Podcasts about British pavilion

In this episode of the A is for Architecture Podcast, author, curator and currently director of the Farrell Centre at Newcastle University, Owen Hopkins discuss his recent book, The Manifesto House: Buildings that Changed the Future of Architecture, published by Yale University Press two days ago. The Manifesto House explores the history of architecture through the lens of individual houses that have acted as manifestos for new ideas, movements and ways of living. Looking at twenty-one houses from the 16th through to the 21st century, the book presents a compelling narrative of how individual homes can influence architecture's evolution, and perhaps even answer some of the challenges we're faced with in the built environment today.Owen is also currently one fifth of the team who have curated this year's British Pavilion exhibition at La Biennale di Venezia 2025, which can be read about here. Owen can be found on Instagram and LinkedIn and the book is linked above. Listen, think, click, buy, read. Wow!#ArchitecturePodcast #ManifestoHouse #OwenHopkins #FarrellCentre #BuildingsThatMatter #ArchitecturalHistory #RadicalHomes #BiennaleArchitettura2025 #ArchitectureAndSociety #DesigningTheFuture #AisforArchitecturePodcast+Music credits: ⁠Bruno Gillick Image credit: Mies van der Rohe, Farnsworth House, exterior view towards entrance platform. Library of Congress, USA.

Can art be a tool for repair? And what happens when exhibitions themselves move across borders?In this episode of Our World, Connected, host Christine Wilson dives into the relationship between art, architecture, and place — and how both disciplines are being used to challenge colonial narratives, spark dialogue, and imagine alternative futures.Christine is joined by writer, artist and curator Rosie Olang' Odhiambo, who speaks about her collaborative, cross-disciplinary practice and her recent exhibition, In Transit: Under Another Sky, which she co-curated with E.N. Mirembe. First shown in Kampala and Nairobi, and soon opening at the Africa Centre in London, the exhibition weaves together sound, image, and text to explore transience, marginal identities, and shifting geographies.We also hear from Kabage Karanja, an architect and co-founder of Nairobi's cave_bureau. Speaking from the British Pavilion at the Venice Architecture Biennale, Kabage reflects on using caves as sites of cultural memory and of decolonial storytelling and his bold vision for architecture as a force of geological repair.Together, Rosie and Kabage explore what it means to tell stories of place, migration, and resistance — and how visual arts and architecture can both reflect and reshape the world we live in.Listen to Our World, Connected, brought to you by the British Council. Subscribe and follow for more thought-provoking discussions on culture, connection, and the power of education.Additional Resources & Links:British Council Artshttps://arts.britishcouncil.org/UK at the Venice Biennalehttps://venicebiennale.britishcouncil.org/cave_bureauhttps://www.cave.co.ke/Follow British Council Research and Insight:Newsletter – https://www.britishcouncil.org/research-insight/subscribe Twitter – https://twitter.com/InsightBritish Website - https://www.britishcouncil.org/research-insight

Artist and academic Sequoia Danielle Barnes redresses the ugly side of kitsch and ‘cute' toy cultures, telling histories of trickster rabbits from Peter Rabbit to Bugs Bunny, appropriated from Black Southern American folklore from the 16th century to now. With ceramics, fabrics, and super sticky slugs, Sequoia Danielle Barnes' new installation is an Afro-surrealist retelling of Br'er Rabbit and the Tar Baby, a folktale developed by her enslaved ancestors after being ripped from Africa and displaced in Alabama, in the United States - the place she grew up before pursuing her practice in ‘transatlantic' institutions. Here, stories about figures like Uncle Remus, Uncle Ben, and Aunt Jemima, often first told as a means of action guidance for outsmarting slavemasters, were mainstreamed into 20th century pop art and cultures. Sequoia's exhibition takes its title from the 1946 film, Song of the South, a nostalgic representation of the antebellum, pre-Confederate South, revealing how ‘cuteness' masks anti-Black racist tropes and propaganda. We discuss how popular consumption of Western/European films, TV adverts, and commercials can perpetuate forms of oppression and marginalisation, including racialisation, infantilism, violence, and the cannibalisation of enslaved peoples. Sequoia tells of her interest in ‘Tellytubby lore', how children's cartoons and animations can sustain critical traditions of surrealism, and why younger people more readily engage with her work than adults. From her creepy and uncanny collectibles, we discuss why major institutions protect and preserve golliwogs, golly, and ‘piccaninny' dolls, and Sequoia's ‘Black radical art practice' in spaces like CCA Glasgow, Fruitmarket, and the National Museum of Scotland. Sequoia shares her subversive influences from the Black diaspora, including Faith Ringgold, Betye Saars, Robert Colescott,and Eddie Chambers. With Theaster Gates, Patrick Kelly, Joe Casely-Hayford,, we explore Afrofuturism, and find entanglements in their own practice, between works with textiles, fashion, and pottery. Beneath the dark humour and sweet surfaces of their works, Sequoia speaks of connections between contemporary consumption and capitalism, and historic sugar cane plantations. exposing how legacies of colonialism, slavery, and global trade still shape society today. Sequoia Danielle Barnes: Everything Is Satisfactual runs at Edinburgh Sculpture Workshop until 28 August 2024. The exhibition is part of Edinburgh Art Festival (EAF) 2024, which continues in Scotland until 25 August 2024. For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now): pod.link/1533637675/episode/2cab2757a707f76d6b5e85dbe1b62993 Read about Sonia Boyce's Feeling Her Way (2022), her Golden Lion-winning British Pavilion (2022), at the Turner Contemporary in Margate, in gowithYamo: gowithyamo.com/blog-post-app/feeling-her-way-sonia-boyces-noisy-exhibition And read about Edinburgh Art Festival (EAF) 2023, in gowithYamo: gowithyamo.com/blog-post-app/edinburgh-art-festivals-reckoning-with-the-citys-colonial-legacies EDITOR: Alex Rees. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Lauren Godfrey chats with art historian and curator Dr Zoé Whitley about pattern as rebellion, making clothes with her grandmother and channelling her favourite musicians through patterns.Zoé is director of the well loved Chisenhale Gallery, a gem in the London gallery scene as a space that champions creativity and helps facilitate artists making new work on a grand scale. Before joining Chisenhale in 2020, she worked on exhibitions, research and collections at The Hayward, The V and A, and the TATE where she co curated the exhibition Soul of A Nation: Art In The Age of Black Power which went on to tour internationally. She also curated Cathy Wilkes' presentation at the 2019 British Pavilion at the Venice Biennale and was a Turner Prize judge in 2021. Zoe undertook a Masters in History of Design at the Royal College of Art alongside the V and A, focusing on representations of Blackness in Vogue Magazine in the UK, US and France.Zoé has chosen a veritable feast of pattern including striped sweatpants from Erykah Badu's world market, a Vlisco Dutch Wax hall of fame, A Stella Jean dress with typewriters all over it, a floral Versace monogram silk, a Moroccan Boucheruite rug and a Viviers Studio ostrich claw napkin! You can see all of Zoé's patterns and more on instagram @patternportraitspodcast‘Caszh With Zhuzh' - The PATTERN PORTRAIT print artwork to accompany Zoé's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.ukReferences:Badu world marketGetty internshipKaye Spilker / Sharon Takeda - Curator / Head of Costume at Textiles at LACMARudi Gernreich Pubikini 1985Claire McCardellGilbert AdrianTom Ford Gucci jeansVlisco - dutch waxCauleen SmithYinka Shonibare - Dysfunctional Family (1999) / Sir Foster Cunliffe, Playing (2007)Njideka Akunyili CrosbyStella JeanNAFADLisa Left Eye Lopes - Hat 2 Da BackHouse Party - Kid n play pool ball pyjamasLisanne ViviersAnthea Hamilton Loewe wallpaper Hosted on Acast. See acast.com/privacy for more information.

