Podcast appearances and mentions of Bill Viola

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

It is our extreme privilege to have Sensei Bill Viola Jr. and Sensei Rocky Whatule on the show! Bill Sensei is the owner of the upcoming Kumite Classic Tournament and Viola Karate (PA), a champion karateka, author, and namesake of Sensei Viola Sr., one of the Godfathers of modern MMA. Rocky Sensei is the coordinator of the Kumite Classic and owner of Zanshin Shotokan (CA), a stand-up comic, and accomplished competitor in his own right. The legacy these gentlemen are building with the Kumite is one to behold, and we are honored they've allowed us to be the shield-bearers for SMA within that legacy. Thanks on top of thanks to Bill Sensei & Rocky Sensei, and thanks forever to all of you who subscribe and share! Register for UNLIMITED Saber Martial Arts divisions for ONE LOW PRICE using the code "SMA100" at checkout and JOIN US in Columbus, OH on February 28th and March 1st, 2025 for the 2025 Kumite Classic/Arnold Sports Festival!Read about the Kumite Classic's legacy in this recent article from Black Belt Magazine! Thanks for the SMA shoutout, Sensei Viola!Official Site of The Arnold Schwarzenegger Sports FestivalTrain & Fight in an Official SMA "Duelist" Jersey!Join Saber Martial Arts on Patreon!The Official Home of Saber Martial Arts!Follow our Instagram!Subscribe on YouTube!

Autore e attore, ma anche artista: anzi “artrista”, come si definisce lui. Alessandro Bergonzoni, nato a Bologna nel 1958, laureato in legge, ha al suo attivo 15 spettacoli teatrali e sei libri. Ma dal 2005 ha iniziato anche un percorso artistico, esponendo i suoi lavori in gallerie e musei: nel 2011 mostra personale alla Cittadellarte – Fondazione Pistoletto di Biella dal titolo “Grembi: soglie dell'inconcepibile” e nello stesso anno, “BonOmnia 2006 rivisitata”, collettiva a cura di Philippe Daverio presso Palazzo Fava a Bologna. Nel 2012 partecipa alla collettiva “Data on imperfection”, a cura di Martina Cavallarin, alla Factory Art a Berlino; nel 2015 espone alla Pinacoteca Nazionale di Bologna, due anni dopo è presente alla Biennale e alle Gallerie dell'Accademia di Venezia, e nel 2018 nella Sala delle Maestà degli Uffizi all'interno delle manifestazioni dell'Estate Fiorentina. La sua attività di artista resta tuttora poco conosciuta. E per scoprire Bergonzoni artista lo abbiamo incontrato a Milano, dove alla Fondazione Mudima di arte contemporanea i lavori di Bergonzoni sono stati accostati all'opera di Bill Viola. L'occasione per una conversazione appassionata sui rapporti tra scrittura e immagine, sul ruolo dell'arte e dell'artista in una società che sembra aver perso alcuni fondamentali valori. In Laser incontro con l'artrista Bergonzoni.

This is the first of two episodes in which host Dr Pasquale Iannone and guests discuss Film Phenomenologies, a ground-breaking collection of essays from Edinburgh University Press which explores work by filmmakers such as Céline Sciamma, Agnès Varda, Bill Viola, Alex Garland and Barry Jenkins through a phenomenological lens.In this first episode, Pasquale is joined by the collection's editor Dr Kelli Fuery (Professor of Creative and Cultural Industries at Chapman University, California). Kelli discusses her interest in feminist film-phenomenology, provides an overview of all 13 chapters and then takes a closer look at her own piece - on Agnès Varda's feminist musical One Sings, The Other Doesn't (1977).The next episode of Edinburgh Film Podcast (EFP 50) includes conversations with Professor Lucy Bolton and Dr David Sorfa, who discuss their respective chapters.

El 'Mundo subatómico' de Fermín Solís es una nueva saga de cómic infantil y juvenil del autor de 'Buñuel en el laberinto de las tortugas', ganador de un Premio Goya. Además le preguntamos por su reinterpretación del mito de 'Medea', que primero fue obra de teatro y ahora se ha presentado como cortometraje en el Festival de Teatro de Mérida. Y sobre el cómic de Buñuel que será el primer paso para una segunda parte de su película. Con Mery Cuesta recordamos a Bill Viola, creador de videoarte y medios audiovisuales, que fallecía a los 73 años en Long Beach (California) después de una larga enfermedad.Vamos al Festival de Peralada para ver la exposición de Pedro Almodóvar donde se reúnen fotografías y bodegones del cineasta manchego, quien además es el autor del cartel de este año. Pasamos por la exposición sobre Antoni Tàpies que comisaria Manuel Borja-Villel, en el museo que lleva el nombre del artista, para celebrar el centenario de Tàpies. Y nos vamos con la Pequeteca de Leticia Audibert y 'Troti en busca del Sol' que firma Begoña Oro. Escuchar audio

Birçok kişi ilk etapta eleştirse de sanat her zaman teknolojik gelişmeleri yakından takip eder. Bugün klasik sayılan eserlerin de dönemin son teknolojik gelişmeleri kullanılarak ortaya çıktığını sanatla yakından ilgilenmeyenler bilmezler. Günümüzde dijital sanat, özellikle de yapay zekâ kullanılarak oluşturulan sanat eseri bir çok kişi tarafından temelden eleştirilirken bu hususun hep göz ardı edildiğini düşünüyorum. Sanat teknolojiyle iç içedir çünkü sanat yenilik peşindedir. Yeni olanı takip eder. Bugün yaşadığımız dijital devrimin kökleri ve dijital sanat dediğimiz hareket 60lı, 70li yıllara kadar götürülebilir. Çünkü Batı'da bu tarihlerde bilgisayarlar yavaş yavaş yaygınlaşmaya başladı. Bunun farkına varan sanatçılar da bu alanın ilk örneklerini verdiler. Sıklıkla eleştirilen bir başka husus da video sanatına yöneltildi. Resim varken bu tarz bir üretimin olmadığı iddia edildi. Bu akımın en önemli isimlerinden ve hatta kurucusu olarak Koreli Nam Jun Paik kabul edilir. Paik'in üretimlerini görüp hayran kalan isimlerden biri de Amerikalı Bill Viola'dır. 2019 yılında Borucan Contemporary'de kapsamlı bir solo sergisi açılan Bill Viola geçtiğimiz günlerde hayatını kaybetti. Öncü bir sanatçıydı. Video sanatını bugün artık yeni medya sanatı dediğimiz alana taşınmasında büyü katkısı oldu. Viola'nın eserlerinde duygular, insan deneyimleri, doğaüstü ve bilinç altı gibi dünyanın her yerinde geçerli olabilen uluslararası konular sıklıkla yer alır. Viola eserlerinde yavaş çekim ve görüntü manipülasyonuna sıklıkla yer verir. Viola kariyeri boyunca Zen Budizmi, Hristiyan mistisizmi ve İslam tasavvufundan ilhamlar alarak eserler üretti. Benzer şekilde Ortaçağ ve rönesans sanatındaki bazı estetik yaklaşımları eserlerine aktardı. Bu dönemlerde dini resimler ya kamuya açık kilise veya şapeller için yapılıyordu ya da kişilere özel üretiliyordu. İşte Viola bu kişilere özel üretimin estetik yaklaşımını eserlerine aktardı. Eserlerinde dülaist bir yaklaşım benimsedi. Yani iyi varsa kötü de olmalı, şık varsa karanlık da olmalı, yaşam varsa ölüm de olmalı. Bu yaklaşımı eserlerinde baskın olarak görmek mümkündü. Bu bağlamda eserlerini kavramsal ve görsel olarak iki ana kategoride değerlendirmek de mümkün. Hatta bazı eserlerinde bu ikisinin birleşimi de yer almakta.

Bill Viola was considered one of the most important artist of his generation. Was an American video artist whose artistic expression dependen upon electronic, sound and image technology in new media.

America is experiencing the worst spate of domestic violence since the 1960s and 1970s. July 13's assassination attempt against former President Trump should be a wakeup call. Judge Aileen Cannon dismissed the case against former President Trump over his handling of classified documents, saying the special counsel's appointment violated the Constitution. What’s next? Long Beach-based video artist Bill Viola died this past Friday at age 73 after being diagnosed with early-onset Alzheimer’s disease in 2012. Musician Reggie Andrews mentored hundreds of students at LA’s Locke High School, some of whom became stars, like Thundercat and Kamasi Washington. Andrews is the focus of the latest “Lost Notes” episode. 

As Disco makes its debut at the Proms, conductor Daniel Bartholomew-Poyser, who will be leading the BBC Concert Orchestra at Saturday's Everybody Dance! The Sound of Disco Prom, talks about the link between the music which dominated the 1970s pop charts and the orchestral world.Today the Welsh First Minister, Vaughan Gething and four of his cabinet ministers including the Culture Secretary resigned. Jane Henderson, President of The Federation of Museums and Art Galleries of Wales, and Emma Schofield, Editor of Wales Arts Review, discuss the current arts funding crisis in Wales and the impact of the political upheaval.Sweet Dreams is a new immersive installation at Aviva Studios in Manchester which explores our relationship with fast food. It's been created by cutting edge arts collective Marshmallow Laser Feast, and the group's co-founder and director, Robin McNicholas, talks to Nick about fusing theatre, gaming, and video art to tell new stories.Pioneering artist Bill Viola, who was known for his distinctive slow motion videos which reflected on life's biggest questions, is remembered by Marshmallow Laser Feast director, Robin McNicholas. We also delve into the Front Row archives to hear Viola himself talk about how a "miracle" inspired his installation in St Paul's Cathedral. Presenter: Nick Ahad Producer: Ekene Akalawu

(00:00:45) Er stellte universelle Fragen und verband sie mit elektronischer Musik.  (00:04:27) Sommerserie Landpartie: Der Ranft, ein Pilgerort im Zentrum der Schweiz. Über wildem Wasser lädt er zu Frieden ein. (00:09:56) Kleine Strichmännchen und ein grosses Schwein. Das zeigt das älteste bekannte gegenständliche Kunstwerk der Welt in Sulawesi.  (00:15:04) Silvia Bächli gehört zu den wichtigsten zeitgenössischen Künstlerinnen der Schweiz. Nun sind Werke von ihr in Winterthur zu sehen.  (00:19:30) Eher «Knutschkugel» oder heisser Schlitten? Wie ist unser Verhältnis zum Auto?  (00:23:53) In Zürich hat das Welt-Jugendmusik-Festival 2024 stattgefunden: Mitmachen war wichtiger als Gewinnen. 

