, like the jeweled swords and things like that. Jewelry indeed has a lot to say about power, how you show yourself as a person of power or representing a situation of power, being a king or queen or someone with a very high responsibility. That connection always existed. This museum is brand new. It will be two years ago in June. This jewelry was not accessible. It was not shown for a very long time. It was only in a temporary exhibition, so it's an excellent opportunity to see these pieces that are absolutely incredible. Although many were lost and sold, they're still a very nice collection. Sharon: So, a biennial can be anything, theoretically. Every 10 years, it could be trucks. It could be jewelry, but it could be a biennial about anything, right? Marta: We tried to connect it to things that are ongoing in the world at the moment. For 2024, our main motivation with this event was that we knew it would happen in Portugal. There will be a lot of other moments of celebration of democracy, basically. That that's what the celebration is all about. But if you look at the world at large, it's also very topical, this issue and the themes. It's something that people can relate to at the present moment, not just Portuguese. That's what we thought could be interesting, to see how our jewelers, our artists, are connecting to the world at the present and what they have to say about it through their work, through jewelry. Sharon: How did you get involved in it? Marta: I don't know. It's probably a personality trait. I like to get involved in things. I like this tendency to be of service to something larger than myself. I became involved first with PIN because in my previous professional life, I used to—I was not a lawyer, but I studied law, so I worked with law. I started to be involved with PIN about some situations that were happening with laws that were changing that affected jewelry. So, I started to cooperate with them on that issue. Then I was very much involved in AJF's first visit to Lisbon, and then in the organization of the first biennial. Sharon: AJF means—I want everybody to understand that AJF means Art Jewelry Forum. Marta: Art Jewelry Forum, yes. So, I was the person helping in Portugal. There were others, but I was one of them.  I got very much involved in the first biennial and then Cristina wanted to leave and not do the second one. She was very tired and wanted to move on to something else. I said, "Okay, but we did this biennial. We need to try to do the second one." That's what happened. And I said, "Okay, I'll try to take over and do the second biennial." That's what happened. That's my mission at the moment at this organization, the Portuguese Association for Contemporary Jewelry, to do the second biennial, and from then on let's see how many more we can do. Sharon: I noticed that she wasn't on the list of speakers. Are you giving any kind of prize or a grant like Cristina received 10 years ago to do her book? Marta: No. The program is two exhibitions in the Royal Treasure Museum. One of the exhibitions will be contemporary jewelers doing work to honor a woman of their choice that had a role in the democratic transition, so a woman that was especially hurt by the dictatorship or was especially involved in the democracy. Many of them are artists because we also had censorship and artists could not be free in their work. Many of the women the jewelers chose to honor are artists. A few of them even had to leave Portugal and move to other countries to be able to do their work. But not only do we have anonymous women, we have some politicians. We had one of the first women prime ministers in Europe, so she will be honored as well. There are a few other women that people felt needed some recognition or wanted to give them their recognition. In 1974, when the revolution happened, many of the actors were men because it was done by military men, and all the politicians were men. A few women started showing up afterwards. But before the end of our dictatorship, women had no representation at all in the public space. They were mostly shown as accessories. Good woman, good wife, good cook, but that's all. Only after 1974 did women start to have their own representation as professionals in other things besides being wives. We couldn't even travel to other countries without the husband's permission or have bank accounts or things like that. When I was born, that was still the reality in my country. It's not 200 years ago. It's very, very close to us. That's also why it's important to show those who have not lived through that that an authoritarian regime is a terrible thing. So, we are honoring these women. We have another show of contemporary tiaras by a contemporary artist that will be shown next to the crown jewels. That will be an interesting contrast. These two shows will open in April. So, from April to the end of June, you can see contemporary jewelry in the Royal Treasure Museum, which will