#AD - New Talk Art special episode! We meet legendary art critic Louisa Buck for a tour of Cork Street Galleries, to visit galleries including Alison Jacques, Tiwani Contemporary, Frieze No.9 Cork St, Waddington Custot, Goodman Gallery, Stephen Friedman, Marianne Holtermann and Flowers Gallery. We discover their current exhibitions but also explore the history of this iconic art street in London's W1.London Gallery Weekend, the biggest gallery weekend event in the world, returns for its fourth edition from Friday 31 May to Sunday 2 June 2024 uniting the city's network of world-class galleries for a three-day programme of exhibitions and events. With more than 130 participating galleries – ranging from established galleries to emerging spaces and featuring 16 new participants – London Gallery Weekend demonstrates the vibrancy and variety of the London gallery scene.Cork Street Banner CommissionCork Street Galleries is pleased to announce Sir John Akomfrah as the artist for its Cork Street Galleries Banners Commission 2024, which will be unveiled on Cork Street for London Gallery Weekend. Akomfrah's new work, The Secret Life of Memorable Things (2024) follows on from the artist's presentation at the Venice Biennale, Listening All Night To the Rain, commissioned by the British Council for the British Pavilion, and continues to investigate themes and motifs that explore memory and the personality (ties) of the object, in a new form. The commission comprises five lines of double-sided banners across Cork Street, with three banners per line and a total of 30 individual artworks, with one exhibition running from north to south of the street and another exhibition south to north.Visit http://CorkStGalleries.com to discover more about this history of Cork Street as well as current exhibitions! #CorkStreetGalleriesFollow Louisa Buck on her new Instagram @LouBuck01For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com Hosted on Acast. See acast.com/privacy for more information.

John Akomfrah: Listening all Night to the Rain / British Pavilion at the 60th International Art Exhibition – La Biennale ...

Welcome to the first of our episodes from the 60th International Art Exhibition - La Biennale di Venezia.Today, I am delighted to hand the mic to my dear friend the arts writer Dale Berning Sawa, who met with John Akomfrah at the preview of The British Council commission Listening All Night To The Rain. You'll also hear from me in this episode and Dale shares a reflection on her first Venice experience and conversation with the artist on this special occasion. You can also enjoy Dale's review of Listening All Night To The Rain and images from the exhibition, in Shade Art Review. today.Listening All Night To The Rain continues artist and filmmaker John Akomfrah's investigation into themes of memory, migration, racial injustice and climate change with a renewed focus on the act of listening and the sonic. The exhibition, conceived as a single installation with eight interlocking and overlapping multi-screen sound and time-based works, is seen as a manifesto that encourages the idea of listening as activism and positions various progressive theories of acoustemology: how new ways of becoming are rooted in different forms of listening. Encouraging visitors to experience the British Pavilion's 19th century neoclassical building in a different way, Akomfrah's commission interprets and transforms the fabric of the space in order to interrogate relics and monuments of colonial histories.John Akomfrah initially came to prominence in the early 1980s as part of the Black Audio Film Collective (BAFC), a collective founded in 1982. An early film by BAFC, titled Handsworth Songs (1986), explored the events around the 1985 riots in Birmingham and London. In recent years, Akomfrah's work has evolved into ambitious, multi-channel installations presented in galleries and museums worldwide. In 2017, he won the Artes Mundi prize, the UK's biggest award for international art. He has previously participated in the 58th Venice Viennale with Four Nocturnes, commissioned for the inaugural Ghana Pavilion in 2019, and Vertigo Sea (2015) as part of the 56th International Art Exhibition. The British Council commission Listening All Night To The Rain at the Venice Biennale 2024 runs from Saturday 20 April to Sunday 24 November 2024. Read Shade Art Review Shade Art Review 20% discount codeShade Podcast InstagramShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEditing and mixing by Tess DavidsonDale Berning SawaBritish PavilionVenice Biennale Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Artist Yinka Shonibare CBE RA, and Hans Ulrich Obrist and Tamsin Hong of The Serpentine Galleries, coat London's historic statues and public monuments with fresh layers of history. For over 30 years, Yinka Shonibare CBE RA has used Western European art history to explore contemporary culture and national identities. With his iconic use of Dutch wax print fabric - inspired by Indonesian batik designs, mass-produced in the Netherlands (and now China) and sold to British colonies in West Africa - he troubles ideas of ‘authentic' ‘African prints'. Painting these colourful patterns on his smaller-scale replicas of sculptures of British figures like Winston Churchill, Robert Clive, and Robert Milligan, he engages with contemporary debates raised in Black Lives Matter (#BLM) and the toppling of slave trader Edward Colston's statue in Bristol. Suspended States, the artist's first London solo exhibition in over 20 years, puts these questions of cultural identity and whiteness, within the modern contexts of globalisation, economics, and art markets. Wind Sculptures speak to movements across borders, other works how architectures of power affect refuge, migration, and the legacies of imperialism in wars, conflict, and peace today. With his Library series, we read into Wole Soyinka, Bisi Silva, and canonised 17th, 18th, and 19th century artists like Diego Velázquez, focussing on Yinka's engagement with Pablo Picasso, modernism, and ‘primitivism'. Hans Ulrich Obrist and Tamsin Hong highlight the connection between the Serpentine's ecological work, and Yinka's new woodcuts and drawings which consider the impact of colonisation on the environment. As a self-described ‘post-colonial hybrid', Yinka details his diasporic social practices, including his Guest Project experimental space in Hackney, and G.A.S. Foundation in Nigeria, and collaborations with young artists and researchers like Leo Robinson, Péjú Oshin, and Alayo Akinkubye. Yinka Shonibare: Suspended States runs at the Serpentine Galleries in London until 1 September 2024. Yinka is also an Invited Artist, and participant in Nigeria Imaginary, the official Nigerian Pavilion, at the 60th Venice Biennale, which runs until 24 November 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Dutch wax fabric and ‘African' textiles, listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath and British Textile Biennial 2021, and the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx by Araminta de Clermont (2010)⁠. For more about Nelson's Ship in a Bottle (2010), listen to historicity London, a podcast series of audio walking tours, exploring how cities got to be the way they are. On bronze as the ‘media of history', hear artist Pio Abad on Giolo's Lament (2023) at the Ashmolean Museum in Oxford. And on the globalisation of ‘African' masks, listen to Tate curator Osei Bonsu in the episode about Ndidi Dike's A History of A City in a Box (2019). For more about the Blk Art Group, hear curator Dorothy Price on Claudette Johnson's And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Hear curator Folakunle Oshun, and more about Yinka Shonibare's Diary of a Victorian Dandy (1998), in the episode on Lagos Soundscapes by Emeka Ogboh (2023), at the South London Gallery. Read about Nengi Omuku in this article about Soulscapes at the Dulwich Picture Gallery in London. And for other artists inspired by the port city of Venice, hear John Akomfrah of the British Pavilion (2024) on ⁠Arcadia (2023)⁠ at The Box in Plymouth. WITH: Yinka Shonibare CBE RA, British-Nigerian artist. Hans Ulrich Obrist, Artistic Director, and Tamsin Hong, Exhibitions Curator, at the Serpentine Galleries in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