Herzogenrath, Wulf www.deutschlandfunkkultur.de, Fazit

Probst, Carsten www.deutschlandfunk.de, Kultur heute

Su aceptación para la Historia del Arte es complicada: la arquitectura de museos y salas no está concebida para la experiencia de escucha. Comprende instalación sonora, escultura interactiva, poesía experimental, fonografía, y sobre todo, la prevalencia de la escucha y el sonido sobre el hecho artístico._____Has escuchadoDedicatorias. Infinito Infinity (19/5/2013-10/11/2014) / José Iges. María de Alvear World Edition (2016)El ojo del silencio / José Antonio Sarmiento. [Grabación de la acción e instalación sonora para 100 radio transistores]. Centro de Creación Experimental (2000)Guitar Drag / Christian Marclay. [Banda sonora del vídeo Guitar Drag, 2000. Grabado en San Antonio, Texas, el 18 de noviembre de 1999]. Neon (2006)Irregularity / Homogeneity: Emerging from the Perturbation / Minoru Sato. [Instalación sonora]. Senufo Editions (2012)Magnetic Flights (2007) / Christina Kubisch. [Instalación sonora]. Important Records (2021)Motores / Isidoro Valcárcel Medina. [Obra sonora]. Ediciones sonoras experimentales; Radio Fontana Mix (1973)Small Music. Musik für einen fast leeren Raum / Music for an almost Empty Space (Edition VIII) / Rolf Julius. [Instalación sonora]. Autoedición (1998)_____Selección bibliográficaADEN, Maike (ed.), Disonata: arte en sonido hasta 1980. Museo Nacional Centro de Arte Reina Sofía, 2020ÁLVAREZ-FERNÁNDEZ, Miguel, “Panorama del arte sonoro y la música experimental en la península ibérica”. En: Experimentaclub Limbo: proyecto iberoamericano de intercambio artístico y cooperación cultural. Editado por Jorge Haro y Javier Piñango. Experimentaclub LIMbO (2010), pp. 54-64—, “Sonido, musicología, archivo: tres genealogías (hacia un catálogo de arte sonoro)”. Boletín DM, año 16 (2012), pp. 62-69*ARIZA, Javier, Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX. Universidad de Castilla-La Mancha, 2003*ASHER, Michael, Writings 1973-1983 on Works 1969-1979. Editado por Benjamin H. D. Buchloh. Press of the Nova Scotia College of Art and Design; The Museum of Contemporary Art, 1983*BARBER, Llorenç y Monserrat Palacios, La mosca tras la oreja. De la música experimental al arte sonoro en España. Fundación Autor, 2009*COSTA, José Manuel (ed.), ARTe SONoro. La Casa Encendida, 2010*CUYÁS, José Díaz, Carmen Pardo y Esteban Pujals (eds.), Encuentros de Pamplona 1972: fin de fiesta del arte experimental. Museo Nacional Centro de Arte Reina Sofía, 2009*DE LA MOTTE-HABER, Helga, Matthias Osterwold y Georg Weckwerth (eds.), Sonambiente Berlin 2006. Kehrer Verlag, 2006DEWEY, Fred et al. Brandon Labelle: Overheard and Interrupted. Les Presses du Réel, 2016*ESPEJO, José Luis (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente. Exit Publicaciones, 2019*ESPEJO, José Luis y Óscar Martín (eds.), Ursonate: revista de arte sonoro y culturas aurales (2011-)*ETIENNE, Yvan, Bertrand Gauguet y Matthieu Saladin (eds.), “De l'espace sonore = From Sound Space”. TACET: Sound in the Arts, n.º 3 (2014)FONTÁN DEL JUNCO, Manuel, José Iges y José Luis Maire (eds.), Escuchar con los ojos. Arte sonoro en España, 1961-2016. Fundación Juan March, 2016*GARCÍA FERNÁNDEZ, Isaac Diego, Conversaciones en Nueva York: sobre arte sonoro, música experimental e identidad latina. EdictOràlia, 2020*GRANT, Jane, John Matthias y David Prior (eds.), The Oxford Handbook of Sound Art. Oxford University Press, 2021*HEGARTY, Paul, Noise/Music: A History. Continuum, 2007*—, Rumour and Radiation: Sound in Video Art. Bloomsbury, 2015*IGES, José et al., MASE. Historia y presencia del Arte Sonoro en España. Bandaàparte Editores, 2015*—, “Dimensión sonora de la escritura”. Arte y Parte, n.º 117 (2015), pp. 8-27*—, Conferencias sobre arte sonoro. Árdora Ediciones, 2017*JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Aperturas y derivas del arte sonoro”. Laocoonte: revista de estética y teoría de las artes, n.º 8 (2021), pp. 49-56JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts After John Cage. Zone Books, 2008*JOY, Jérôme y Peter Sinclair, Locus Sonus: 10 ans d'expérimentations en art sonore. Le Mot et le Reste, 2015*KAHN, Douglas, Noise Water Meat. A History of Sound in the Arts. The MIT Press, 1999*KELLY, Caleb (ed.), Sound. Documents of Contemporary Art. The MIT Press, 2011*KIM-COHEN, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Continuum, 2009*KOTZ, Liz, Words to Be Looked At. Language in 1960s Art. The MIT Press, 2007*LABELLE, Brandon, Background Noise. Perspectives on Sound Art. Bloomsbury, 2006*—, “Short Circuit: Sound Art and The Museum”. Journal BOL, n.º 6 (2007), pp. 155-175—, Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001*LICHT, Alan, Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007*MADERUELO, Javier, “The Book of i's, de José Luis Castillejo”. Arte y Parte, n.º 108 (2013), pp. 98-115*MAIRE, José Luis, “Documentar el sonido: consideraciones sobre la documentación musical, la música experimental y el arte sonoro”. Boletín DM, año 16 (2012), pp. 73-84*—, “Espacio resonante e instalación sonora: Robert Morris, Michael Asher, Bill Viola, Terry Fox”. Arte y Parte, n.º 117 (2015), pp. 64-85*MOLINA ALARCÓN, Miguel, “El arte sonoro”. Itamar: revista de investigación musical: territorios para el arte, n.º 1 (2008), pp. 213-234*MUNÁRRIZ, Jaime (ed.), Encuentros sonoros: música experimental y arte sonoro. Facultad de Bellas Artes, UCM, 2021*NEUHAUS, Max, Max Neuhaus. Sound Works. Cantz Verlag, 1994*PARDO, Carmen, “Avatares de la ciudad musical”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 64-78*ROCHA ITURBIDE, Manuel, “La curaduría, el arte sonoro y la intermedia en México”. Itamar: revista de investigación musical: territorios del arte, n.º 5 (2019), pp. 162-186*SALADIN, Matthieu (ed.), “Sounds of Utopia = Sonorités de l'utopie”. TACET: Sound in the arts, n.º 4 (2015)*SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2010*SEIFFARTH, Carsten, Carsten Stabenow y Golo Föllmer (eds.). Sound Exchange: Experimentelle Musikkulturen in Mittelosteuropa = Experimental Music Cultures in Central and Eastern Europe. Pfau, 2012SOLOMOS, Makis, Exploring the Ecologies of Music and Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms. Routledge, 2023*TOOP, David, Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Goldsmiths Press, 2019*VOEGELIN, Salomé, Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum, 2010*WANG, Jing, Half Sound, Half Philosophy: Aesthetics...

Le Musée de La Boverie (Liège) consacre, jusqu'au 28/4, une exposition monographique à l'artiste américain Bill Viola. Figure majeure de l'art contemporain, Bill Viola est considéré comme l'un des pères de l'art vidéo. Techniquement éblouissantes, les œuvres de Bill Viola sont à la fois grandioses et intimistes, complexes et étonnamment accessibles, spectaculaires et profondément humaines. Les sources d'inspiration de ses installations sont multiples, ancrées dans des traditions artistiques occidentales et orientales et diverses philosophies spirituelles : bouddhistes, soufies et chrétiennes. Et toutes sont traversées par un humanisme au caractère universel. Entre terre et ciel : La Ville de Charleroi a récemment créé un jardin mémoriel, à Marcinelle, en l'honneur de Julie, Mélissa, Sabine, Laetitia, An et Eefje, les victimes de Marc Dutroux. Les architectes de RESERVOIR A, les architectes paysagistes de Carbonifère, l'artiste Christophe Terlinden et la Cellule Charleroi Bouwmeester, ont placé la réhabilitation du quartier et de ses habitants au premier plan. Dans ce lieu où avaient été cachées les petites filles, cerné par les bruits de la route, par le passage fréquent des trains, une forme de tumulus a été implanté. Par ce jardin bordé d'un haut mur de briques blanches, « l'ineffable » tente de s'exprimer. L'espace reprend vie, entre terre et ciel, le jardin laisse place à la couleur, la douceur et la lumière. Réalisation Christine Van Acker Merci pour votre écoute Par Ouïe-Dire c'est également en direct tous les jours de la semaine de 22h à 23h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Par Ouïe-Dire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/272 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Milano ci stupisce ancora una volta con un palinsesto di mostre davvero interessanti. A Palazzo Reale la mostra di Bill Viola, celebrità indiscussa della video art, ferma il tempo e ti porta in una dimensione in cui ogni attimo conta. In esposizione alcune delle opere più significative della carriera dell'artista. Al Museo Diocesano arriva una delle opere più famose di Masaccio, genio indiscusso del 400 italiano. La crocifissione dell'artista toscano è secondo noi un'occasione per visitare questo interessante museo. Infine qualche anticipazione sulla mostra che si terrà al Mudec dal 22 marzo sui capolavori del museo Boijmans. Dalì, Man Ray, Magritte, un focus sul surrealismo che non si ha l'occasione di vedere spesso in Italia.

Valentino Catricalà"Bill Viola"Mostra al Palazzo Reale di Milanofino al 25 giugno 2023Per la prima volta a Milano, un'imperdibile mostra dedicata al genio della videoarte: Bill Viola.Fino al 25 giugno 2023 Palazzo Reale di Milano presenta un'importante esposizione dedicata a quello che è considerato già dagli anni Settanta il maestro indiscusso della videoarte: Bill Viola.La mostra Bill Viola, promossa dal Comune di Milano-Cultura, è prodotta e organizzata da Palazzo Reale e Arthemisia con la collaborazione del Bill Viola Studio e ripercorre l'intera carriera artistica di Viola, presentando al pubblico quindici capolavori all'interno delle sale di Palazzo Reale. Nato a New York nel 1951, di origini italo-americane, Bill Viola è riconosciuto a livello internazionale come l'artista che, attraverso la sperimentazione della videoarte, ha realizzato opere uniche, considerate a tutti gli effetti dei capolavori dell'arte contemporanea. Partendo dallo studio della musica elettronica, dalle potenzialità della performance art e dai film sperimentali, da oltre 40 anni Viola realizza lavori che, attraverso un nuovo linguaggio artistico, si rivolgono costantemente alla vita, alla morte e al viaggio intermedio, per poter indagare una più profonda conoscenza dell'uomo e il suo rapporto con l'ambiente, le influenze della filosofia orientale e occidentale, l'importanza iconica del mondo naturale e molte altre tematiche. L'esperienza del viaggio, per Viola, è fondamentale nello sviluppo del suo lavoro. Prendendo spunto dalle realtà che incontra nei suoi viaggi in giro per il mondo con la moglie Kira Perov, tra gli anni Settanta e Ottanta, Viola delinea il suo percorso artistico e giunge alla creazione di opere che avvolgono l'osservatore con composizioni e suoni, cercando di rappresentare le infinite possibilità della psiche e dell'animo umano. Tra questi, fondamentali tappe sono i 18 mesi trascorsi a Firenze, dove incontra per la prima volta l'arte rinascimentale. Nel 1997, durante un progetto di ricerca del Getty, ha continuato a esplorare l'iconografia cristiana antica, con particolare attenzione all'immaginario medievale, rinascimentale e manierista in un dialogo continuo con pale d'altare, polittici e dipinti votivi di artisti antichi. Viola ha poi proposto una nuova composizione dell'immagine attraverso la costruzione di elaborate scene teatrali ispirate alla tradizione storico-artistica occidentale, cinematografica nel vero senso della parola, con ambientazioni, attori, scenografie, disegno luci, fotografia – e anche un regista. Fuoco e acqua – elementi simbolici per il passaggio dalla vita alla morte, così come da questa vita all'altra; il mondo digitale; un mondo visivo immateriale; un'esistenza dipendente da impulsi di elettricità: tutto richiama alla mente la fragilità e la fugacità della natura umana.La mostra milanese offre ai visitatori un percorso in cui ritrovarsi a contemplare le profonde questioni che Bill esplora con immagini al rallentatore in cui luce, colore e suono possono creare momenti di profonda introspezione. Emozioni, meditazioni e passioni possono emergere dai suoi video, accompagnando lo spettatore in un viaggio interiore. Questa dimensione emerge, ad esempio, nella serie dei suoi video Passions (opere di chiaro richiamo al Rinascimento italiano) che al rallentatore catturano ed estendono dettagli di emozioni umane impossibili da vedere in tempo reale, o in Ocean Without a Shore (2007), opera nata a Venezia nella chiesetta sconsacrata di San Gallo che descrive una soglia metaforica del momento di transizione in cui la vita diventa morte. Insieme a questi, anche l'incontro virtuale tra uomo e donna in The Veiling (1995); il diluvio improvviso e terrificante al centro di The Raft (maggio 2004), installazione che ricorda l'importanza della collaborazione umana per poter sopravvivere a catastrofi naturali o crisi inaspettate; la serie Martyrs (2014) nella coraggiosa lotta di quattro protagonisti nella morsa dei quattro elementi naturali, man mano che riescono ad accettare il loro inevitabile destino. E ancora il video-dittico di proiezioni su lastre di granito nero Man Searching for Immortality/Woman Searching for Eternity (2013) e opere, parte della serie Tristan (2005), che raffigurano l'intensità visiva e uditiva della trasfigurazione del fuoco e dell'acqua accanto a opere raramente esposte in territorio italiano come The Quintet of the Silent (2000), permettendo così al grande pubblico di godere di vari contenuti esclusivi. Con la sapiente cura di Kira Perov, moglie dell'artista e direttore esecutivo del Bill Viola Studio, opere che coprono trent'anni di lavoro sono esposte attraverso un'accurata selezione di lavori, andando a definire un evento unico per concedersi la possibilità di riflettere sulla vita, intraprendere il proprio viaggio interiore e immergersi in un mondo alternativo, del tutto diverso da quello che si è lasciato all'ingresso. La mostra è accompagnata da un catalogo, edito da Skira, a cura di Valentino Catricalà e Kira Perov, che non si presenta solamente come documentazione della mostra, ma vuole rappresentare un vero e proprio materiale di studio per future generazioni. L'evento vede come media partner Urban Vision e come mobility partner Frecciarossa Treno Ufficiale. La mostra è parte di Milano Art Week (11 – 16 aprile 2023), la manifestazione diffusa coordinata dall'Assessorato alla Cultura del Comune di Milano, in collaborazione con miart, che mette in rete le principali istituzioni pubbliche e le fondazioni private della città che si occupano di arte moderna e contemporanea, con una programmazione dedicata di mostre e attività.Credit Photo:Bill Viola Emergence, 2002 Video installation Color high-definition video rear projection on screenmounted on wall in dark room Projected image size: 213×213 cm11:40 minutes Performers: Weba Garretson, John Hay, Sarah Steben Photo: Kira Perov © Bill Viola StudioIL 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