also be a first. It's a very endearing project, and there have been great, great partners. Then in May, a show by the contemporary artist Teresa Milheiro will open as well. It's sort of an anthological show, but not only. She always had political themes in her work, so that's one of the reasons why she was chosen to do this solo. Then in the last week of June, between 24th and 30th of June, there will be an immensity of shows. The big show at MUDE that is curated by myself, Mònica Gaspar and Patrícia Domingues is an international collective show with artists from many different parts of the world. Not all parts of the world, because in many countries you still don't have a lot of contemporary jewelry. But we're doing our best to have it as broad as possible. There will be what we call parallel events, which are shows organized by artists, collectives and students that are doing shows at the same time in Lisbon. There's the colloquium with international speakers from many parts of the world. The colloquium will be in English. It will also be accessible online for anyone who wants to stay at home and still be able to accompany that. It will also be about political jewelry and politics and politics of jewelry and power. This will still be the main themes. There will be a show with schools from different countries, a meeting of the students and then an exhibition. The educational part is very present. I'm sure I'm forgetting a lot of things or there are things I didn't say yet. There will be what you call a jewelry room with galleries from different countries. Galleries are still, and hopefully will be for a long time, a very important part of the jewelry world, so we want them to be present as well and show their artists and their choices. The last week of June will be absolutely filled with contemporary jewelry in Lisbon. Plus it's an amazing month. It's the best month in Lisbon. There are parties on the streets. It's the best. Sharon: Do the galleries choose what to show that's linked to this theme? What is the official theme? Marta: There is a title, which is Madrugada. That means daybreak. This title is inspired by a very beautiful poem by a Portuguese poet, Sophia de Mello Breyner. It's very short, but basically it says this is a new dawn after a very long, dark night. It's a poem about the revolution. She loosely calls it a new dawn. This is the theme. We asked the galleries to bring work that is connected to theme, to political jewelry, and we also asked them to present a Portuguese artist. Some of them already have Portuguese artists in their midst, in their group of selected artists, and some don't. What we want is for galleries to have a look at the national, Portuguese artists, and make their choice. That way, our Portuguese artists get more representation or more presence and maybe a little more representation in other countries. Sharon: You mentioned the educational piece of the shows and symposia. What do you have planned, and what are the topics? Are they in English? Marta: They are in English. The symposium is in English. I can give you some examples. We will have, for instance, and this could be interesting for you, the artist Cindi Strauss will speak about themes from the book she published recently on American jewelry in the 60s and 70s and the counterculture. She will be there. We will also have a Brazilian researcher called Dionea Rocha Watt, and she will speak about jewelry of power, like the jewelry that Imelda Marcos owns, or the jewelry from the recent scandal with the former Brazilian President Bolsonaro, who sold some jewelry he received, and other representations and connections between jewelry and power. But we will also have, for instance, Rosa Maria Mota, who will speak about traditional Portuguese jewelry. It was used by popular woman from the countryside that bought as much gold jewelry as possible as a way to preserve their finances and their power. It's the connection between traditional gold jewelry and women power. Things like that. It's always around politics and policy and power and jewelry. Hopefully it will be very interesting. Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Until June 10, 20 international artists will be presenting their work as part of the 24th edition of the “Biennale of Sydney Artists” at the Chau Chak Wing Museum. One of them is the Singaporean and Berlin-based Choy Ka Fai, who is exhibiting his video work “Exodus.” In it, the artist deals with the influence and development of colonialism, as well as dance and trance culture in Asia. - Bis zum 10. Juni präsentieren 20 internationale Künstler*innen ihre Arbeiten im Rahmen der 24. Ausgabe der „Biennale of Sydney Artists“ im Chau Chak Wing Museum. Einer von Ihnen ist der Singapurer und Wahl-Berliner Choy Ka Fai, der seine Videoarbeit „Exodus“ ausstellt. In dem Werk beschäftigt sich der Künstler mit dem Einfluss und der Entwicklung des Kolonialismus, sowie Tanz und Trance Kultur in Asien.