Lord Byron died 200 years ago on Friday. Lady Caroline Lamb described him as 'mad, bad and dangerous to know'. Fiona Stafford has edited Byron's Travels, a new selection of his poems, letters and journals. He was only 36 when he died, but had written seven volumes of verse, thirteen volumes of journal and thousands of letters. The poet A. E. Stallings, who lives in Greece, where Byron died while supporting the Greek struggle for independence - and Fiona Stafford, join Tom Sutcliffe to celebrate this great, scandalous and very funny Romantic poet.We talk about the sped-up music phenomenon, and what it tells us about the constantly evolving relationship between the music industry and music fans. Music business writer Eamonn Forde and singer-songwriter Fiona Bevan are in the Front Row studio.And artist Sir John Akomfrah joins us from the British Pavilion at the 60th Venice Biennale where he is representing the UK, with his exhibition, Listening All Night To The Rain.Presenter: Tom Sutcliffe Producer: Paul Waters

Files on Air is a podcast series in which contributors from AA Files read their work. In this episode, you will hear Madeleine Kessler and Manijeh Verghese – curators of the British Pavilion at the 2021 Venice Architecture Biennale – read their text ‘Powers of Public Space', in which they examine some of the ideas that informed their Biennale display, including case studies on rewilded greens, playstreets and public libraries. You can read the piece in AA Files 78. AA Files is the Architectural Association's journal of record, which promotes original and engaging writing on architecture and its related fields.AirAA podcasts are recorded, mixed, edited and distributed from the Architectural Association School of Architecture, which is based in Bedford Square in London. Special thanks to Thomas Parkes for his contribution to the production of our episodes. To view the show notes and find more episodes, visit air.aaschool.ac.uk

This week Merlin travels to Venice to catch up with Jayden Ali, one of the curators for the British Pavilion at the 2023 Venice Architecture Biennale.// The British Pavilion shines a light on everyday urban customs at this year's Venice Architecture Biennale // Resident accuses a south London estate regeneration of ‘social cleansing' in high court battle // BikeStormz under threat due to moral panic and unfair policing // And campaigners fight back over council bid to remove their plant pots //Click here to get early, ad-free access to the Londown, and support accessible independent journalism from Open City.The Londown is recorded and produced at the Open City offices located in Bureau. Bureau is a co-working space for creatives offering a new approach to membership workspace. Bureau prioritises not just room to think and do, but also shared resources and space to collaborate. To book a free day pass follow this link.The Londown is produced in association with the Architects' Journal, and the C20 Society.The C20 Society are offering Londown supporters 20% off membership, just follow this link and use the code C20LONDOWN at the checkout.If you enjoyed the show, we recommend you subscribe to the AJ for all the latest news, building studies, expert opinion, cultural analysis, and business intelligence from the UK architecture industry. Listeners can save 15% on a subscription using this link. Hosted on Acast. See acast.com/privacy for more information.

Brokeback Mountain on stage: musician and librettist Dan Gillespie Sells discusses writing the songs for a new stage production of Brokeback Mountain, adapted from Annie Proulx's short story about the romance between two men working as sheep herders in 1960s Wyoming. Venice Architecture Biennale: the exhibition at the British Pavilion this year draws on traditions practised by different diaspora communities in the UK - such as Jamaicans playing dominoes and Cypriots cooking outside - and explores how they occupy space, so this can be included in planning the built environment. Two of the curators, Meneesha Kellay and Joseph Henry, discuss how architecture goes beyond buildings and economic structures. Plus art generates art in Malaysian novelist Tan Twan Eng's new book The House of Doors, inspired in part by the life of William Somerset Maugham and the stories he wrote drawing on his travels in Malaysia. Presenter: Tom Sutcliffe Producer: Julian May

It's the Season 14 finale! We meet Skinder Hundal MBE who is the British Council's Director of Arts!!!! We discuss his extraordinary career in Visual Arts including recently working with Sonya Boyce, for the 2022 British Pavilion, who won the Golden Lion prize for her exhibition 'Feeling Her Way', which runs until 27th November.Before joining British Council, Hundal was CEO/Director of New Art Exchange, a contemporary arts space in Nottingham where he worked for 12 years to create connections between the UK and overseas through arts and cultural projects. Working across art forms, his international experience includes projects for La Biennale di Venezia, TED Global, Google Cultural Institute and for the UK's official arts programme for the First World War Centenary, 14-18 Now.Major projects under his tenure at New Art Exchange includes Here, There & Everywhere, an ambitious international programme of artistic development, cultural exchange and artist residencies between the UK and Africa, South Asia, South Korea, Middle East, North America and Europe.Skinder Hundal is Executive Producer and co-Artistic Director of the UK's original South Asian outdoor festival, Nottingham Arts Mela, and a Board member at Artist News (a-n) and Tom Dale Dance Company. In 2019, he was awarded an MBE for his contribution to visual arts.As Director of Arts, British Council, Hundal oversees multiple art forms, including: Architecture, Design and Fashion; Film; Literature; Music; Theatre and Dance; and Visual Arts. The British Council's major arts activity includes cultural programmes for annual bilateral seasons such as UK/Italy 2020 and UK/Australia 2021-22; the British Pavilion exhibitions at La Biennale Arte and La Biennale Architettura, Venice; and the Market Focus Cultural Programme at the London Book Fair."Connecting, engaging and sharing knowledge through arts and culture is now more important than ever. I believe artists and cultural professionals help challenge, provoke and make sense of the world, so I'm looking to connect the unique and diverse UK's arts scene with many brilliant artists and organisations around the world in my role at British Council.' Skinder Hundal MBEFollow @SkinderHundal and @BritishArts on Instagram, or @SkinsBC on Twitter. Learn more: https://www.britishcouncil.org/arts and explore the British Council Visual Arts Collection here: http://visualarts.britishcouncil.org/collectionThanks for listening to Season 14!! We will be back next week with a whole new series 15!!! Plus we will be announcing some very exciting news next week. WATCH THIS SPACE!!! Enjoying the podcast? Follow us and say hello via our Instagram: @TalkArt Hosted on Acast. See acast.com/privacy for more information.