- Dichiarazioni di pace: artisti contro guerre e prevaricazioni al Castello di Legnano - “Arte e diritti umani”: la seconda edizione di progetto Genesi in Triennale - “NOW/ HERE”: Gian Maria Tosatti all' Hangar Bicocca invita a riflettere su una società in bilico tra catastrofe ed evoluzione - BILL VIOLA: grande maestro della videoarte e la meditazione su vita morte tra Rinascimento e Oriente e oggi abbiamo un gradito ospite in studio: Alberto Gandolfo, fotografo, col suo progetto: QUELLO CHE RESTA

Hoy me acompaña Gemma Avinyó, Directora Adjunta de la Fundació Sorigué, para hablar de mecenazgo.  Gemma nos explica la labor de la Fundació Sorigué, el desarrollo de proyectos propios y colaborativos y cómo dan apoyo a la producción contemporánea. Hablamos sobre la importancia del mecenazgo y comentamos el rol que juegan las colecciones corporativas y las fundaciones en el ecosistema del arte. Gemma destaca la importancia de la ciudad de Lleida como sede de la Fundación y comentamos la necesidad de deslocalizar la oferta cultural de las grandes ciudades y circuitos habituales. Por último, nos adentramos en el innovador proyecto PLANTA, ubicado en un complejo industrial en Balaguer (Lleida),  que presenta obras site specific  de reconocidos artistas contemporáneos como William Kentridge, Bill Viola, Anselm Kiefer, Juan Muñoz y Chiharu Shiota. La Fundació Sorigué se constituye en 1985 con la voluntad de retorno del grupo empresarial Sorigué a la sociedad. La colección de arte contemporáneo es considerada una de las más importantes de España y en el 2015  fue galardonada con el premio Arte y Mecenazgo, impulsado por la fundación “La Caixa” y el premio GAC al Coleccionismo en 2017. Gemma Avinyó es Directora Adjunta de la Fundación Sorigué. Es miembro de la International Association of Collections of Contemporary Art (IACCCA), donde lidera el grupo de trabajo Art Commissions. Licenciada en Historiadora del Arte y máster en Gestión del Patrimonio Cultural por la Universidad de Lleida. Realiza su tesis doctoral en el Departamento de Historia del Arte de la Universidad de Barcelona. Ha sido profesora en el Departamento de Historia del Arte de la Universidad de Lleida, donde ha impartido materias relacionadas con el coleccionismo artístico y la gestión.

Ignatowitsch, Julianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Neil Koenig, ex BBC producer and current ideaXme board advisor and guest interviewer, interviews curator Marcello Dantas. Are humans the only creatures who can appreciate art? Perhaps not, says Marcello Dantas. His latest project aims to create “art that's meaningful to other species”, such as birds, bees, or bats. Mr Dantas, a curator who has worked with many internationally known artists, is no stranger to innovative ventures. In 2021, he was appointed curator of the SFER IK Museion, located in the jungle near Tulum, Mexico - and this might be his most unusual undertaking so far. SFER IK, described as “an interdisciplinary arts centre”, is an unusual structure built largely from natural materials. It's the creation of the architect and social entrepreneur Roth, who's also the founder of the nearby Azulik hotel. Although construction was complete by late 2019, the pandemic meant activity had to be paused. The museum is now due to relaunch in March 2022, with a show by Japanese artist Makoto Azuma, known for pioneering work with plants and flowers. The centrepiece will be a 15m high “artificial tree, made of plants” explains Mr Dantas, which will have “a common nutrient body that will feed this amazing biodiversity that will exist inside the museum.” A key goal will be to try to create what he calls “bio-agreeable” art - work in tune with its location, in this case, in the middle of a jungle in which humans are a distinct minority. It's also one example of the kind of work that Marcello Dantas finds particularly exciting: pieces that are integrated with their setting. Another is an exhibit which will appear soon at SFER IK, by Mexican artist Hector Zamora. This will involve the use of thousands of balls, moving around inside the gallery: “it will be like you are inside of a giant pinball machine' explains Mr Dantas. “Think about what's the most prohibited thing in a museum, apart from setting it on fire - playing football perhaps? But what if the museum plays football with you?” For Marcello Dantas, works like these point towards an exciting future for art, and away from the current approach of the modern art world, which he finds a little dispiriting: “you see a painting hanging on a white wall in Hong Kong, and then you see the same painting on a white wall in New York”. For him this model is sterile: “we want to go from sterility to fertility”. In this ideaXme interview, Marcello Dantas talks to producer, journalist and ideaXme board adviser Neil Koenig, about his career in the world of art, his plans for the SFER IK museum, and how he sees the future of art developing. Marcello Dantas is an award-winning curator and artistic director specialising in interdisciplinary practices both in and outside Brazil. He was the name behind the conception of distinct museums and cultural institutions across South America, such as the Museum of Portuguese Language; Japan House Sao Paulo and the Museum of Nature in Brazil; Museo del Caribe and Museo del Carnaval in Colombia; and the Telecommunications Museum in Argentina. In 2021, he was appointed curator of the SFER IK Museion in Tulum, Mexico. He has also curated some of the most popular solo shows of the last decade, including Ai Weiwei's Raiz, the largest exhibition ever staged by the artist in Brazil in 2018. Marcello Dantas has also curated several solo exhibitions with some of the most influential contemporary artists of today, including Anish Kapoor, Laurie Anderson, Erwin Wurm, Michelangelo Pistoletto, Jenny Holzer, Rebecca Horn, Bill Viola and many more. Since 2014, he has become part of the curatorial board at the Vancouver Biennale, and in 2020, he was appointed curator of the 13th Biennial Mercosul that will take place in Brazil in 2022. Interview links https://www.sferik.art https://br.linkedin.com/in/marcello-d... https://twitter.com/marcellodantas https://roth-architecture.com Neil https://www.linkedin.com/in/neilkoenig/ https://twitter.com/neilkoenig?lang=en ideaXme ideaXme https://radioideaxme.com ideaXme is a global network - podcast on 12 platforms, 40 countries, mentor programme and creator series. More soon. Get involved: https://radioideaxme.com/get-involved/ Mission: To share knowledge of the future. Our passion: Rich Connectedness™!

Iedereen droomt wel eens over een verdrinkingsdood. Bill Viola ervaarde daarentegen een echte verdrinking als een droom. Gelukkig overleefde hij dit en maakte het kunstwerk The Dreamers. Al kijkend naar het kunstwerk, hield Dylan het amper droog.Geproduceerd door: Tonny MediaZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

This week on the show our guest is the one and only Barbara London. Since she began her career at MoMA in 1973 and collected the museum's first video art in 1975, Barbara has had an immeasurable impact on the field of time-based media art – from her 1979 exhibition “Video from Tokyo to Fukui and Kyoto” to her phenomenal new book “Video art: the first fifty years”. Listen in on our conversation to hear Barbara's story, and her relationships with artists such as Laurie Anderson, Joan Jonas, Nam June Paik, Teiji Furuhashi, Bill Viola, and more, that have formed the bedrock of her prolific curatorial practice.Links from the conversation with Barbara> Barbara's website: https://www.barbaralondon.net> Video/Art: The First Fifty Years: https://www.phaidon.com/store/art/video-art-the-first-fifty-years-9780714877594Join the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Today for the second episode of XTer Asia season, Dispatch is going to talk to Barcelona-based art patron Han Nefkens. Despite having a lot of mutual friends through our cross-continent network, this is the first time our host Arlette meets Han. The conversation will anchor to Han Nefkens' close engagement with Asia at large. We start from the new initiative of Han Nefken's foundation with major institutions across Asia, to Han's very first activities in the continent at the AIDS-awareness event in Bangkok, and the idea of collecting without artwork possession. Han Nefkens is a writer, art collector, and patron of the arts. His collection of contemporary art consists of photographs, videos, installations, and paintings by Jeff Wall, Roni Horn, Bill Viola, Shirin Neshat, Felix Gonzalez-Torres, and others...

Today for the second episode of XTer Asia season, Dispatch is going to talk to Barcelona-based art patron Han Nefkens. Despite having a lot of mutual friends through our cross-continent network, this is the first time our host Arlette meets Han. The conversation will anchor to Han Nefkens' close engagement with Asia at large. We start from the new initiative of Han Nefken's foundation with major institutions across Asia, to Han's very first activities in the continent at the AIDS-awareness event in Bangkok, and the idea of collecting without artwork possession. Han Nefkens is a writer, art collector, and patron of the arts. His collection of contemporary art consists of photographs, videos, installations, and paintings by Jeff Wall, Roni Horn, Bill Viola, Shirin Neshat, Felix Gonzalez-Torres, and others...