In this episode, we look forward to the upcoming C19 Conference, to be held March 14-16 in Pasadena, California. Jessica Van Gilder (University of Kentucky) interviews Chair of the C19 Program Committee Lara Langer Cohen (Swarthmore College) and G19 leader and editor Courtney Murray (Pennsylvania State University) to discuss the theme and location of the conference and offer practical advice for first-time participants. Along the way, we'll check in with some of our past podcast contributors—Spencer Tricker (Clark University), Carie Schneider (Cameron University), Sean Gordon (California State University, Fresno), and Vanessa Ovalle Perez (California State University, San Bernardino)—all of whom will be attending this year's conference. For additional information, the conference program is available online at c19theend.com/program. This episode was produced by Julia Bernier (Washington and Jefferson College), Crystal Donkor (SUNY New Paltz), Genevieve Johnson-Smith (Newcastle University), Lizzy LeRud (Minot State University), Stefan Schöberlein (Texas A&M University-Central Texas), Jessica Van Gilder (University of Kentucky), Ashley Rattner (Jacksonville State University), and Ryan Charlton (Georgia State University). Full episode transcript available: bit.ly/C19Podcast-S07E02-transcript

Welcome back to ARTMATTERS: The Podcast for Artists. Today is the final installment of my conversation with the artist TL Solien. In this last section, TL talks about building his dream studio, selling his dream studio, the best years of his career, dwindling interest, staying afloat, vulnerability, taking things personally, contemplating failure, building paintings in moments of fracture, learning art history late, finding satisfaction, healthy fuel, 30 minutes of joy, scale, notes from an opera, Tex Avery cartoons, how he starts a painting now, being stumped, and problem solving.I'd like to add that I've been receiving a lot of love for the previous parts of this  conversation, and if this means you would like more long-form conversations like this one, please let me know at artmatterspodcast@gmail.com Finally please consider supporting this podcast by donating to ARTMATTERS Patreon. I just set it up and by donating you will help ensure the availability and continuation of these quality conversations.  About:T.L Solien, born in Fargo North Dakota in 1949, received a BA degree in Art from Moorhead State University, Moorhead MN in 1973, and an MFA in Painting and Sculpture from the University of Nebraska-Lincoln in 1977.TL Solien has been  invited to  participate in numerous exhibitions  of National and International magnitude including, the 1983 Whitney Biennial, the 39th  Biennial of American Painting at the Corcoran Museum, Washington, D.C.; Avant-Grade in the 80”s, at the Los Angeles County Museum of Art; The American Artist as Printmaker,   Brooklyn Museum NY; Images and Impressions, Walker Art Center, Minneapolis, MN; and Contemporary Drawings, High Museum of Art, Atlanta, GA. Solien was the subject, recently, of a 25 year retrospective at the Madison Museum of Contemporary Art, Madison WI, entitled “ T.L. Solien: Myths and Monsters", as well as a touring exhibition porganized by the Plains Museum of Fargo North Dakota, entitled "Toward the Setting Sun", comprised of 65 work, and supported by a 200 page catalog published and distributed by the University of Minnesota Press.TL Solien has had approximately 40 solo exhibitions over the last 25 years.TL Solien is represented in numerous corporate and public collections including, The Whitney Museum of American Art, New York; The Art Institute of Chicago, IL; The Walker Art Center, Minneapolis;  High Museum of Art, Atlanta; The Metropolitan Museum, New York; The Tate Modern, London;  The Smithsonian Museum ,Washington D.C.;  The Frederick Weisman Foundation, Los Angeles;  The National Museum of American Art, Washington, D.C.;  The Milwaukee Museum of Art, Milwaukee, WI. and  Madison Museum of Contemporary Art, Madison, WI.   TL Solien is currently represented by Tory Folliard Gallery in Milwaukee, and his most recent solo exhibition was at OTI in Los Angeles, CA. If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!       If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mannwww.isaacmann.cominsta: @isaac.mann guest: TL Solienhttps://www.solientl.com/insta: @tlsolien