Finn Williams talks about architecture public practices and the role of local government in managing inclusive everyday places. Finn Williams is City Architect Malmø in Sweden. He is Co-founder of Public Practice, the social enterprise which is transforming the status of public service in the built environment sector. He previously worked for the Office of Metropolitan Architecture, Croydon Council and the Greater London Authority. He is a Visiting Professor at the Institute of Innovation & Public Purpose at UCL, a Design Council Built Environment Expert, and was co-curator of the British Pavilion at the 2016 Venice Architecture Biennale. Ⓒ Images: Public Practice Portrait: UCL

In the first episode of Year Two (or Season 2?) of A is for Architecture, I speak with Dr Torange Khonsari, course leader for the Design for Cultural Commons courses at London Metropolitan University, and founder and director of Public Works, a London-based architecture, art and urbanism design practice, which focuses on participatory and performative art, architecture, anthropology and politics. We discuss the idea of commons, at once very ancient spatial, political, social and knowledge spaces, but with current pressures to communal resources, are perhaps of even greater value, even as they disappear. Torange talks about how architecture and designerlypractices can make commons, or make them more likely to occur, and how designers can operate through cultural commoning practices to build communities, enrich space[s] and resist social erasure through the articulation of common values. Torange's work has been exhibited widely, and includes The Ministry of Common Land within the The Garden of Privatised Delights, the British Pavilion at the 2021 Venice Biennale, curated by Manijeh Verghese and Madeleine Kessler, and which you can see her speak about here. You can watch Torange give an excellent TEDx talk, Harnessing The Power Of The Civic Commons, in 2019. Enjoy! + + + + + + + + + + + + + + + Music credits: Bruno Gillick + + + + + + + + + + + + + + + aisforarchitecture.org Apple: podcasts.apple.com Spotify: open.spotify.com Google: podcasts.google.com .

The artist Sonia Boyce has just won the top prize at the Venice Biennale, the Olympics of the art world, where she has been representing Great Britain in a commission for the British Council. Sonia is a multidisciplinary practitioner known for working with audio, video, wallpaper and print. For this project she has been collaborating with four female singers at the famous Abbey Road studios in London, recording a piece of sonic art. It's part of her award-winning exhibition in Venice called Feeling Her Way. Join the BBC's Anna Bailey as she follows Sonia on her artistic journey from recording, installing and opening her work at the British Pavilion. Presented and produced by Anna Bailey for the BBC World Service Executive producer: Rebecca Armstrong

New Talk Art! We meet leading artist Sonia Boyce. Boyce's practice is fundamentally collaborative and inclusive, fostering a participatory approach that questions artistic authorship and cultural difference. Last month, she became the first Black female artist to represent Britain at the Venice Biennale, the world's oldest international art exhibition. The work she presented in the British Pavilion won the prestigious prize, the Golden Lion. Six years before, she had been the first Black British woman to get elected to the Royal Academy of Arts.The British Council presents Feeling Her Way by Sonia Boyce at the British Pavilion for La Biennale di Venezia, running from 23 April – 27 November 2022. Boyce's powerful exhibition explores the potential of collaborative play as a route to innovation. The installation brings together video works featuring five Black* female musicians (Poppy Ajudha, Jacqui Dankworth MBE, Sofia Jernberg, Tanita Tikaram and composer Errollyn Wallen CBE) who were invited to improvise, interact and play with their voices. The video works take centre stage among Boyce's signature tessellating wallpapers and golden geometric structures, and the Pavilion's rooms are filled with sounds – sometimes harmonious, sometimes clashing – embodying feelings of freedom, power and vulnerability.This new commission expands on Boyce's Devotional Collection, built over more than two decades and spanning more than three centuries, which honours the substantial contribution of Black British female musicians to transnational culture.Artist and academic Sonia Boyce OBE RA (b. London, 1962) came to prominence in the early 1980s as a key figure in the burgeoning Black Arts Movement of that time with figurative pastel drawings and photo collages that addressed issues of race and gender in Britain. In 1987, she became one of the youngest artists of her generation to have her artwork acquired by Tate and the first Black-British female artist to enter the collection. Since the 1990s Boyce's practice has taken a significant multi-media and improvisational turn by bringing people together in a dynamic, social practice that encourages others to speak, sing or move in relation to the past and the present. Incorporating film, photography, print and sound in multi-media installations, Boyce's practice is fundamentally collaborative and inclusive, fostering a participatory approach that questions artistic authorship and cultural difference. At the heart of her work are questions about the production and reception of unexpected gestures, with an underlying interest in the intersection of personal and political subjectivities.Follow @SoniaBoyceArtist and @SimonLeeGallery. Visit https://www.simonleegallery.com/artists/277-sonia-boyce/ and https://venicebiennale.britishcouncil.org/feeling-her-way See acast.com/privacy for privacy and opt-out information.

In this episode, we speak to Manijeh Verghese who's the Head of Public Programmes at the Architectural Association and co-founder of Unscene Architecture – a practice that operates across disciplines to reveal the unseen forces that shape our cities. She's also the co-curator of this year's British Pavilion at the Venice Biennale of Architecture, with an installation that focused on the privatised public spaces. In our conversation, we speak about Manijeh's view of architecture and approach to cities with their public and private spaces, how the issues raised within the Venice Biennale installation became even more important in the pandemic, and Manijeh shares her thoughts as well on not always having a plan, and trusting the unknown. Mentioned in the episode: Architectural Association's Public Programme: https://www.aaschool.ac.uk/publicprogramme British Pavilion at the Venice Biennale: https://venicebiennale.britishcouncil.org/the-garden-of-privatised-delights Unscene Architecture: https://www.unscenearchitecture.com/ This episode was produced by Green Podcast Productions. To get new weekly On Design podcast episodes directly in your inbox, sign up to our newsletter at https://ondesignpodcast.com/newsletter.