Bill Viola on videotaiteen pioneeri, joka näyttää, miten taidevideoita pitää tehdä. Avoinna amosrex.fi

Not only is the artist and businesswoman Ope Lori an expert in the politics of looking and desire, but she gets turned on by her own work. In this durational interview, Oriana Fox asks Lori about the lessons learned from making work that addresses the intersections of race and gender, and about how that has impacted her life and career. In this meandering discussion they touch upon the impact of the media and its stereotypes; the limits of the tactic of reversal towards genuine inclusion; the importance of language; guilty pleasures; cross-identification; porn; and fighting the myth of the suffering artist. They also discuss the path Lori followed in founding her very own consulting and training business PILAA (Pre-Image Learning and Action). Through it, Lori puts the expertise gleaned from her practice-based research as an artist to work for the greater good. In this way, she follows the motto coined by Jack Halberstam in Gaga Feminism: “Know the game, be the game, play the game, change the game!” If you have ever questioned the wider use of art that addresses identity politics, then look no further than Ope Lori's trailblazing work. Oriana Fox is an artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show.Dr Ope Lori lives and works in London. She is an artist and the founder of the business PILAA (Pre-image Learning and Action) which specialises in creating inspirational visual work and training in the area of equality, diversity and inclusion. Previously, she taught at both Chelsea College of Arts and Leeds Arts University. She holds a PhD from the Transnational Art Identity and Nation Research Centre, UAL and is currently working on a book. A newly commissioned artwork by Lori will be on view in a group exhibition entitled “Care, Contagion, Community – Self & Other” at Autograph in Shoreditch opening in September 2021.  Additional artists mentioned in this episode: Sadie Lee, Marcia Michael, The Golden Brown Girls (aka Indrani Ashe, Shannon Tamara Lewis and Sara Umar), Fred Wilson, Bill Viola, Virginia NimarkohBooks mentioned in this episode: Darby English 1971: A Year in the Life of Colour; Mollie Godfrey and Vershawn Ashanti Young Neo-Passing: Performing Identity after Jim Crow;and Daniel Goleman Emotional Intelligence.Credits: Hosted, edited and produced by Oriana FoxPost-production mixing by Stacey HarveyThemesong written and performed by Paulette HumanbeingSpecial thanks to Katie Beeson, Janak Patel, Sven Olivier Van Damme and the Foxes and Hayeses. Would you like to see your name in the credits list? In a couple of short steps, you can make that happen by supporting this podcast via Patreon: https://www.patreon.com/orianafoxIf you're enjoying the series, please rate and review in your favourite podcast directories such as iTunes, Spotify or Podchaser. NB: You may need to sign in to rate and review.

St Paul's Cathedral is a place of worship and a tourist destination, but it's also a place to experience and enjoy art in many mediums from different time periods, created by an array of talented artists and craftspeople like Grinling Gibbons, Sir James Thornhill and Henry Moore, to name just a few. More recently, contemporary interventions from Yoko Ono, Rebecca Horn, Antony Gormley, Gerry Judah and Bill Viola have enriched the pattern of worship in the Cathedral. Discover the many facets to the art on display in St Paul's in this latest podcast episode. Produced and presented by Douglas Anderson. *Please note that as of June 2021, William Holman Hunt's ‘The Light of the World' painting is not on display due to ongoing building works in the North Transept. It will return for display in Spring 2022.

"Jesus is the great kintsugi master." "Something that's broken is already more valuable than when it's whole." "The imagination creates, through the fractures, a river of gold, a mountain of gold." Makoto Fujimura joins Miroslav Volf to discuss Art & Faith: A Theology of Making. Fujimura is a painter who practices the Japanese art of nihonga, or slow art. His abstract expressionist pieces are composed of fine minerals he grinds himself and paints onto several dozens of layers, which take time and close attention both to make and to appreciate.Mako and Miroslav discuss the theology and spirituality that inspires Mako's work, the creative act of God mirrored in the practice of art, the unique ways of seeing and being that artists offer the world, which is, in Mako's words "dangerously close to life and death." They reflect on the meaning of Christ's humanity and his wounds, the gratuity of God in both creation from nothing and the artistic response in the celebration of everything.Show NotesMakoto Fujimura's Art & Faith: A Theology of MakingIlluminated Bible by Makoto FujimuraMary, Martha, & LazarusGenesis Creation NarrativeArt follows in the footsteps of the creatorThe reasons for God's creationWhy would an all-sufficient God create anything?God as "a grand artist with no ego and no need to create."Communicating about art and theology outside the boundaries of the institutional churchReconciliation between art and faithGod's gratuitous creation doesn't need a utilitarian purposeCreating vs makingIn artistic creation, something new does seem to emerge"God is the only artist"The scandal of God's incarnation: In becoming incarnate, God's utter independence is flipped to utter dependence.Psalmist's cry to GodHow art breaks the ordinaryThe artist's way of seeing and beingSeeing as survivalSeeing with the eyes of your heart"Artists stay dangerously close to death and life"Getting beyond the rational way of seeingLetting the senses become part of our prayerWilliam James on conversion: everything becomes new for the convertedSeeing with a new frame of beautyFaith and the authenticity of seeing with the eyes of an artistEmily Dickenson on the "tender pioneer" of JesusHartmut Rosa on resonance—in modernity, the world becomes dead for us, and fails to speak with us, but we need a sense of resonanceKandinsky and Rothko—artists' intuitive sense of resonance that has escaped the church in the wake of mid-century destructionMary's wedding nard oil and the gratuitous cost of artThe non-utilitarian nature of artUsing precious materials in artTear jarsMiroslav's mother regularly weeping and crying: "I wonder why God gave us tears? Only humans are the animals who cry."Helmut Plessner's Laughing and Crying: Weeping as relinquishing self-possession and merging the self with the flesh (as opposed to reason/ratio or technique/techne)N.T. Wright—the greatest miracle is that Jesus chose to stay human.Jesus's remaining woundsCo-mingling our tears with Christ's tearsKintsugi and Japanese Slow ArtAccentuating the fracture"The imagination creates, through the fractures, a river of gold, a mountain of gold."This is the best example of new creation."What would happen to our scars? That's a question with no answer."Through his wounds, our wounds would look differentJesus is the great kintsugi master, leading a path of gold along the fractures of lifeThe permanence of scarsIs it possible to be in the good and be truly joyous?"God is not the source of beauty. God is beauty."Fundamental "new newness": So new that it evades understandingGoodness, truth, and beautyGod loved the world so much, it wasn't enough to merely admire it—he had to join it.What is a life worthy of our humanity?Fujimura's practice of art as an attempt to answer that question."Our lives as the artwork of God, especially as a collaborative community in the Body of Christ."About Makoto FujimuraMakoto Fujimura is a leading contemporary artist whose process driven, refractive “slow art” has been described by David Brooks of New York Times as “a small rebellion against the quickening of time”. Robert Kushner, in the mid 90's, written on Fujimura's art in Art in America this way: “The idea of forging a new kind of art, about hope, healing, redemption, refuge, while maintaining visual sophistication and intellectual integrity is a growing movement, one which finds Makoto Fujimura's work at the vanguard.”Fujimura's art has been featured widely in galleries and museums around the world, and is collected by notable collections including The Museum of Contemporary Art in Tokyo, The Huntington Library as well as Tikotin Museum in Israel. His art is represented by Artrue International in Asia and has been exhibited at various venues including Dillon Gallery, Waterfall Mansion, Morpeth Contemporary,  Sato Museum in Tokyo, Tokyo University of Fine Arts Museum, Bentley Gallery in Phoenix, Gallery Exit and Oxford House at Taikoo Place in Hong Kong, Vienna's Belvedere Museum, Shusaku Endo Museum in Nagasaki and Jundt Museum at Gonzaga University. He is one of the first artists to paint live on stage at New York City's legendary Carnegie Hall as part of an ongoing collaboration with composer and percussionist, Susie Ibarra.  Their collaborative album "Walking on Water" is released by Innova Records. As well as being a leading contemporary painter, Fujimura is also an arts advocate, writer, and speaker who is recognized worldwide as a cultural influencer. A Presidential appointee to the National Council on the Arts from 2003-2009, Fujimura served as an international advocate for the arts, speaking with decision makers and advising governmental policies on the arts. His book “Refractions” (NavPress) and “Culture Care” (IVPress) reflects many of his thesis on arts advocacy written during that time. His books have won numerous awards including the Aldersgate Prize for “Silence and Beauty” (IVPress). In 2014, the American Academy of Religion named Fujimura as its 2014 “Religion and the Arts” award recipient. This award is presented annually to professional artists who have made significant contributions to the relationship of art and religion, both for the academy and a broader public. Previous recipients of the award include Meredith Monk, Holland Cotter, Gary Snyder, Betye & Alison Saar and Bill Viola. Fujimura's highly anticipated book "Art+Faith: A Theology of Making" (Yale Press, with foreword by N.T. Wright, 2021) has been described by poet Christian Wiman as "a real tonic for our atomized time".Fujimura founded the International Arts Movement in 1992, now IAMCultureCare, which over sees Fujimura Institute. In 2011 the Fujimura Institute was established and launched the Four Qu4rtets, a collaboration between Fujimura, painter Bruce Herman, Duke theologian/pianist Jeremy Begbie, and Yale composer Christopher Theofanidis, based on T.S. Eliot's Four Quartets. The exhibition has travelled to Baylor, Duke, and Yale Universities, Cambridge University, Hiroshima City University and other institutions around the globe.Bucknell University honored him with the Outstanding Alumni Award in 2012.Fujimura is a recipient of four Doctor of Arts Honorary Degrees; from Belhaven University in 2011, Biola University in 2012, Cairn University in 2014 and Roanoke College, in February 2015. His Commencement addresses has received notable attention, being selected by NPR as one of the “Best Commencement Addresses Ever”. His recent 2019 Commencement Address at Judson University, was called “Kintsugi Generation”, laying out his cultural vision for the next generation.Production NotesThis podcast featured artist Makoto Fujimura and theologian Miroslav VolfEdited and Produced by Evan RosaHosted by Evan RosaProduction Assistance by Martin Chan & Nathan JowersA Production of the Yale Center for Faith & Culture at Yale Divinity School https://faith.yale.edu/aboutSupport For the Life of the World podcast by giving to the Yale Center for Faith & Culture: https://faith.yale.edu/give

Su Now il Pinocchio di Zemeckis, torna il Diabolik di Mario Bava.

