Podcast appearances and mentions of brook andrew

In this episode, Adam and Budi speak with the Director and Contemporary Artist Brook Andrew.Brook's interdisciplinary art practice is driven by the collisions of intertwined narratives, often emerging from the mess of the “Colonial Wuba (hole)”. His practice is grounded in his perspective as an Australian Wiradjuri (Indigenous) and Celtic person. Brook's artworks, museum interventions, research, leadership roles, and curatorial projects challenge the limitations imposed by power structures, historical amnesia, and complicity to center and support Indigenous ways of knowing and being through systemic change and yindyamarra (respect, honor, go slow and responsibility).Brook was the Artistic Director of the groundbreaking First Nations and artist-led “NIRIN,” the 22nd Biennale of Sydney, 2020. Brook's recent works include the theatre script GABAN, premiering in 2022 as a video work, and live performances at YOYI! Care, Repair, Heal, the Gropius Bau, Berlin. International advisor to the Sámi Pavilion at the 59th International Art Exhibition of La Biennale di Venezia 2022; Enterprise Professor, The University of Melbourne, Associate Researcher, Pitt Rivers Museum, Oxford, UK; ARC (Australia Research Council grant) with Dr. Brian Martin: ARC Special Research Initiative for Australian Society, History, and Culture: ‘More than a guulany (tree): Aboriginal knowledge systems'. As the Director Reimagining Museums & Collections role with the University of Melbourne, Brook founded BLAK C.O.R.E, a collective driven by First Nations methodologies, research, and cultural practices focusing on walumarra (protection), yindyamarra gunhanha (ongoing respect) and murungidyal (healing in the museum).  Mentioned in this episode:GABAN at Art Gallery NSWHouse of SléSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

On this episode of The Unfinished Print it is with honour, and great pleasure that I am able to present to you, my interview, with British  artist Rebecca Salter. We speak on her mokuhanga, her own work and work produced together with the Satō woodblock workshop in Kyōto. We discuss where Rebecca believes mokuhanga has gone since writing her book, Japanese Woodblock Printing (2001), a book which constantly inspires me in my own work. This book helps me to understand, what has felt at times to be such an esoteric and complicated art form, just a little bit more.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Rebecca Salter - website, interviews with Royal Academy, 1 and 2. University of West England - once called Bristol Polytechnic, is a public research University located in Bristol, England. British Museum - is a public museum, located in London, England, and is focused on human history, arts and culture. It was established in 1753.  Kyoto City University of Arts - is a public university of the arts located in Kyōto, Japan, and was established in 1880. lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate.  screen printing - also called, serigraphy, is a method of printing by using stencils and forcing the ink through a screen onto paper, or other fabric. More info, here. Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. intaglio printmaking - is a style of printmaking, the opposite of relief printmaking, where scratches are made with a burin on the plate (copper, zinc, aluminum) and then dipped in acid. Ink and pigment is rubbed on with a brayer, brushes, etc. More info can be found, here.    scrolls - called kakemono 掛物 or emakimono 絵巻物  in Japanese. These scrolls contain many different types of themes and subjects. More info can be found, here. monoprint - is a print made from a re-printable block, such as wood, or an etched plate. It is usually a one and done type of printing with only one print being made. blue and white Japanese ceramics - are ceramics made for the Japanese market. Originally imported into Japan in the 17th Century from China, local Japanese ceramists from northern and southern Japan began locally producing ceramics. As trading with the Dutch escalated more porcelain wares were being imported from Europe into the Japanese port of Imari. Imari became the word to describe these types of blue and white ceramics.  Genji Monogatari emaki - is an elaborate scroll produced in 12th Century, Japan. It is based on the famous Tale of Genji, a tale written in the 11th Century and is attributed to Murasaki Shikibu (around 973-1014). You can find images of this scroll, here.  Edo Culture - the Edo Period of Japan (1603-1868) was a period of peace and prosperity for the Japanese military government, or bakufu. Led by the Tokugawa family, Edo period culture flourished in theatre, literature, and the arts. For a fantastic book on the subject please seek out, Edo Culture: Daily Life and Diversions of Urban Japan by Kazuo Nishiyama (trans. Gerald Groemer) and Edo Kabuki in Transition: From the Worlds of the Samurai to the Vengeful Ghost by Satoko Shimazaki.  