'She did cause a bit of a revolution in the Royal Academy, which has been only to the good,' Anne Desmet, R.A. Gertrude Hermes was one of the most experimental sculptors of the twentieth century. She also changed the way women artists were treated at the Royal Academy forever – a story which had been overlooked until recently. Representing Britain at the Paris World Fair of 1937, selected for the British Pavilion at the 1939 Venice Biennale and the subject of a solo retrospective at the Whitechapel Gallery in 1967, Hermes' reputation fell into obscurity and her reforming activism forgotten. In the 1920s she was part of a group of artists including Henry Moore, Barbara Hepworth and Eileen Agar who were invigorating traditional techniques with a modernist approach. Working not only across sculpture and printmaking, but a variety of decorative and architectural forms such as door knockers and fountains, Hermes imbued her work with a vital energy that often focused on the elemental forces of nature. This episode takes listeners to where she lived and worked along the Thames tracing her friendships and patrons, her art school networks and studios; and the work that remains around us. We speak to people who knew Hermes, worked with her, as well as contemporary artists who explain the allure of an artist they describe as a 'goddess'. Image: Gertrude Hermes carving Diver at St Peter's Square, 1937. Digital image courtesy of Leeds Museums and Galleries © Archive of Sculptors Papers, Leeds Museums _ Galleries Bridgeman Images,

In this episode Gary Mansfield speaks to Madeleine Kessler (@maddie_kessler_) Trained as an architect and engineer, Madeleine is a RIBA chartered architect with over a decade of practice experience working on cultural, civic and masterplanning projects. She enjoys working with complex urban sites, placing community, craft and placemaking at the heart of design. Madeleine is co-curator of the British Pavilion at the 17th International Venice Architecture Biennale, where she is exploring privatised public space across the UK, proposing strategies for more inclusive ownership, access and use. Cover Image:© _John_Riddy For more information on the work of Madeleine Kessler go to https://www.madeleinekessler.com/ Special thanks to T.Burns Arts for making this podcast happen https://www.tburnsarts.com/ To Support this podcast from as little as £3 per month: www.patreon/ministryofarts For full line up of confirmed artists go to https://www.ministryofarts.org Email: ministryofartsorg@gmail.com Social Media: @ministryofartsorg

As theatres, museums, galleries, and other arts venues re-open their doors and welcome back blind and partially sighted people RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people, to share some of the accessible events that are featured in their weekly email newsletter. Items highlighted this week include: Recorded audio described guide of architecture installations at the British Pavilion, Venice Biennale Adult Children - Virtual reality experience with audio described introduction, , Wednesday 6 October - Sunday 17 October 11am to 9pm at 26 Leak Street London Can I Live -  online audio described performance, Monday 4 October to Sunday 10 October 7.30pm NW Trilogy -  audio described performance, Kiln Theatre, London, Thursday 7 October 7.30pm, touch tour 6pm Cat on a Hot Tin Roof - audio described performance, Marlowe Theatre, Canterbury, Saturday 9 October 2.30pm On Edge - outdoor performance with recorded audio description, Circulate 2021, Ilford, Saturday 16 October 1pm To find out more about these and other up-coming audio-described arts events as well as details about how to sign up to the VocalEyes weekly email newsletter do visit the VocalEyes website - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Artists Sonia Boyce, Isaac Julien, Eddie Chambers and Harold Offeh talk to Anne McElvoy about their art and the influence of the British black arts movement - which began around the time of the First National Black Art Convention in 1982 organised by the Blk Art Group and held at Wolverhampton Polytechnic. Eddie Chambers has written Roots and Culture: Cultural Politics in the Making of Black Britain and Black Artists in British Art: A History since the 1950s. He teaches at the University of Texas, Austin. Sonia Boyce is Professor at Middlesex University, a Royal Academician and the Principal-Investigator of the Black Artists & Modernism project. She will show work in the British Pavilion at the Venice Biennale in 2022. Isaac Julien shows at the Victoria Miro Gallery. His work is on display at the Museum of Modern Art in Scotland until August 31st. Lessons of the Hour is a ten-screen film installation looking at the life and times of Frederick Douglass who, from 1845-7, made repeated visits to Edinburgh, while campaigning across the UK and Ireland against US slavery. Harold Offeh is an artist, curator and senior lecturer in Fine Art at Leeds Beckett University. His work Covers features in Untitled: art on the conditions of our time which runs in a newly curated display at Kettle's Yard, Cambridge 10 July 2021 – 3 October 2021 following its opening at the New Art Exchange in Nottingham. You can also see his work in the Wellcome Collection exhibition Joy which runs until February 2022. Nottingham Contemporary's The Place Is Here brought together around 100 works by over 30 artists and collectives in 2017 when this episode first aired. Producer: Karl Bos Editor: Robyn Read You might be interested in our playlist on the Free Thinking programme website Exploring Black History https://www.bbc.co.uk/programmes/p08t2qbp

The Stuart Semple Show delves into different industries to bring you the latest insights from leading creative minds. In episode 8, host Stuart Semple invites socially driven architect Maddie Kessler to talk about her recent British Pavilion project.Kessler is the founder of Unscene Architecture, a creative endeavour that seeks to ‘reveal the unseen forces that shape our cities'. In this thought-provoking hour, Kessler and Semple discuss the relationship between the self and public spaces and the battle to make architecture a vessel for social change. This episode coversThe British PavilionOwnership of dataRethinking social spaces for the 21st centuryLand ownership in EnglandValue system shifts Loneliness and infrastructureLinks and references at: http://stuartsemple.com/the-stuart-semple-show-podcast/