Welcome back to ARTMATTERS: The Podcast for Artists. And we're back with Part 2 of my three-part conversation with Wisconsin-based artist, TL Solien. Today we conclude the exploration of his early (or phase 1) art practice, including a fun description of the origins of his pictographic works. We talk about his early career experiences in visiting and exhibiting in New York City and living for a time in Paris. We discuss family, and home-life, agreements, and finances, the difficulties following the art market crash, and TL's  experience entering the culture of academia. Then we come back around to the concept or self-respect, the second phase of TL's studio practice, collage, Moby Dick, building paintings towards vibration , space, implied linearity and more. As I mentioned last week, I am extremely proud of this interview, and very thankful to my guest for his patience and his willingness to share so much of life with me and the ARTMATTERS listeners. About:T.L Solien, born in Fargo North Dakota in 1949, received a BA degree in Art from Moorhead State University, Moorhead MN in 1973, and an MFA in Painting and Sculpture from the University of Nebraska-Lincoln in 1977.TL Solien has been  invited to  participate in numerous exhibitions  of National and International magnitude including, the 1983 Whitney Biennial, the 39th  Biennial of American Painting at the Corcoran Museum, Washington, D.C.; Avant-Grade in the 80”s, at the Los Angeles County Museum of Art; The American Artist as Printmaker,   Brooklyn Museum NY; Images and Impressions, Walker Art Center, Minneapolis, MN; and Contemporary Drawings, High Museum of Art, Atlanta, GA. Solien was the subject, recently, of a 25 year retrospective at the Madison Museum of Contemporary Art, Madison WI, entitled “ T.L. Solien: Myths and Monsters", as well as a touring exhibition porganized by the Plains Museum of Fargo North Dakota, entitled "Toward the Setting Sun", comprised of 65 work, and supported by a 200 page catalog published and distributed by the University of Minnesota Press.TL Solien has had approximately 40 solo exhibitions over the last 25 years.TL Solien is represented in numerous corporate and public collections including, The Whitney Museum of American Art, New York; The Art Institute of Chicago, IL; The Walker Art Center, Minneapolis;  High Museum of Art, Atlanta; The Metropolitan Museum, New York; The Tate Modern, London;  The Smithsonian Museum ,Washington D.C.;  The Frederick Weisman Foundation, Los Angeles;  The National Museum of American Art, Washington, D.C.;  The Milwaukee Museum of Art, Milwaukee, WI. and  Madison Museum of Contemporary Art, Madison, WI.   TL Solien is currently represented by Tory Folliard Gallery in Milwaukee, and his most recent solo exhibition was at OTI in Los Angeles, CA. If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!       If you have an any questions you want answered, write in to artmatterspodcast@gmail.com  host: Isaac Mannwww.isaacmann.cominsta: @isaac.mann  guest: TL Solien https://www.solientl.com/insta: @tlsolien

Welcome back to ARTMATTERS: The podcast for artists. I'm particularly excited about today's episode with the artist TL Solien. Prepare yourself for an epic conversation, recorded over two separate studio visits, and subsequently over four hours of material. In light of this, I've edited this conversation down into three episodes, which will come out weekly until complete, unlike the usual bi-weekly format of the show. ● In episode 1, we get into TL's painting process and his background and education.● In episode 2, we talk about his family, his explosive early career success, and the challenges that followed the art market crash, when he was forced to seek out adjunct teaching opportunities wherever he could, move frequently, and often on his own.● And in episode 3 where i pepper him with whatever i else i forgot, including his current painting ideology and focus. Also collaging and Moby Dick. I am extremely proud of this interview, and very thankful to my guest for his patience and his willingness to share so much of life with me and the ARTMATTERS listeners. About:T.L Solien, born in Fargo North Dakota in 1949, received a BA degree in Art from Moorhead State University, Moorhead MN in 1973, and an MFA in Painting and Sculpture from the University of Nebraska-Lincoln in 1977.Solien has been  invited to  participate in numerous exhibitions  of National and International magnitude including, the 1983 Whitney Biennial, the 39th  Biennial of American Painting at the Corcoran Museum, Washington, D.C.; Avant-Grade in the 80”s, at the Los Angeles County Museum of Art; The American Artist as Printmaker,   Brooklyn Museum NY; Images and Impressions, Walker Art Center, Minneapolis, MN; and Contemporary Drawings, High Museum of Art, Atlanta, GA. Solien was the subject, recently, of a 25 year retrospective at the Madison Museum of Contemporary Art, Madison WI, entitled “ T.L. Solien: Myths and Monsters", as well as a touring exhibition porganized by the Plains Museum of Fargo North Dakota, entitled "Toward the Setting Sun", comprised of 65 work, and supported by a 200 page catalog published and distributed by the University of Minnesota Press. Solien has had approximately 40 solo exhibitions over the last 25 years. Solien is represented by Tory Folliard Gallery in Milwaukee,Luise Ross Gallery in New York City, and Bockley Gallery in Minneapolis. Solien is also represented in numerous corporate and public collections including, The Whitney Museum of American Art, New York; The Art Institute of Chicago, IL; The Walker Art Center, Minneapolis;  High Museum of Art, Atlanta; The Metropolitan Museum, New York; The Tate Modern, London;  The Smithsonian Museum ,Washington D.C.;  The Frederick Weisman Foundation, Los Angeles;  The National Museum of American Art, Washington, D.C.;  The Milwaukee Museum of Art, Milwaukee, WI. and  Madison Museum of Contemporary Art, Madison, WI.   If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!         If you have an any questions you want answered, write in to artmatterspodcast@gmail.com  host: Isaac Mannwww.isaacmann.cominsta: @isaac.mann  guest: TL Solien https://www.solientl.com/ insta: @tlsolien

Joe talks about problems with childhood literacy and why it might be failing Source: https://www.scientificamerican...:~:text=Biennial%20testing%20through%20NAEP%20consistently,40%20percent%20are%20essentially%20nonreaders.