Lionel Richerand est un auteur et illustrateur de bande dessinée aux multiples talents. Son talent transperse ses cahiers de dessin, et son souci du détail s'étale dans ses oeuvres imprimées.  Un univers assez sombre parsemé de bêtes imaginaires en transformation, traduisant un esprit en ébullition. Suivre le fil 00:00:36 Son parcours00:28:21 Ses influences00:36:36 Ses projets00:52:00 Sa vision du succès01:00:13 Son avenir  Les références L'ESAG Penninghen Les arts décoratifs Le musée du Prado Le livre Du Spirituel dans l'art de Kandinsky Le scénographe Richard Peduzzi, Guy Claude François, Nicky Rieti Les vidéastes Bill Viola, Gary Hill Le court métrage Tutu de Pascal Dalet (dit Paca) et Georges SifianosLa jeune fille sans mains de Sébastien Laudenbach (qui est devenu un long métrage) Le court-métrage Un jour de Marie PaccouAdrénaline, son film de post diplôme Le producteur Aton Soumache Son court-métrage La Peur Du Loup La série Poetica Le court-métrage Le Moine et le Poisson de Michael Dudok de Wit chez Folimage La série Hopital Hilltop de Pascal Le Nôtre Le dieu de Lionel, Jean Giraud - Moebius et sa bande dessinée Tonnerre à l'Ouest Les auteurs Reiser et Lauzier Le livre Ce qui est en Haut dans l'Incal Le livre La Faune de Mars et 40 jours dans le désert B de Moebius Le livre Foligatto de Nicolas de Crécy Le film l'étrange Noël de Mr Jack de Henry Selick Le court-métrage Maaz de Christian Volckman Le film Renaissance de Christian Volckman Le studio Attitude Studio Les scénaristes Jean-Patrick Benes et Allan Mauduit, réalisateurs de Kaboul Kitchen L'auteur Guillaume Bianco et son livre Billy Brouillard L'auteur Bertrand Santini son livre Le Yark Le scénariste Régis Jaulin Le dessinateur de Little Nemo In Slumberland, Windsor McKay L'auteur Pierre Péju et son livre La Petite fille et la forêt des contes L'école Supinfocom de Valenciennes Le scénariste et coloriste Hubert Le manga Happy de Naoki Urasawa Le film Les Garçons Sauvages de Bertrand Mandico et son court-métrage Ultra Pulpe La conférence de Benoît Peeters sur la bande dessinée Le blog de Marie Spénale, avec sa bande dessinée Heidi, et sa chaine YouTube Où trouver Lionel Sur son site A propos de l'animateur Je suis Alexandre Soubrier, réalisateur de films graphiques. Vous pouvez me trouver sur twitter, facebook, instagram, vimeo. J'ai même un site sur lequel je poste quelques réalisations et sur lequel vous pouvez me contacter. Le court extrait de musique vient du magnifique album de Wax Taylor "Tales of Forgotten Melodies".

Attilio Scarpellini"Il tempo sospeso delle immagini"Mimesis Edizionihttp://mimesisedizioni.it/Ogni immagine, diceva György Lukács, è di questo mondo e il suo sguardo brilla per la gioia di esistere. Riprodurre e rappresentare la vita in un'immagine è uno dei più antichi dispositivi sentimentali per trattenere la presenza reale dei corpi dal loro svanire attraverso il tempo. Dalla video-arte di Bill Viola risalendo fino alla pittura di Masolino da Panicale o del Pontormo, da un racconto di Borges sulla creazione artistica al teatro, e dal teatro alla fotografia, queste tre riflessioni, nate in tre diversi laboratori di pensiero, interrogano la capacità dell'immagine contemporanea di produrre una rottura estatica e di aprire uno stato di sospensione nel flusso “cronovoro” di una realtà sempre più estetizzata e spettacolarizzata. Per scoprire che dentro l'immagine il tempo dello spettatore non ha esattamente la stessa direzione che fuori da essa e che l'arte può ancora, malgrado tutto, salvarci e trasformare la vita. Attilio Scarpellini è critico di teatro e saggista, da diversi anni racconta immagini ai microfoni di Radio Rai 3. Ha scritto L'angelo rovesciato. Quattro saggi sull'11 settembre e la scomparsa della realtà (Roma, 2008) e con Massimiliano Civica, La fortezza vuota. Discorso sulla perdita di senso del teatro (Roma, 2014). E autore della voce “Teatro” del III volume dell'Enciclopedia delle arti contemporanee. I portatori del tempo curata da Achille Bonito Oliva. Insegna “Drammaturgia dell'immagine” alla Scuola di alta formazione per la danza Da.re.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Pagina 3 con Silvia Bencivelli

The medium video art gives artists the freedom to create works outside the gallery or museum space, opening avenues to record, document their performances and to be own producers and distributors. For female artists, incorporating video art into their performance works becomes a means of self-expression and the exploration of female imagery. .Resources for this episode include Jillian Mayer website, Martha Rosler website, PBS Art Assignment, Art21, Tate Museum, Museum of Modern Art, Miami New Times writer Hans Morgenstern, writer Emily Dinsdale. .Video Excerpts foudn on Youtube include: Jillian Mayer, "I Am Your Grandma," (2011)Bill Viola, "The Raft," (2004)MOMA has video excerpts for Joan Jonas "Vertical Roll," 1972 and Martha Rosler, "Semiotics of the Kitchen," 1975 You can also see images/videos discussed at my website: beyondthepaint.net

The medium video art gives artists the freedom to create works outside the gallery or museum space, opening avenues to record, document their performances and to be own producers and distributors. For female artists, incorporating video art into their performance works becomes a means of self-expression and the exploration of female imagery. .Resources for this episode include Jillian Mayer website, Martha Rosler website, PBS Art Assignment, Art21, Tate Museum, Museum of Modern Art, Miami New Times writer Hans Morgenstern, writer Emily Dinsdale. .Video Excerpts foudn on Youtube include: Jillian Mayer, "I Am Your Grandma," (2011)Bill Viola, "The Raft," (2004)MOMA has video excerpts for Joan Jonas "Vertical Roll," 1972 and Martha Rosler, "Semiotics of the Kitchen," 1975 You can also see images/videos discussed at my website: beyondthepaint.net

Bienvenue dans la 4e saison de Bulle d'Art ! Pour attaquer cette nouvelle saison, j'ai choisi de vous parler d'un artiste que j'apprécie tout particulièrement, pour son travail mais aussi pour sa vision de l'art contemporain : Bill Viola, prionnier de l'art vidéo. 

In the seventh episode of Art on the Verge, Founder and Director of the Bryce Wolkowitz Gallery, Bryce Wolkowitz and Author, Art Historian and Curator John Hanhardt discuss what makes one museum different than others, how did the moving image find its place so quickly within the institutional ranks, preservation of new media, as well as his collaboration with legendary artists Nam June Paik and Bill Viola.

Episode Summary:'Art doesn't owe you anything', says our today's guest speaker Ilya Shagalov, ‘It doesn't have goals or objectives, just like coronavirus”. One of Russia's most talented and emerging video artists and theatre directors, student of Kyril Serebrennikov, and member of Russia's leading avant-guard theatre Gogol Centre, Shagalov, who finds himself in Berlin during the pandemic speaks to us about his deeply inspiring creation entitled Fairies, which was released just for a day in the mids of national lockdowns, with its existential yet romantic reaction to our crisis-ridden moment and the only universal solution - to love. In today's episode Shagalov will talk us through the new forms of online theatre, the depth in the work of Bill Viola, the provocative manner of Frank Castorf's theatre making, the aesthetics of metamodernism and many more…How are theatrical vocabularies shifting to accommodate and reflect global and local cultures? Can performance art make a positive change in relation to social and political realities? And does theatre have a place to exist in the digital world?(*Available in Russian version as a Bonus episode.)The Speaker:In 2008 Ilya Shagalov gra­du­ated with a deg­ree in Ac­ting from Kras­no­dar Na­ti­onal Uni­ver­si­ty of Cul­tu­re and Arts. Af­ter his stu­di­es in Kras­no­dar, he en­te­red the Ki­rill Se­reb­renni­kov gro­up at Mos­cow Art The­at­re Scho­ol, which la­ter has grown in­to the Stu­dio Se­ven. As a di­rec­tor, Sha­galov wor­ked on the fol­lo­wing pro­jects: a sta­ge es­say “Do­minus Mor­fi­us” ba­sed on the texts of Sart­re and Dos­to­evs­ky (wit­hin the pro­ject “The The­at­ri­cal Al­ma­nac”), the pro­duc­ti­on “The Fa­iry­tale Li­ves of Rus­si­an Girls” by Mar­ga­ret Mi­rosh­nik (The Cen­ter of Dra­matur­gy and Di­rec­ting), “Fun­ny Dre­ams” ba­sed on “A Dre­am of a Ri­dicu­lo­us Man” by Fy­odor Dos­to­yevs­ky (the Pro­ject Plat­form), the ope­ra “Mi­nota­ur Dre­ams” (The The­at­re of Na­ti­ons), a show in Scha­ubühne the­at­re (Ber­lin, Ger­ma­ny). Sin­ce 2004, Ilya Sha­galov has al­so wor­ked as vi­deo de­sig­ner and VJ. He par­ti­cipa­tes in dif­fe­rent vi­su­al art fes­ti­vals. In col­la­bora­ti­on with Ki­rill Se­reb­renni­kov he pro­duced the vi­deo de­sign for “Kijé” (The Mos­cow Art The­at­re), “Aro­und Ze­ro” (Oleg Ta­bakov The­at­re), “Wo­yzeck” (The Na­ti­onal The­at­re of Lat­via), “A Mid­summer­night's dre­am” and “The Hun­ting of the Snark” (The Stu­dio 7). Ilya Sha­galov is an up-and-co­ming di­rec­tor-ex­pe­rimen­ter. His works fe­atu­re ec­cent­ric forms, mi­xed gen­res and va­ri­ous me­ans of exp­res­si­on from vi­su­al art to li­ve mu­sic.Host: Farah PiriyeSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.com

Episode 10: Art if…your body is obsolete! With digital performance and media artivist, Sahar Sajadieh Summary: Technology is on display in this week’s gallery as Haddy and Yassi talk about the aesthetic and performance considerations in car design and Bill Viola’s long career in video art. Then, they invite digital performance artivist (artist/activist) Sahar Sajadieh to talk about how technology has transformed her art and how it acts on the world around us. Finally, she issues a provocation that asks us to pay close attention to the qualities of our daily movements. Sahar Sajadieh is an Iranian-Canadian digital performance & media artivist (artist/activist) and scholar. Her background is in Experimental Theater, Computer Science, and Performance Studies. Sahar has recently completed her PhD degree in Media Arts and Technology at UCSB. Sahar’s research lies at the intersection of interactive performance/media arts, human computer interaction (HCI), and performance/media theories. She designs and develops technologies that support emergent human rituals and interactions, and simultaneously study the human experience while interacting with various kinds of new media. Her works have been presented in many international digital arts symposia and human-computer interaction conferences, and theater and performance Studies and interdisciplinary studies conferences. In addition to her digital artwork and research, Sahar has also acted, directed, and worked as a dramaturg in several theatrical productions in New York City, Vancouver, and Santa Barbara. http://www.saharsajadieh.com/ http://www.instagram.com/sahar.sajadieh/ Provocation (#artifpodcast): Soundscape of Our Daily Rituals: 1. Think about 3 activities/rituals that you do every day or in a regular basis during the week (e.g. Brushing your teeth, walking, …). 2. Pay attention to the following 5 Viewpoints* in each (daily/weekly/frequent) ritual: -tempo -duration -repetition -spatial relationship -topography *For more info about Viewpoints technique, see this webpage: https://dramatics.org/understanding-viewpoints/ 3. Experiment with each of the 5 viewpoints**—one by one—and push the limits of each: -tempo (e.g. very fast, extreme slow-motion, alternative pace, …) EXTRA CHALLENGE #1: 4. Record the sound of your ritual when doing this exercise. EXTRA CHALLENGE #2: 5. Use Audacity or GarageBand (or any other sound editing software application) on your computer and compose a musical piece/audio artwork, using any of the soundtracks of your and/or others’ rituals. Your final composition can be of any length and structure that sounds good to you. Petersen Automotive Museum Abstract (TV show) Fiat Clay Car Modeling Bill Viola Dogs drinking water STELARC 19 acts of bravery for COVID-19 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Christian Lauchenauer studied 5 years of Industrial Design. Afterward, he worked for one year as an Industrial and Human-Centered Designer in a Swiss design office. After several projects with no budget and actors, he decided to study film in Zürich. But he had already more preferences for video art and got inspired by artists like Bill Viola, Jean-Luc Godard, Richard Serra, Peter Liechti, Steve McQueen, and Douglas Gordon. Today he is a video artist and designer and lives and works in Basel. On The Dissolution of Content: More and more I saw myself faced with the addiction to the consumption of information on my smartphone. As well I observed at many places around me people using their smartphone while avoiding any circumstances in their environment. But the initiation for the movie was my consideration of the speed of our consumption of information. Are we still able nowadays to comprehend and keep in mind what we were reading on our digital device? Where is the speed limit of information consumption, after that we just read a text or watch a video without processing any information or content? The dissolution of content is a critical movie project about our incredible fast-changing world, where it is maybe rather about our addiction to”Infotainment” than getting informed. If you reflect on the structure of the video feeds of popular social media platforms, you jump from a violent war video to a funny cat and may end up at a heartbreaking talk of a political activist. Therefore it happens you remember only a few of all the videos you just have watched and often in a weird combination. Anyway, each video is a click away. Sometimes it seems to me we gather information as we are eating without digesting. Is it immorally just consuming infotainment without attaching any importance to content? Or is there any advantage? --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

Kira Perov shares her journey as life partner of artist Bill Viola and as Executive Director of Bill Viola Studio.