The postponed 17th Venice Architecture Biennale asked its 112 participants to consider the question, “How will we live together?”. A question originally posed in 2019 by curator and architect, Hashim Sarkis far before our collective 2020 experience. He originally asked participants “to imagine spaces in which we can generously live together” Answers from 46 countries materialized into the exhibition of 2021. After a year spent living apart, the theme is both hauntingly fitting and reifies our disconnection. The second installment of our special two-part Design and the City episode covers the long-awaited event. An event that signaled something, a community eager to reconnect and a deeper understanding of just how interwoven we are with our spaces spanning the full spectrum of human existence. The exhibition explores that spectrum across five scales: Among Diverse Beings, As New Households, As Emerging Communities, Across Borders, and, As One Planet. For this episode we have it broken down into three parts. The first features none other than the 17th Biennale curator himself, Hashim Sarkis. Hashim is the Dean of the School of Architecture and Planning at the Massachusetts Institute of Technology (MIT) and the founder of Hashim Sarkis Studios. Joining him in conversation is NewCities' Director of Applied Research and reSITE's own visiting curator, Greg Lindsay, to discuss the meaning and aims of this special Biennale. Following Sarkis and Lindsay's conversation, we will explore accessibility and hear from the curators of the British Pavilion entitled The Garden of Privatised Delights and wrap up with the curators of the Austrian Pavilion entitled, We Like Platform Austria. Both sets of curators tackled what can often be a rather serious topic regarding accessibility along with the binary that exists between public and private space, but with a bit of whit and a sense of playfulness, ultimately makes the message on accessibility, accessible in itself. --- Design and the City, is a podcast produced by reSITE about the ways we can use design to make cities more livable and lovable. reSITE is a global non-profit and platform connecting people and ideas to improve the urban environment. We work at the intersection of architecture, urbanism, politics, culture, and economics, acting as a catalyst for social action and innovative leadership. We encourage the exchange of ideas about making cities more livable, competitive, resilient, inclusive, mobile, and designed with humans in mind to protect and public space, architecture, and sustainable development in cities. Learn more at www.reSITE.org Join reSITE's Newsletter If you would like to support us as a patron, sponsor, or strategic partner, please get in touch with us at podcast@resite.org. Your support allows us to continue sharing ideas to inspire more livable, lovable cities. Design and the City is a reSITE production. reSITE is a global non-profit connecting people and ideas to improve the urban environment. This episode was directed and produced by myself, Alexandra Siebenthal with support from Martin Barry, Radka Ondrackova, Anna Stava, and Nikkolas Zellers as well as Nano Energies and the Czech Ministry of Culture. It was edited by Andel Sound Studio.

This week Merlin speaks with Maddie Kessler, co-curator of The Garden of Privatised Delights pavilion at the Venice Biennale opening next week. Also on the menu; Radical planning reforms set down in the Queen's Speech, the winners of Enfield's Meridian Four contest named, and Urban Splash in final stage talks to buy Croydon's Brick by Brick.If you enjoy The Londown we recommend subscribing to the Architects' Journal – for all the latest news, building studies, expert opinion, cultural analysis and business intelligence from the UK architecture industry. Listeners can save 15% on a subscription using this link. See acast.com/privacy for privacy and opt-out information.

I talk to the curators for the British Pavilion at Venice Biennale 2021. Manijeh Vergese and Maddie Kessler were selected for the 2020 Venice Biennale and in light of the global pandemic the Biennale was moved from 2020 to 2021. In this episode the curators talk about how they originally met, their proposal for the British Pavilion, the project itself, working with design teams around the UK and managing the changes that came about due to the Covid-19 pandemic. See more from the architects here https://www.unscenearchitecture.comFollow me on Instagram at https://www.instagram.com/thegitajoshi/

COVID-19 is an x-ray of racial injustice, inequality, and ineffectual government as well as a rehearsal for climate catastrophe. It exposes a modern mind that maintains the myth of solutions, newness, freedom, and universals. That mind gives authority to new digital technologies, econometrics, and law, to segregate and eliminate problems. COVID graphically models the productive entanglement between problems as well as forms for re-tuning and redesigning those entanglements. Interplay itself is the form—protocols of interplay that resist solutions or modular methodologies. Unfolding over time and indeterminate in order to be practical, they generate lumpy mixtures of different kinds of artifacts in space. Consider design protocols that deal with, among many other things, automation, migration, police defunding, cooperative land tenure, coastal retreat, reforestation and compounding reparations. SPEAKERSKeller Easterling is an architect, writer and professor at Yale. Her most recent book, Extrastatecraft: The Power of Infrastructure Space (Verso, 2014), examines global infrastructure as a medium of polity. A recently published e-book essay titled Medium Design (Strelka Press, 2018) previews a forthcoming book of the same title. Medium Design inverts an emphasis on object and figure to prompt innovative thought about both spatial and non-spatial problems. Other books include: Enduring Innocence: Global Architecture and its Political Masquerades (MIT, 2005) which researched familiar spatial products in difficult or hyperbolic political situations around the world. Organization Space: Landscapes, Highways and Houses in America (MIT, 1999) which applied network theory to a discussion of American infrastructure, and Subtraction (Sternberg, 2014), which considers building removal or how to put the development machine into reverse. Easterling is a 2019 United States Artist Fellow in Architecture and Design. She was also the recipient of the 2019 Blueprint Award for Critical Thinking. Her MANY project, an online platform facilitating migration through an exchange of needs, was exhibited at the 2018 Venice Architecture Biennale. Her research and writing on the floor comprised one of the elements in Rem Koolhaas's Elements exhibition for the 2014 Venice Biennale. Easterling is also the co-author (with Richard Prelinger) of Call it Home: The House that Private Enterprise Built, a laserdisc/DVD history of US suburbia from 1934–1960. She has published web installations including: Extrastatecraft, Wildcards: a Game of Orgman and Highline: Plotting NYC. Easterling has exhibited at Henry Art Gallery, the Istanbul Design Biennale, Storefront for Art and Architecture, the Rotterdam Biennale, the Queens Museum and the Architectural League. Easterling has lectured and published widely in the United States and abroad. The journals to which she has contributed include Domus, Artforum, Grey Room, Cabinet, Volume, Assemblage, e-flux, Log, Praxis, Harvard Design Magazine, Perspecta, and ANY. Shumi Bose is a teacher, curator and editor based in London. She is a senior lecturer in history and theory of architecture at Central Saint Martins, and teaches Critical and Historical Studies at the Royal College of Art. She is also curator of exhibitions at the Royal Institute of British Architects. Exhibitions include Freestyle: Architectural Adventures in Mass Media, a RIBA commission by Space Popular, currently on both virtual and shuttered physical display, and Conservatism, or The Long Reign of Pseudo Georgian Architecture, with Pablo Bronstein in 2017. . Shumi co-curated Home Economics at the British Pavilion, for the 15th Venice Biennale of Architecture in 2016, exploring the future of the home through a series of 1:1 domestic proposals. In 2012, she was curatorial collaborator and publications editor for Sir David Chipperfield on Common Ground, the 13th Venice Biennale of Architecture. Shumi has held editorial positions at Blueprint, Strelka Press, Afterall, Volume and the Architects’ Journal, and contributes to titles including PIN UP, Metropolis and Avery Review. In 2015, she co-founded the publication Real Review, currently run by Jack Self. Recent publications include Spatial Practices: Modes of Action and Engagement with the City (ed. Mel Dodd, Routledge, 2019), Home Economics (The Spaces, 2016), Places for Strangers (with mæ architects, Park Books, 2014) and Real Estates (with Fulcrum, Bedford Press, 2014).