Architect Andrew Schachman and multidisciplinary artist and educator Faheem Majeed are two of the four artists who, along with poet avery r. young and sculptor Jeremiah Hulsebos-Spofford, co-lead Chicago's Floating Museum. As its name suggests, the Floating Museum does not have a brick-and-mortar fixed space; rather it creates inventive projects through which to explore and strengthen the relationship between art, community, architecture and public institutions in sites throughout Chicago. One example of past Floating Museum projects is “Cultural Transit Assembly,” which activated not only the Chicago Transit Authority's green line but also parks and spaces along its track. Some green line CTA cars served as pop-up performance spaces and galleries, and giant movable sculptures as well as community-art events could be spied from the train throughout its route, inviting riders to visit neighborhoods that perhaps were new to them. Another example is “River Assembly,” which over a month saw an industrial barge dock at different sites along the Chicago River, bringing a host of performances and interactive exhibits to several neighborhoods, celebrating the entire city as one giant museum campus, all corners of which have always been hubs of culture and art.In a sign of the Floating Museum's cultural influence not only citywide but also nationally and abroad, its four leaders were tapped to be the co-directors of the fifth Chicago Architecture Biennial, one of only two architecture biennials in the world, the other being the century-old Biennial in Venice, Italy. Here Faheem and Andrew describe the municipal savvy and community trust they had to cultivate for the Floating Museum and its many projects to move throughout Chicago. They also discuss how as a quartet they manage a growing institution that must remain nimble and responsive enough to continually engage with its home city. https://floatingmuseum.org/

Join Quenton Baker and special guests for a celebration of and conversation on their new book ballast. This event occurred on April 26, 2023. Ballast is a poetic sequence using the 1841 slave revolt aboard the brig Creole as a lens through which to view the vitality of Black lives and the afterlife of slavery. In 1841, the only successful, large-scale revolt of American-born enslaved people erupted on the ship Creole. 135 people escaped chattel slavery that day. The event was recounted in US Senate documents, including letters exchanged between US and British consulates in The Bahamas and depositions from the white crew on the ship. There is no known record or testimony from the 135 people who escaped. Their story has been lost to time and indifference. Quenton Baker's ballast is an attempt at incomplete redress. With imagination, deep empathy, and skilled and compelling lyricism, Baker took a black marker to those Senate documents and culled a poetic recount of the Creole revolt. Layers of ink connect readers to Baker's poetic process: (re)phrasing the narrative of the state through a dexterous process of hands-on redactions. Ballast is a relentless, wrenching, and gorgeously written book, a defiant reclamation of one of the most important but overlooked events in US history, and an essential contribution to contemporary poetry. Poets: Quenton Baker is a poet, educator, and Cave Canem fellow. Their current focus is black interiority and the afterlife of slavery. Their work has appeared in The Offing, jubilat, Vinyl, The Rumpus, and elsewhere.They are a two-time Pushcart Prize nominee and the recipient of the2018 Arts Innovator Award from Artist Trust. They were a 2019 Robert Rauschenberg Artist in Residence and a 2021 NEA Fellow. They are the author of This Glittering Republic (Willow Books, 2016) and we pilot the blood (The 3rd Thing, 2021). Marwa Helal was born in Al Mansurah, Egypt. She is the author of Ante body (Nightboat Books, 2022), Invasive species (Nightboat Books, 2019), the chapbook I AM MADE TO LEAVE I AM MADE TO RETURN (No Dear, 2017) and a Belladonna chaplet (2021). Helal is the winner of BOMB Magazine's Biennial 2016 Poetry Contest and has been awarded fellowships from the Whiting Foundation, New York Foundation of the Arts, Jerome Foundation, Poets House, Brooklyn Poets, and Cave Canem, among others. She has presented her work at the Museum of Modern Art (MoMA), the Studio Museum in Harlem, the Brooklyn Museum, and the Guggenheim Museum. Douglas Kearney has published seven collections, including Optic Subwoof (2022), the 2022 Griffin Poetry Prize-winning Sho (2021), Buck Studies (2016), winner of the Theodore Roethke Memorial Poetry Award, the CLMP Firecracker Award for Poetry, and California Book Award silver medalist (Poetry). M. NourbeSe Philip calls Kearney's collection of libretti, Someone Took They Tongues (2016), “a seismic, polyphonic mash-up.” Kearney's Mess and Mess and (2015), was a Small Press Distribution Handpicked Selection that Publisher's Weekly called “an extraordinary book.” WIRE magazine calls Fodder (2021), a live album featuring Kearney and frequent collaborator, Val-Inc., “Brilliant.” Natasha Oladokun is a Black, queer poet and essayist from Virginia. She earned a BA in English from the University of Virginia, and an MFA in creative writing from Hollins University. She holds fellowships from Cave Canem, the Virginia Center for Creative Arts, the Jackson Center for Creative Writing, Twelve Literary Arts, and the University of Wisconsin-Madison, where she was the inaugural First Wave Poetry fellow. Watch the live event recording: https://youtube.com/live/Sp7hlQNb2FE?feature=share Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Tschabalala Self is an artist born in Harlem who lives and works in Upstate New York. She received her undergraduate degree at Bard and her MFA from Yale. Recent solo exhibitions and perfiormances include Kunstmuseum, St Gallen, Le Consortium in Dijon, Performa 2021 Biennial in NYC, the Baltimore Museum of Art, the ICA in Boston, the Hammer Museum in LA, Art Omi in Ghent, the Yuz Museum in Shanghai and many others. She has had several museum shows and has had residencies at the Studio Museum in Harlem, the Red Bull House of Art in Detroit, Liquitex work residency in London, the Fountainhead Residency in Miami and many others. Her work has been covered in Art in America, ArtForum, Artnet, Bomb, Cultured, Essence, Frieze, Hyperallergic, The New York Times, T Magazine, The Art Newspaper, The Guardian, Vouge, W and more. Her work can be found in countless institutions, with highlights that include The Art Institute of Chicago, The Baltimore Museum of Art, the Brooklyn Museum, the California African American Museum, the Hirshhorn, LACMA, the New Museum, the MCA in LA, the Guggenheim, the Studio Museum in Harlem and the Whitney Museum. Buy the Sound & Vision book "WHY I MAKE ART" here: https://atelier-editions.com/products/why-i-make-art Thanks to all for listening to the podcast and making it possible to hit 400 episodes!