#E01- Ana Bloom - La route des souffles / BREATH project - #FR La formidable artiste Ana Bloom, dont la vision résonne en tout point avec l’ADN d’Art For Humans, nous a rejoint cet été après avoir assisté à notre événement de lancement à Paris. Nous avons le privilège de la rencontrer aujourd’hui pour en apprendre davantage sur la personne derrière ces clichés bouleversants, sa démarche artistique engagée, et son projet en cours: La route des souffles / BREATH project. Avec Art For Humans (@xxx) Ana Bloom (@xxx). Les timecodes : 0:00:40 - Pour ceux qui ne connaissent pas le projet Breath / la route des souffles, peux-tu nous dire ce qu’on peut y voir? 0:02:15 - Sous-quel format se présente ce projet? 0: 06: 42 - Dans quels endroits du monde s’est inscrit le projet jusqu’à présent? 0:08:12 - Quand ce projet touchera-t-il à sa fin? 0:09:13 - Depuis quand sais-tu que tu allais devenir artiste? 0:11:25 - Peux tu nous raconter ton parcours de vie? Celui qui t’a amené à devenir artiste? 0:17:20 - Les différences fondamentales entre faire de la photo entreprise et créer une oeuvre 0:19:25 - Comment est né le projet Breath? La genèse du projet. 0:26:19 - Pourquoi ce titre? 0:29:20 - Quel message as-tu envie de crier au monde? 0:33:45 - Comment choisis-tu les lieus sur place pour réaliser tes photos? 0:35:05 - Comment sélectionnes-tu les pays ou zones géographiques? 0:38:30 - Qu’est-ce qui explique cette obsession envers ce projet? 0:41:38 - L’exil aujourd’hui 0:43:51 - Ton premier travail sur les banlieues et les questions d’identité (en 94-98) 0:50:56 - Y’a-t-il un rapport entre ton travail d’aujourd’hui et celui sur les banlieues? Quel est le fil rouge? 0:55:44 - La possibilité de ressortir ce travail 0:57:16 - Ton rôle en tant qu'enseignante, ta vision, ce que tu souhaiterais transmettre 1:03:35 - Pourquoi avoir choisi la colonie pour cette rencontre - Kader Attia 1:06:22 - Qu’est-ce que t’inspire Art For Humans, pourquoi s'impliquer avec nous 1:08:30 - Le partenariat avec SOS MEDITERRANEE Visitez la plateforme Art For Humans: https://artforhumans.org/ Abonnez-vous à Art For Humans! - sur Facebook: https://www.facebook.com/artforhumansorg/ - sur Instagram: https://www.instagram.com/artforhumansorg/ - sur LinkedIn: https://www.linkedin.com/company/artforhumansorg/ - sur YouTube: https://www.youtube.com/channel/UCo4a196AhD7SpVpXoolYhUA - sur Medium en français: https://medium.com/art-for-humans-blog-fr - sur Medium en anglais: https://medium.com/art-for-humans-blog-en Découvrez: - Ana Bloom: https://anabloom.com/ - Le profil Art For Humans d’Ana Bloom: https://eu-fr.artforhumans.org/collections/ana-bloom - La Colonie: https://www.lacolonie.paris/ - Johanna Reich: http://johannareich.com/ - Bill Viola: https://www.billviola.com/ - Gallerie Mourlot: https://eric-mourlot.squarespace.com/about - SOS MEDITERRANEE: http://www.sosmediterranee.fr/ - Le profil Art For Humans de SOS MEDITERRANEE: https://eu-fr.artforhumans.org/collections/sos-mediterranee

The Barnes Foundation presents "I Do Not Know What It Is I Am Like: The Art of Bill Viola", now through September 15th.  KYW Newsradio's RJ McKay spoke with deputy director for collections and exhibitions, Nancy Ireson.

La seconda puntata di Visioni parla di Bill Viola e del concetto di Tempo, della sottoscritta che scopre attraverso l'incontro con questo artista che la "pittura" si può fare anche senza pennello. Buon ascolto.

Episode 2: Bill Viola / Michelangelo: Life, Death, Rebirth at the Royal Academy. Discussed by Laura Lennard, Caz Murray & Vikki KosmalskaThe RA's incredibly immersive exhibition brings together works by the iconic Renaissance Man, Michelangelo, and the Modern video artist, Bill Viola. In an extraordinary mash up of mediums, we see incredibly worked, personal, 15th century draughtsmanship on the one hand, and highly staged, epic, contemporary videography on the other. Does this juxtaposition open up an interesting dialogue? Or are the artists doomed to partake in a predetermined, and largely limiting contest of skill? Both artists undoubtedly grapple with weighty concerns: human mortality, the inevitability of death, rebirth. We explore our own personal reactions to these universal themes and assess what has been gained or lost from this artistic pairing. In lighter news, we play dead artist blind date, and as always loot our favourite works from the exhibition for our imaginary collections. Thank you to the incredible Nat Witts for our jingle, and to the brilliant Jonny Lennard for our editing. 

A day full of exhibitions, started off at the British Library for the Giant Bible and Doomsday Book, then headed off to the Royal Academy of Art for Michelangelo and Bill Viola. Then ended the day at Canary Wharf's Light Festival :) Also, met my boyfriend's mom, a super cool lady and a historian~

We talk to the people behind major exhibitions on both sides of the Atlantic: Ben Luke meets Kira Perov, Bill Viola's wife and collaborator, at the Bill Viola / Michelangelo show at the Royal Academy of Arts in London, while Nancy Kenney talks to the curator of the new Robert Mapplethorpe show at the Guggenheim. See acast.com/privacy for privacy and opt-out information.

Karen Krizanovich explains the appeal of three of the biggest recent hit TV releases still provoking discussion: Bird Box and Sex Education on Netflix, and Bros: After the Screaming Stops on BBC iPlayer.The contemporary video artist Bill Viola has been paired with the Renaissance master Michelangelo in the Royal Academy's new exhibition, Bill Viola/Michelangelo: Life, Death, Rebirth. It sets out to show the preoccupation of both artists with the nature of human experience and existence. Critic Waldemar Januszczak gives his response to the exhibition and its thesis.The Art Fund, the charity that raises money to acquire art for the nation, has revealed that it is to disband its volunteer network by the end of the year. Its director Stephen Deuchar explains the decision.The death has been announced of the great literary editor and writer Diana Athill. She worked with many celebrated authors including Jean Rhys, Molly Keane and VS Naipaul. In recent decades she became known as a brilliant and unsentimental writer of memoir. The writer Damian Barr was a close friend, and reflects on Athill's life and work.Presenter: Stig Abell Producer: Edwina PitmanMain image: Bros

As new shows featuring the Post-impressionist, Pierre Bonnard and the video artist, Bill Viola, open in London, Laurence Scott and his guests discuss the way we experience art from the current vogue for slow looking to the 30 second appraisal scientists say is the norm for most gallery goers. How do small details reshape our understanding of paintings? What about looking more than once? Does digital art require more or less concentration ? Kelly Grovier's book A New Way of Seeing: The History of Art in 57 Works is out now. Pierre Bonnard: The Colour of Memory runs from 23 January to 6 May 2019 at Tate Modern. It will show 100 works of art by the French painter created between 1912 and 1947 and will include special evenings of "Slow Looking". Bill Viola / Michelangelo Life Death Rebirth runs at the Royal Academy in London from 26 January — 31 March 2019 The Free Thinking Visual Arts Playlist with interviews including Tacita Dean, Chantal Joffe and Sean Scully amongst others is here https://bbc.in/2DpskGS Producer: Zahid Warley

The Artcast: Series 2 Trailer with Laura Lennard, Vikki Kosmalska and Caz MurrayYour fortnightly arts review podcast is back, with a new series launching on 5th February! Tune in for more London-based exhibition reviews, international art news and general chit chat. Full season schedule below:5th February: Reimagining Captain Cook: Pacific Perspectives at the British Museum, 29 November 2018 – 4 August 2019. FREE EXHIBITION.19th February: Bill Viola / Michelangelo: Life, Death, Rebirth at the Royal Academy, 26 January — 31 March 2019.5th March: Christian Dior: Designer of Dreams at the V&A, 2 February – 14 July 2019.19th March: Dorothea Tanning, 27 February – 9 June 2019, and Pierre Bonnard: The Colour of Memory, 23 January – 6 May 2019, both on at the Tate Modern.2nd April: Morag Keil: Moarg Kiel at the ICA, 30th January - 14th April 2019.16th April: The Renaissance Nude at the Royal Academy: 3rd March - 2nd June 2019.Huge thanks to our long-suffering Editor, Jonny Lennard, and to our Jazz Momma, Nat Witts. Let us know what you think of the episodes or exhibitions reviewed so far. We're: hellotheartcast@gmail.com and @theartcast on Instagram.

Stop motion, réalisation, illustration, bande dessinée L'école n'est pas faite pour tout le monde, mais y a-t-il des gens pour qui l'école est faite, en réalité ? Pour certains, c'est un véritable calvaire, et la création peut apparaître comme un échappatoire. Peut-être aussi que l'école n'offre pas cette liberté dont les artistes ont besoin. En tout cas, elle nous permet de voir éclore de magnifiques talents comme mon invité du jour, Lionel Richerand, un artiste qui a touché à la réalisation de films en stop-motion, à la 3D, et qui officie maintenant en tant qu'auteur et illustrateur de bandes dessinées. Suivre le fil 00:00:36 Son parcours 00:28:21 Ses influences 00:36:36 Ses projets 00:52:00 Sa vision du succès 01:00:13 Son avenir Les références L'ESAG Penninghen Les arts décoratifs Le musée du Prado Le livre Du Spirituel dans l'art de Kandinsky Le scénographe Richard Peduzzi, Guy Claude François, Nicky Rieti Les vidéastes Bill Viola, Gary Hill Le court métrage Tutu de Pascal Dalet (dit Paca) et Georges Sifianos La jeune fille sans mains de Sébastien Laudenbach (qui est devenu un long métrage) Le court-métrage Un jour de Marie Paccou Adrénaline, son film de post diplôme Le producteur Aton Soumache Son court-métrage La Peur Du Loup La série Poetica Le court-métrage Le Moine et le Poisson de Michael Dudok de Wit chez Folimage La série Hopital Hilltop de Pascal Le Nôtre Le dieu de Lionel, Jean Giraud - Moebius et sa bande dessinée Tonnerre à l'Ouest Les auteurs Reiser et Lauzier Le livre Ce qui est en Haut dans l'Incal Le livre La Faune de Mars et 40 jours dans le désert B de Moebius Le livre Foligatto de Nicolas de Crécy Le film l'étrange Noël de Mr Jack de Henry Selick Le court-métrage Maaz de Christian Volckman Le film Renaissance de Christian Volckman Le studio Attitude Studio Les scénaristes Jean-Patrick Benes et Allan Mauduit, réalisateurs de Kaboul Kitchen L'auteur Guillaume Bianco et son livre Billy Brouillard L'auteur Bertrand Santini son livre Le Yark Le scénariste Régis Jaulin Le dessinateur de Little Nemo In Slumberland, Windsor McKay L'auteur Pierre Péju et son livre La Petite fille et la forêt des contes L'école Supinfocom de Valenciennes Le scénariste et coloriste Hubert Le manga Happy de Naoki Urasawa Le film Les Garçons Sauvages de Bertrand Mandico et son court-métrage Ultra Pulpe La conférence de Benoît Peeters sur la bande dessinée Le blog de Marie Spénale, avec sa bande dessinée Heidi, et sa chaine YouTube Où trouver Lionel Sur son site A propos de l'animateur Je suis Alexandre Soubrier, réalisateur de films graphiques. Vous pouvez me trouver sur twitter, facebook, instagram, vimeo. J'ai même un site sur lequel je poste quelques réalisations et sur lequel vous pouvez me contacter. Le court extrait de musique vient du magnifique album de Wax Taylor "Tales of Forgotten Melodies".