I am delighted to be joined by Bonnie May, the Global Operations Director of catering and hospitality specialist, Global Infusion Group. Bonnie epitomises what many would see as the ultimate role in events. Over 30 years Bonnie has flown the world touring with some of the biggest bands and singers such as James Brown, The Eagles and Coldplay as well as unique acts such as Cirque du Soleil. She has also been involved in the catering delivery to 5 major International Games and has delivered corporate events around the world for up 12000 guests. In 2021 GIG are the chosen caterers for the British Pavilion at the World Expo in Dubai for 6 months. At the National Business Women's Awards 2019 Bonnie won the Veuve Cliquot International Women's Award category before receiving the accolade of Overall Winner. Bonnie takes us through a delightful festival themed event close to home with amazing entertainment and lovely little touches to make it an occasion to remember. While going through her event she talks through the amazing stepping stones, including working with Red Bull from its infancy and getting it on the Bruce Springsteen tour, that have led GIG to the point it's at today. We discuss her learnings from delivering international projects, how they have had to adapt their business in the current crisis and what continues to drives her and the whole Global Infusion Group team forward. An insight not to be missed. One Amazing Experience is produced by Philip Atkins, Founder Managing Director of www.offtowork.co.uk to promote the importance of the events industry and to provide uplifting and fun insight for those working in the events industry, running their own business or simply interested in the business of events.

Sam Jacob is director of Sam Jacob Studio. He is Professor of Architecture at UIC and Visiting Professor at Yale School of Architecture. He was co-curator of the British Pavilion in Venice (2014), is columnist and critic for Dezeen and Art Review as well as Contributing Editor for Icon magazine. Previously, Sam was a founding director of FAT Architecture.

Dr. Zoé Whitley is the Director of London’s Chisenhale Gallery. Prior to that, she’s held positions at the Hayward Gallery, the Tate, the Victoria & Albert Museum, and the Studio Museum in New York. Zoé was also the co-curator of the widely acclaimed Soul of a Nation exhibition at the Tate Modern in 2017. She curated the British Pavilion at the 2019 Venice Biennale and, in September, her show Elijah Pierce’s America will open at the Barnes Foundation in Philadelphia. Some of the artists discussed in this episode: Mat Collishaw Anthea Hamilton Helen Marten Sonia Boyce Betye Saar Lubaina Himid Sable Elyse Smith Sam Gilliam Frank Bowling Charles White Faith Ringgold For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

The LFA is the world's largest annual architecture event and celebrates London as a global hub of architectural experimentation, practice and debate. This year London Festival of Architecture making LFA Digital on the theme of Power. As a part of LFA Digital, “Architects Love Media & Media Loves Architects – But Do They Get Along?” panel talk organised by Anylab Experimental Studio, based in Somerset House London; will question how we can define “media” in architecture. Is media only a tool, or is it a space dialogue and debate? Speakers will present their idea of media and demonstrate how media can explore the connections between architecture and its representation. Speakers: Dara Huang/ Architect, Founder of DH Liberty, Co-founder of Vivahouse Tom Wilkinson/ History Editor The Architectural Review, Author of Bricks and Mortals: Ten Great Buildings and the People They Made, co-director of New Architecture Writers Sam Jacob/ Principal of Sam Jacob Studio for architecture and design, Professor of Architecture at UIC and Visiting Professor at Yale School of Architecture Manijeh Verghese/ Founding Director at Unscene Architecture, Head of Public Programmes at Architectural Association, Co-Curator of the British Pavilion at the 2021Venice Architecture Biennale Jim Stephenson/ Photographer, Film-maker, Founder of Clickclickjim Bobby Jewell/ Press and Communications Consultant, Coordinator at ACAN, Co-organiser of the Negroni Talks Shukri Sultan / Co-founder of Afterparti, inaugural member of the New Architectural Writers program Nurgul Yardim/ Architect, Podcast Host, Founder of Anylab (Chair)

EPISODE 288: Flushing Meadows-Corona Park, the fourth largest park in New York City and the pride of northern Queens, has twice been the gateway to the future. Two world's fairs have been held here, twenty-five years apart, both carefully guided by power broker Robert Moses. In this episode, we highlight the story of the first fair, held in 1939 and 1940, a visionary festival of patriotism and technological progress that earnestly sold a narrow view of American middle-class aspirations. It was the World of Tomorrow! (Never mind the protests or the fact that many of the venues were incomplete.) A kitschy campus of themed zones and wacky architectural wonders, the fair provided visitors with speculative ideas of the future, governed by clean suburban landscapes, space-age appliances and flirtatious smoking robots.  The fair was a post-Depression excuse for corporations to rewrite the American lifestyle, introducing new inventions (television) and attractive new products (automobiles, refrigerators), all presented in dazzling venues along gleaming flag-lined avenues and courtyards. But the year was 1939 and the world of tomorrow could not keep out the world of today. The Hall of Nations almost immediately bore evidence of the mounting war in Europe. Visitors who didn't fit the white middle-American profile being sold at the fair found themselves excluded from the "future" it was trying to sell.  And then, in July of 1940, there was a dreadful tragedy at the British Pavilion that proved the World of Tomorrow was still very much a part of the world of today. Support the show.

With the curator Zoe Whitley at Tate Modern in London. Whitley discusses the women who have inspired her, the importance of diversity in exhibition-making, and why she loves working with artists – including Lubaina Himid, who supervised her PhD, and Cathy Wilkes, whose work she is curating for the British Pavilion at the 58th Venice Biennale.  The Apollo 40 under 40 podcast is presented by Gabrielle Schwarz

In this episode it was our privilege to meet Stuart Wood of Heatherwick Studio. Taking a lead on some of the studio’s most well known projects, Stuart talks us through his work on the London Routemaster bus, the British Pavilion and the new Google office in Kings Cross.

As the six-month-long 57th International Art Exhibition - otherwise known as the Venice Biennale - opens its doors to the world, John Wilson reports from the Italian city. The artist selected for the British Pavilion in the Giardini this year is 73-year-old Phyllida Barlow, following in the footsteps of Henry Moore, Francis Bacon, Barbara Hepworth, Howard Hodgkin and Rachel Whiteread. Phyllida Barlow describes the new large-scale sculptures made of concrete, wood, cloth and polystyrene that she has created for her show Folly, and discusses the challenge of representing Britain in an age of global political unrest.Presenter John Wilson Producer Jerome Weatherald.