From the November/December 2023 edition of The Scottish Rite Journal. Any accompanying photographs or citations for this article can be found in the corresponding print edition.Make sure to like and subscribe to the channel! Freemasons, make sure you shout out your Lodge, Valley, Chapter or Shrine below!OES, Job's Daughter's, Rainbow, DeMolay? Drop us a comment too!To learn how to find a lodge near you, visit www.beafreemason.comTo learn more about the Scottish Rite, visit www.scottishrite.orgVisit our YouTube Page: Youtube.com/ScottishRiteMasonsVisit our new stores:Bookstore: https://www.srbookstore.myshopify.com/Merch Store: http://www.shopsrgifts.com/

The conference hosted by the University of Dayton is a local call to action 75 years after the Universal Declaration of Human Rights was created.

This week: the first Kyiv Biennial since Russia's invasion of Ukraine last year is taking place in various locations across the wartorn country as well as a host of neighbouring European states. We talk to the co-curator, Georg Schöllhammer, about this year's event. As refugees and displaced people continue to dominate the news, a global sound art project, Migration Sounds, aims to explore and reimagine the sounds of human migration and settlement. We speak to Stuart Fowkes, the founder of Cities and Memory, who has conceived the project with the University of Oxford's Centre on Migration, Policy and Society (Compas). And this episode's Work of the Week is Rebirth of a Nation, a mural made for Brixton Underground Station in London by the Ethiopian-Italian artist Jem Perucchini, which is unveiled next week. Jessica Vaughan, the senior curator of Art on the Underground, tells us about the commission.The Kyiv Biennial continues to unfold into 2024, visit 2023.kyivbiennial.orgCities and Memory's Migration Sounds project, citiesandmemory.com/migration; compas.ox.ac.ukJem Perucchini: Rebirth of a Nation, Brixton Underground Station, London, from 2 November. Hosted on Acast. See acast.com/privacy for more information.