Find out what Saturday Review listeners chose as their cultural highlights of 2018. We'll discuss all the regular genres: films, theatre, exhibitions, books and television. And lots of items which we didn't get a chance to review from the past 12 months. Tom Sutcliffe is joined by Tiffany Jenkins and Ekow Eshun and lots of listeners on the phone from around the country, who tell us what particularly impressed them last year. The producer is Oliver Jones Podcast extra recommendations: Ekow: Strange days exhibition Tiffany: pre-sale auction houses Tom; Bill Viola

100 år efter John Bauers död är det nu premiär för ett musikstycke inspirerat av hans bildvärld. Och vad hände med mångfalden inom filmen efter kampanjen "Oscars so white" reportage från Hollywood. I år är det 100 år sedan konstnären och illustratören John Bauer omkom i en båtolycka på Vättern. I hans hemstad Jönköping uppmärksammas det på söndag när den nykomponerade verket John Bauer-svit 1918 uruppförs. Tonsättaren Jonas Valfridsson är gäst i programmet. Minns du kampanjen "Oscars so white"? För tre år sedan var frågan om vitas dominans inom Hollywood frågan på allas läppar. Reportage från Hollywood där minoriteternas röster börjar höras högre. Barnradions bokpris-juryn fortsätter sina överläggningar för att hitta en vinnare. Idag handlar de tom boken Ella och Youtube-paniken av Linda Skugge. Staden är en motsägelsefull skapelse. Så hemma och ändå alltid främmande. Författaren Dimitris Alevras reflekterar i dagens OBS-essä över våra föreställningar om staden och gränserna som både bygger upp och stänger ute. Dessutom: Från Bibeln, till videokonstnären Bill Viola till Venedig som står under vatten - veckans ord är "översvämning" och vi recenserar Idioten av Elif Batuman. Programledare: Saman Bakhtiari Producent: Eskil Krogh Larsson

Born in New York City and a graduate of The Neighborhood Playhouse, Richard Neil was a principal member of Chopstick Theatre in Charleston, S.C. He toured extensively, performing classic roles, such as Stanley Kowalski in A Streetcar Named Desire. He has appeared in two of Bill Viola's signature pieces, "Ocean Without A Shore" and "Man With His Soul." He starred opposite Makoto Fujita in the Japanese actor's last film, Takashi Koizumi's Best Wishes For Tomorrow. Richard is a busy voice and motion capture actor, most notably as Aratak in Sony's "Horizon Zero Dawn: The Frozen Wilds." He is the brother of documentary filmmaker, Ellen Weissbrod.Richard Neil, best known for his work as Aratak in the best-selling video game ‘Horizon Zero Dawn: The Frozen Wilds' and for such films and TV series as “Veronica Mars” and “Eli Stone” The hit movie PRODIGY, in which he plays the lead role. In PRODIDGY, on VOD this month, a psychologist engages a dangerous, young genius in a battle of wits -- unaware of the supernatural power the girl possesses, or that her life hangs in the balance.

Born in New York City and a graduate of The Neighborhood Playhouse, Richard Neil was a principal member of Chopstick Theatre in Charleston, S.C. He toured extensively, performing classic roles, such as Stanley Kowalski in A Streetcar Named Desire. He has appeared in two of Bill Viola's signature pieces, "Ocean Without A Shore" and "Man With His Soul." He starred opposite Makoto Fujita in the Japanese actor's last film, Takashi Koizumi's Best Wishes For Tomorrow. Richard is a busy voice and motion capture actor, most notably as Aratak in Sony's "Horizon Zero Dawn: The Frozen Wilds." He is the brother of documentary filmmaker, Ellen Weissbrod.Richard Neil, best known for his work as Aratak in the best-selling video game ‘Horizon Zero Dawn: The Frozen Wilds' and for such films and TV series as “Veronica Mars” and “Eli Stone” The hit movie PRODIGY, in which he plays the lead role. In PRODIDGY, on VOD this month, a psychologist engages a dangerous, young genius in a battle of wits -- unaware of the supernatural power the girl possesses, or that her life hangs in the balance.

On discute de la liberté de conscience et d'une politique fédérale avec Pierre Leclerc. On commente l’exposition Naissance à rebours de l’artiste Bill Viola avec Stéphanie Chalut. On fait on fait le bilan des cinq années du Pape François avec Francis denis. ♫ ♫ ♫ Jean Leloup - Le roi se meurt Jérôme Minière - Les décors Overcoats - Father --- Send in a voice message: https://anchor.fm/onpdm/message

Artists, Martin Sharp and Bill Viola, musicians, Jeremy Begbie and Jane Rutter, and outstanding couples like Bess and Dave Price, join some brave spiritual diarists who reveal the inside story of their spiritual life. Australia's first saint, and sex dominates the stories on King James Bible and the Sistine Chapel on their anniversaries.

Artists, Martin Sharp and Bill Viola, musicians, Jeremy Begbie and Jane Rutter, and outstanding couples like Bess and Dave Price, join some brave spiritual diarists who reveal the inside story of their spiritual life. Australia's first saint, and sex dominates the stories on King James Bible and the Sistine Chapel on their anniversaries.

Par Alain Fleischer, directeur du Fresnoy, Studio national des arts contemporains. Très tôt, Bill Viola a considéré que la vidéo pouvait être autre chose qu'une nouvelle technique et un nouveau support pour continuer le cinéma. Il a opéré un déplacement et un dépassement, à la fois en extrayant l'image animée du dispositif historique de la salle obscure, avec ses rangs de sièges où le spectateur est assigné à place fixe, pendant un temps déterminé, face à un écran, avec un projecteur dans son dos, et en exploitant des caractéristiques particulières à l'image électronique: sa réflexivité immédiate (ce qui est filmé peut être instantanément projeté) et sa capacité d'assemblage homogène de fragments hétérogènes. Bill Viola partage avec Nam June Paik d'avoir pensé l'ouverture (au sens physique et au sens musical) de l'art vidéo.

Prior to the exhibition opening, Bill Viola presented his work and answered the journalists' questions during a warm and crowded press conference.

C'est à un voyage initiatique, une expérience sensorielle et intime que nous convie Bill Viola. Kira Perov et Jérôme Neutres, commissaires de l'exposition, reviennent sur le parcours de ce pionnier de l'art vidéo auquel le Grand Palais consacre une rétrospective exceptionnelle.

Table ronde avec Anne-Marie Duguet, professeure émérite à l'Université Paris 1 Panthéon-Sorbonne, Raymond Bellour, directeur de recherche émérite au Cnrs et Jean-Paul Fargier, auteur et réalisateur. Modération : Mathilde Roman, théoricienne, critique d'art et enseignante. Comment accompagne-t-on des formes artistiques naissantes ? Les intervenants ont en commun d'avoir écrit sur la vidéo dès ses débuts, cherchant à exprimer ses enjeux et ses effets au fur et à mesure qu'elle s'est imposée comme un outil de prédilection pour de nombreux artistes contemporains. Particulièrement attachés à l'œuvre de Bill Viola, ils ont construit avec l'artiste une relation forte nourrie tant d'amitié que de regards critiques.

Découvrez les conférences et débats autour de l'exposition Bill Viola au Grand Palais.

Table ronde avec Anne-Marie Duguet, professeure émérite à l'Université Paris 1 Panthéon-Sorbonne, Raymond Bellour, directeur de recherche émérite au Cnrs et Jean-Paul Fargier, auteur et réalisateur. Modération : Mathilde Roman, théoricienne, critique d'art et enseignante. Comment accompagne-t-on des formes artistiques naissantes ? Les intervenants ont en commun d'avoir écrit sur la vidéo dès ses débuts, cherchant à exprimer ses enjeux et ses effets au fur et à mesure qu’elle s’est imposée comme un outil de prédilection pour de nombreux artistes contemporains. Particulièrement attachés à l'œuvre de Bill Viola, ils ont construit avec l'artiste une relation forte nourrie tant d'amitié que de regards critiques.

Découvrez les conférences et débats autour de l'exposition Bill Viola au Grand Palais.

Par Alain Fleischer, directeur du Fresnoy, Studio national des arts contemporains Très tôt, Bill Viola a considéré que la vidéo pouvait être autre chose qu'une nouvelle technique et un nouveau support pour continuer le cinéma. Il a opéré un déplacement et un dépassement, à la fois en extrayant l'image animée du dispositif historique de la salle obscure, avec ses rangs de sièges où le spectateur est assigné à place fixe, pendant un temps déterminé, face à un écran, avec un projecteur dans son dos, et en exploitant des caractéristiques particulières à l'image électronique: sa réflexivité immédiate (ce qui est filmé peut être instantanément projeté) et sa capacité d'assemblage homogène de fragments hétérogènes. Bill Viola partage avec Nam June Paik d'avoir pensé l'ouverture (au sens physique et au sens musical) de l'art vidéo.

Peter Sellars, metteur en scène, s’entretient avec Jérôme Neutres, commissaire de l’exposition Peter Sellars et Bill Viola ont travaillé ensemble lors de la création du Tristan et Isolde de Wagner à l’Opéra Bastille en 2005, spectacle repris cette année dans le même lieu. L’artiste a conçu pour le célèbre metteur en scène américain un tableau vidéo projeté en toile de fond comme décor. Peter Sellars parle de leur collaboration et du regard qu’il porte sur l’œuvre de Bill Viola.

François Michaud, conservateur au Musée d'Art moderne de la Ville de Paris, dresse un panorama de l'art vidéo pour les étudiants de l'IFM. Il explique que l'usage de la vidéo dans l'art contemporain est très liée aux modes et aux façons de faire, suivant l'évolution des procédés techniques du moment. La vidéo des années 1990, basée d'abord sur la télévision et la cassette, a changé de nature et s'est développée progressivement sur DVD. Avec internet, on est entré dans une ère de grande circulation des images. On voit de la vidéo partout, mais en même temps « on n'y voit rien ». Bien avant l'arrivée de YouTube ou de Viméo, les artistes vidéastes ont fourni un répertoire d'images, de formes et d'histoires à disposition de tous et en particulier des créateurs publicitaires. L'art vidéo a familiarisé le public avec des formes diverses : installations, vidéos inspirées par la peinture, sans début ni fin, clips et autres expériences relevant de la « performance devant caméra ». L'art vidéo a repoussé les limites de ce qu'il est convenu d'appeler une « exposition ». Depuis les « vidéosculptures » de Nam June Paik jusqu'aux créations de Bill Viola, l'art vidéo a pour ambition de s'émanciper des objets physiques (peinture, sculpture etc.), pour basculer dans une approche multi-dimensionnelle permettant notamment de faire disparaître la séparation entre arts plastiques et arts de la scène. François Michaud a choisi de commenter les oeuvres suivantes à l'appui de sa démonstration : Joël Bartolomeo (né en 1957) : Marie L (2006). Eshel Meir, dit Absalon : Bataille (1993). Ange Leccia : Sabatina (1997). Fischli & Weiss : Der Lauf der Dinge (1987). Fabrice Hyber : Hybermarché (1995). Sarah Morris (née en 1967) : Los Angeles (2004).