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

Welcome to this audio descriptive guide for Phyllida Barlow's exhibition at the British Pavilion at the Biennale Arte 2017 in Venice. It lasts about 35 minutes. British artist Phyllida Barlow’s ambitious installation for the British Pavilion, entitled folly, playfully challenges us to explore our own understanding of sculpture. Commissioned by the British Council, Barlow has transformed everyday materials, such as timber, concrete and fabric, into bold sculptures that infiltrate the entire building, reaching up to the roof and even spilling outside. Find out more: www.britishcouncil.org/venicebiennale @brit_visualarts #BritishPavilion #UKinVenice

​When Vicky Richardson met Nelly Ben Hayoun, Nelly was wearing a space suit. Nelly is an award-winning director and experience designer, who has worked with artists, musicians, scientist and engineers devising boundary-breaking events and experiences.​ Vicky is the former Director of Architecture, Design and Fashion at the British Council. In 2016, she was Commissioner for the British Pavilion at Venice Architecture Biennale. They met in the pod to talk about post-Brexit creativity and breaking free from the institution.

The British Council presents 'Home Economics' in the British Pavilion at the 15th International Architecture Exhibition – La Biennale di Venezia - from 28 May to 27 November 2016. This panel discussion, 'Beyond the Housing Crisis' was recorded at the Biennale during the opening week. 'Home Economics' proposes new models for the frontline of British architecture: the home. The Housing Crisis is not only a failure of supply to meet demand, but a failure of traditional models to accommodate new patterns of life. Curator Finn Williams speaks to a new generation of disruptive developers to explore what Home Economics means for the future of housebuilding. With Reza Merchant (The Collective), Rachel Bagenal (Naked House), John Nordon (PegasusLife), and Martyn Evans (Uncommon). Find out more about the exhibition: http://design.britishcouncil.org/venice-biennale/VeniceBiennale2016/ Image: MONTHS room, Home Economics at the British Pavilion, Venice Architecture Biennale 2016, Photo by Cristiano Corte © British Council

The British Council presents 'Home Economics' in the British Pavilion at the 15th International Architecture Exhibition – La Biennale di Venezia - from 28 May to 27 November 2016. This panel discussion, 'Five New Models for Domestic Life' was recorded at the Biennale during the opening week. 'Home Economics' proposes new models for the frontline of British architecture: the home. Participants from the exhibition discuss their designs for domestic life over five periods of occupancy: Jack Self on Hours; åyr on Days; Dogma & Black Square on Months; Julia King on Years; and Hesselbrand on Decades. Chaired by Olly Wainwright, Architecture and Design Critic of The Guardian. Find out more about the exhibition: http://design.britishcouncil.org/venice-biennale/VeniceBiennale2016/ Image: DECADES room, Home Economics at the British Pavilion, Venice Architecture Biennale 2016, Photo by Cristiano Corte © British Council

The British Council presents the exhibition Home Economics in the British Pavilion at the 15th International Architecture Exhibition – La Biennale di Venezia from 28 May to 27 November 2016. Take an audio tour of the exhibition, led by Will Self. Find out more about Home Economics: http://design.britishcouncil.org/venice-biennale/VeniceBiennale2016/ Follow: #HomeEconomics #BiennaleArchitettura2016

One year on from a major season on the ‘Future of Housing’ in the UK, we look again at this ever more urgent question. In the lead up to last year’s General Election, the RA organised the Future of Housing season, which looked with a critical eye at the various possible futures for housing in the UK. One year on, we survey the changed political landscape, and a housing crisis that, if anything, has only intensified. As the Housing Bill, which notably extends the right to buy to housing association tenants as well as putting a new focus on starter homes, passes through Parliament, our panel consider the challenges and possibilities that have emerged both independently and as a result. Speakers: Jack Self – writer and co-curator British Pavilion, Venice Architecture Biennale 2016 Paul Karakusevic – Partner, Karakusevic Carson Architects Claire Bennie – architect and development consultant; former Development Director, Peabody Richard Blyth – Head of Policy, Royal Town Planning Institute Jane Dudman – Editor, Housing and Public Leaders Networks, The Guardian (chair) Photo: Houses, Robert Harding World Imagery / Alamy Stock Photo

In this episode, join Emma Gifford Mead as she discusses her curatorial practice including highlights from her time at Oriel Davies, Parasol Unit, and the British Council, leading up to curating the Jeremy Deller exhibition at the British Pavilion at the Venice Biennale, 2013. Recorded in March 2014

This week's guest is arguably the UK’s brightest star of design and architecture. In the last few years he has realised an amazing array of designs from a rolling bridge, a seaside café, the British Pavilion at the Shanghai Expo, the amazing cauldron at the London 2012 Olympics, the new London Bus… the list is endless.

John Wilson charts the progress of artist Jeremy Deller, as he creates a range of new work for the British Pavilion at the Venice Biennale. The journey begins in Jeremy's flat, and includes visits to a recording studio and a record pressing plant, before the final unveiling of the works in Venice. Producer Ekene Akalawu.

This week Sue Lawley's castaway is the architect Sir Nicholas Grimshaw. An interest in engineering runs in the Grimshaw genes - one great-grandfather was responsible for seeing a proper drainage and sanitation system installed in Dublin, while another built dams in Egypt. Nicholas inherited an enormous Meccano set and showed an early interest in construction - his passions were building tree houses and boats. One of his nicknames is 'Meccano man' because of his designs with exposed steel supports. In the past 12 years his work has become more widely known and includes the International Terminal at Waterloo, the British Pavilion, for Seville's Expo '92 and, most significantly, the Eden Project. He's just finished the redevelopment of the Roman Baths at Bath and is now working on Battersea Power Station.[Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: Prelude to Cello Suite No.4 by Johann Sebastian Bach Book: The complete works by Patrick O'Brien Luxury: RIBA drawings collection

This week Sue Lawley's castaway is the architect Sir Nicholas Grimshaw. An interest in engineering runs in the Grimshaw genes - one great-grandfather was responsible for seeing a proper drainage and sanitation system installed in Dublin, while another built dams in Egypt. Nicholas inherited an enormous Meccano set and showed an early interest in construction - his passions were building tree houses and boats. One of his nicknames is 'Meccano man' because of his designs with exposed steel supports. In the past 12 years his work has become more widely known and includes the International Terminal at Waterloo, the British Pavilion, for Seville's Expo '92 and, most significantly, the Eden Project. He's just finished the redevelopment of the Roman Baths at Bath and is now working on Battersea Power Station. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Prelude to Cello Suite No.4 by Johann Sebastian Bach Book: The complete works by Patrick O'Brien Luxury: RIBA drawings collection