Mike Skinner helped define an era with The Streets' album Original Pirate Material in 2002. Now he's back with not only new music but an accompanying film, The Darker the Shadow the Brighter the Light. He talks to Nick Ahad about guerrilla filming in nightclubs and the influence of Raymond Chandler. The choreographer, writer and founder of hip hop dance company ZooNation, Kate Prince, tells us about a dramaturg who has been a key influence on her. We hear about the advice and inspiration offered by Lolita Chakrabati ahead of her work inspired by the music of Sting and The Police. The British Textile Biennial 2023 is highlighting the extraordinary influence of Lancashire. From the moors to the mills, it's a region which defined the modern world's approach to the clothes we wear. That troubling and complex legacy is explored by a series of installations. Evie Manning, co-creator of Common Wealth, talks to Nick Ahad about Fast Fast Slow - a community-led catwalk experience which explores throwaway fashion and our relationship with clothes. Presenter: Nick Ahad Producer: Kevin Core

Episode 123: Architectural Education: Evolving Curriculum & Alternative PathsHow has the MIT School of Architecture and Planning driven innovation and influenced alternative career paths for students in the field? In response to their listeners' curiosity on bridging pathways into alternative careers, co-hosts Evelyn Lee and Je'Nen Chastain interview Nicholas de Monchaux, Professor and Head of Architecture at MIT, to discuss the evolution of curriculum at the oldest architecture program in the US. They'll discuss potential career paths students can take and how Nick created a career that blends architecture, teaching, writing — and even installation work.Learn about the history of MIT and how its architectural program is immersed in both research and entrepreneurial culture, as well as how the history and culture of MIT has influenced graduating students' ideas of architecture in the world. In this conversation, Nick illustrates how MIT enhances its students' experience, the types of students MIT attracts, and how moving through unexpected spaces allowed Nick to redefine the possibilities of his career and carve a path of his own.To wrap up the episode, Nick shares advice to students about fusing curiosity and passion into new career pathways as faculty strive to expand the profession, its impact, and who has access to it — all in an effort to find other ways to speak with and to the world.“The architecture of our world is much bigger than bricks, although bricks are very, very important. I'm interested in that largest meaning of architecture, both as a sense of what we describe architecture as being — which extends far beyond buildings both bigger than them and much smaller than them — and also extends far beyond the traditional notion of practice as well.”Tune in next week to hear a conversation with Evelyn and Je'Nen as they discuss the upcoming Mental Health in Architecture Summit.Guest:Nicholas de Monchaux is Professor and Head of Architecture at MIT, as well as a partner in the architecture practice modem. He is the author of Spacesuit: Fashioning Apollo (MIT Press, 2011), an architectural and urban history of the Apollo Spacesuit, winner of the Eugene Emme award from the American Astronautical Society and shortlisted for the Art Book Prize, as well as Local Code: 3,659 Proposals about Data, Design, and the Nature of Cities (Princeton Architectural Press, Fall 2016). His design work has been exhibited widely, including at the Biennial of the Americas, the Venice Architecture Biennale, The Lisbon Architecture Triennial, SFMOMA, the Yerba Buena Center for the Arts, the Storefront for Art and Architecture and the Museum of Contemporary Art in Chicago. He is a Fellow of the American Academy in Rome. Until 2019, he was Craigslist Distinguished Professor of New Media and Professor of Architecture and Urban Design at UC Berkeley.

As a producer, Lamin Fofana makes ambient music that makes you think. His painterly compositions may be beatless, but they're full of movement, expanding and contracting from modulations and shifting frequencies to create a sense of infinite vastness. This immensity of sound creates a cerebral mood, allowing the Sierra Leone-born talent to explore sociocultural issues close to his heart, like the geographies of the African diaspora and what he calls Western rationality in music. He translates this heavy subject matter into textural sound using narrative structure, field recordings and archival material. The final product could be an album or an audio-based installation. Rooted in themes of identity and belonging, his exhibitions seek to disorient the senses and have been shown around Europe, including the Biennial in Venice and Liverpool. On his RA Podcast, the New York-based artist presents an all-original mix of loopy techno that mirrors the dynamism of his ambient productions. Laced with acid and pulsing synths, these cuts are faster paced and geared for dance floors, but they share the atmospheric touch of his earlier work. Based on the interview below, it seems like we'll be seeing more of this side of him in the year ahead. @laminfofana Read more at https://ra.co/podcast/892