Dawn French gives listeners exclusive access to plans for her new one woman show, 35 years after the first Pretenders album, Chrissie Hynde on her very first solo record and Kathleen Turner on her return to London's West End. Edmund de Waal gives John Wilson a messy lesson at the potter's wheel and with the opening of two big Mondrian exhibitions, we discuss the grids and colours of the modern Dutch master. Kirsty Lang talks to Ben Miles about being onstage for a marathon six hours a day and to Bill Viola as St Paul's Cathedral embraces modern art with a video installation behind the high altar.

Kirsty talks to Kathleen Turner and Ian McDiarmid who are starring in Bakersfield Mist in London's West End, and meets artist Bill Viola who has created a new permanent installation for St Paul's Cathedral. Also tonight, musician St Vincent discusses her literary influences, and should opera stars be critiqued on their appearance?

As St Paul’s Cathedral prepares to unveil a Bill Viola installation, the FT’s arts writer considers the potentially enriching relationship between sacred settings and contemporary art See acast.com/privacy for privacy and opt-out information.

Acteurs, décors, équipements : les productions de Bill Viola requièrent parfois des moyens dignes des plus grands studios de cinéma. Mais pour l'artiste, marqué par sa rencontre avec le Dalaï Lama, l'intention primera toujours sur la technologie.

" C'est la vidéo qui m'a choisi. "Lier l'image et le son, capturer le réel, sculpter le temps, Bill Viola revient pour nous sur les raisons qui l'ont conduit à l'art vidéo.

C'est à un voyage initiatique, une expérience sensorielle et intime que nous convie Bill Viola. Kira Perov et Jérôme Neutres, commissaires de l'exposition, reviennent sur le parcours de ce pionnier de l'art vidéo auquel le Grand Palais consacre une rétrospective exceptionnelle.

A l'occasion de la conférence de presse du 3 mars 2014, l'artiste a présenté son oeuvre et répondu aux questions des journalistes sur l'exposition.

Philip Dodd talks to internationally renowned video artist Bill Viola about his latest show: nine major new works in a museum-scale exhibition in London. What is the play, A Satire of the Three Estates relevance to Scottish identity today? We ask Professor Greg Walker who has restored the text, and theatre critic Joyce McMillan. Award-winning documentary maker Norma Percy discusses her latest series on the Iraq war and Jules Evans, one of this year's Radio 3 New Generation Thinkers, reflects on philosophy.

Sponsored by the Purple Blurb series. Walden, a game, is an experiment in play being made about an experiment in living. The game simulates Henry David Thoreau’s experiment in living a simplified existence as articulated in his book Walden. It puts Thoreau’s ideas about the essentials of life into a playable form, in which players can take on the role of Thoreau, attending to the “meaner” tasks of life at the Pond–providing themselves with food, fuel, shelter and clothing–while trying not to lose sight of their relationship to nature, where the Thoreau found the true rewards of his experiment, his “finer fruits” of life. The game is a work in progress, and this talk will look closely at the design of the underlying system and the cycles of thought that have gone into developing it. It will also detail the creation of the game world, which is based on close readings of Thoreau’s work, and the projected path forward for the team as we continue our sojourn in experimental in play. Tracy Fullerton, M.F.A., is an experimental game designer, professor and director of the Game Innovation Lab at the USC School of Cinematic Arts where she holds the Electronic Arts Endowed Chair in Interactive Entertainment. The Game Innovation Lab is a design research center that has produced several influential independent games, including Cloud, flOw, Darfur is Dying, The Misadventures of P.B. Winterbottom, and The Night Journey — a collaboration with media artist Bill Viola. Tracy is also the author of “Game Design Workshop: A Playcentric Approach to Creating Innovative Games,” a design textbook in use at game programs worldwide. Purple Blurb is a series of presentations for digital writing, with its thanks given to Angus N. Macdonald Fund and MIT Writing and Humanistic Studies.

Bill Viola in an archival interview for The Crossing, 1996, with DMA staff. Viola speaks on visceral experience and darkness.

Bill Viola in an archival interview for The Crossing, 1996, with DMA staff. Viola speaks on the shooting of film in an airplane hanger.

Bill Viola in an archival interview for The Crossing, 1996, with DMA staff. Viola speaks on the conservation of media art.

Nam June Paik was a pioneer of video installation in the early 1960s. Associated with the international conceptual movement Fluxus, Paik regularly collaborated with other Fluxus artists such as Joseph Beuys and George Maciunas. In 1976 John Kaldor invited Paik and his collaborator, the cellist Charlotte Moorman to create a Kaldor Public Art Project in Australia. As part of the project Moorman played the ‘TV cello’. Made from three televisions removed from their sets so that their inner workings can be seen, with an attached cello bridge, tailpiece and strings forming a cello-like instrument. ‘TV Buddha’ was also made in Sydney in 1976 using an old wooden Maitreya (Buddha of the future) from the Kaldor collection. ‘Kaldor candle’ was made in 1996 for John Kaldor, who remained friends with Paik until the artist’s death in 2006. Both ‘TV Buddha’ and ‘Kaldor candle’ employ a conceptual use of video – first developed by Paik – in which a camera and a monitor loop in real time, blurring the object–subject distinction. This feedback idea was used by leading conceptual artists in the 1970s, including Bill Viola, Dan Graham and Mike Parr.

Nam June Paik was a pioneer of video installation in the early 1960s. Associated with the international conceptual movement Fluxus, Paik regularly collaborated with other Fluxus artists such as Joseph Beuys and George Maciunas. In 1976 John Kaldor invited Paik and his collaborator, the cellist Charlotte Moorman to create a Kaldor Public Art Project in Australia. As part of the project Moorman played the ‘TV cello’. Made from three televisions removed from their sets so that their inner workings can be seen, with an attached cello bridge, tailpiece and strings forming a cello-like instrument. ‘TV Buddha’ was also made in Sydney in 1976 using an old wooden Maitreya (Buddha of the future) from the Kaldor collection. ‘Kaldor candle’ was made in 1996 for John Kaldor, who remained friends with Paik until the artist’s death in 2006. Both ‘TV Buddha’ and ‘Kaldor candle’ employ a conceptual use of video – first developed by Paik – in which a camera and a monitor loop in real time, blurring the object–subject distinction. This feedback idea was used by leading conceptual artists in the 1970s, including Bill Viola, Dan Graham and Mike Parr.

Esa-Pekka Salonen and Peter Sellars’s Tristan und Isolde, with video art by Bill Viola, was premièred in Los Angeles in 2004 and has subsequently been revived in Paris and New York to great acclaim. Esa-Pekka Salonenand the Philharmonia Orchestra bring the production to the UK and other European venues, and this exclusive behind-the-scenes footage shows just how complex a production this is.

Bill Henson's first solo exhibition, held at the National Gallery of Victoria in 1975 when he was 19 years old, heralded the beginnings of a unique photographic vision of the Australian landscape. Known for his brooding imagery and exacting artistic process, Henson alludes to the darkness of Caravaggio, the lightness of Purcell and the drama of Wagner. The intensity and intimacy of his images broach the boundary of the painterly and the cinematic, combining both surface and depth to reflect a space between the mystical and the real. Like Francesco Clemente, his photographs may begin with a fleeting vision or impression, a piece of music or line of writing, that echoes subconsciously before manifesting in his work. Henson's 'Untitled 1994/95' shows naked youths, cars and the darkened landscape that constantly fluctuates between space and time. It is a layered work, interspersed and fragmented by jagged reversed photographic paper that is pinned almost savagely to the surface. The glaring voids are not only temporarily blinding but create a shift akin to a screen obscuring the darkness and its content. The fracturing of the surface develops a provocative tension, splintering the image and adding to its intensity, further charging the displaced subjects with a brutal, baroque sensuality. The figural 'tableau vivant' is, as critic John Forbes suggested, an approximation of Renaissance art. There is also something medieval about the imagery and figures, which recall the rich and fractured spaces of Dieric Bouts' 'Hell' and 'Paradise' of 1450. The evocative portrait series 'Paris Opera Project' brings a strangely discontinuous space to the viewer. Part of a much larger series, the portraits play out the drama of opera as if in five acts. Moving from a moody landscape in half-light to a young girl who lifts her hand to grasp the darkness, the inky blackness of the theatre leads us through the other portraits of opera viewers deep in concentration. The final image, like the first, is a fuzzy landscape, where a barely discernible hill of trees is mirrored by trailing clouds, the space between reflecting the shimmering night sky. Like video artist Bill Viola, Henson chooses not to show the action of the stage but rather the audience in full devotional contemplation. Often likened to painting, Henson's artistic process is not unlike the painter's struggle: 'just as you can scrape back areas of painting and go over them, you do follow something along over maybe several weeks and change things until it slips past its best point and you lose it. And then there's a long, often a very long, period when the work is turning into something else - you can't wind it back to whatever it was'.1 1. Sebastian Smee in conversation with Bill Henson (1994) in Bill Henson, 'Mnemosyne', AGNSW, Sydney/Scalo, Zurich 2005, p 440 © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

This week Neil MacGregor's world history as told through objects is describing how people expressed devotion and connection with the divine in the 14th and 15th centuries. Today he is with an icon from Constantinople that looks back in history to celebrate the overthrow of iconoclasm and the restoration of holy images in AD 843 - a moment of triumph for the Orthodox branch of the Christian Church. This icon shows the annual festival of orthodoxy celebrated on the first Sunday of Lent, with historical figures of that time and a famous depiction of the Virgin Mary. The American artist Bill Viola responds to the icon and describes the special characteristics of religious painting. And the historian Diarmaid MacCulloch describes the often troubled relationship between the Church and the images it has produced. Producer: Anthony Denselow.

Mary Jane Jacob is Professor and Executive Director of Exhibitions at The School of the Art Institute of Chicago. One of the most nonconformist U.S. curators of the last 20 years, Jacob has critically engaged the discourse around art in public spaces with such innovative exhibitions as Places with a Past, Charleston (1991), Culture in Action, Chicago (1993), Conversation in the Castle, Atlanta (1996) and Evoking History, Charleston (2001-present). Away from large-scale sculptures on public plazas, Jacob supports a form of art in public space that explicitly deals with the history and the current realties of the locations in which she works. With the book Buddha Mind in Contemporary Art, she has furthered her research into the nature of artmaking today and the forthcoming anthology, Slow: Experience into Art, will deal with the art experience and its relation to pedagogy. Jacob's lecture will draw upon her own practice as a curator; creating spaces and situations for art to be made and experienced in cities and communities, as well as in galleries. Importantly, she will ground her remarks in the work of artists who cross cultures, some following the Buddha, others reaching points of wisdom along other paths, and all of which move beyond national or ethnic identity to speak on universal terms. It will include the work of Marina Abramovic, Ann Hamilton, Alfredo Jaar, Kimsooja, Jun Nguyen-Hatsushiba, Rirkrit Tiravanija, and Bill Viola. January 22, 2009