Edo v. Kyōto Kabuki - kabuki theatre is a bombastic and powerful theatre from Japan. In its long history it has been generally attributed to both  Edo (Tōkyō) and Kyōto.  Edo kabuki is called aragoto kabuki and Kyōto kabuki is called wagoto kabuki. Aragoto kabuki is generally very loud and external, whereas Kyōto kabuki is more understated and gentle.  Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.  Japanese woodblock of the 1950's and 1960's - post-war Japan was growing at an exponential rate, and this was true for the Japanese woodblock print. As the sōsaku-hanga movement began to out last the shin-hanga of the 1920's in terms of production, where most people could produce prints on their own,  American scholars , Oliver Statler (1915-2000), and James Michener (1907-1997), helped catalogue and document the burgeoning Japanese woodblock print movement through their books, The Floating World (1954), by Michener, and Modern Japanese Prints: An Art Reborn (1956) by Statler, for a Western audience. Along with the Western art scene and the 1951 São Paulo Art Biennial, Japanese woodblock prints began to be respected as a stand alone piece of fine art.  kozo paper -  is paper made from mulberry bark and is commonly used in woodblock printmaking, and cloth.  Echizen, Fukui - is a city located tin the prefecture of Fukui. The paper produced from this region is kozo, mitsumata, and gampi.  More information can be found from the website of Echizen Washi Village. Mosquito net technique - is a technique in ukiyo-e, and can of course be reproduced by the modern mokuhanga practitioner, where very fine lines are carved on two wood blocks and, when printed together, create the image of slight, thin netting. Rebecca Salter details this technique in her book, Japanese Woodblock Printing (2001)   Yale Center for British Art - located in New Haven, Connecticut, the YCBA is dedicated to British art of all types.  Louise Caan - is a British architect and teacher based in Oxford where she teaches architecture at the Oxford Brookes School of Architecture.  urushi zuri - is a technique which is used in traditional Japanese woodblock and mokuhanga, where pigment is mixed with nikawa (animal glue), and printed to enhance the enjoyment of the print. Usually seen in black hair, or garments represented in the print.  Japanese museums dedicated to Japanese woodblock -  if you are visiting Japan and are interested in the Japanese woodblock print you are spoiled for choice. This list is definitely not complete so I would advise doing some research for local museums which may be open in different parts of Japan you may be visiting. This list is a mix of museums dedicated specifically to the woodblock print, or museums dedicated to woodblock print artisans.  Finally, check online for larger art museums , galleries, and department stores, in the area that you're visiting to see whether they are having any shows dedicated to woodblock print artists, genres, etc. while you're there. I've added hyper-links. The Japan Ukiyo-e Museum  - Matsumoto, Nagano Sumida Hokusai Museum - Ryogoku, Tōkyō Ōta Memorial Museum of Art -  Harajukiu/Omotesando, Tōkyō Tokaidō Hiroshige Museum - Shizuoka City, Shizuoka Hokusai Museum - Obuse, Nagano Kamigata Ukiyo-e Museum -  Ōsaka CIty, Ōsaka Nakagawa Batō Hiroshige Museum - Nakagawa, Tōchigi Kawanabe Kyōsai Museum - Warabi, Saitama Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it. My interview with Naoko Matsubara can be found, here.  Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. My interview with Katsu can be found, here.  Brook Andrew - is an Australian contemporary artist who has shown internationally.  Ukiyo-e Censorship - the military Tokugawa government (bakufu) was not happy about being criticized. Ukiyo-e prints often lampooned authority with their imagery. Other artistic pursuits in Japan at the time, such as kabuki theatre, did the same. In ukiyo-e and Tokugawa history there were “reforms” which the bakufu created in order to stem this type of criticism. The Ehon Taikōki of 1804, which focused on woodblock prints and poetry, and The Tempo Reforms of 1841/42 that focused on actor prints, the manufacturing of woodblock prints,  and their price, to name just a few reasons.  William Evertson - is an American woodblock printmaker and sculptor based in Connecticut, USA, who's themes focus on the politics and process of The United States.   Annie Bissett - is an American mokuhanga printmaker based in Rhode Island, USA. She explores American life, past and present,  sexuality, and the esoteric through her prints. My interview with Annie Bissett can be found, here.  Paul Binnie - is a Scottish mokuhanga printmaker and painter, based in San Diego, USA. Having lived and worked in Japan in the 1990's, studying at the Yoshida atelier while there, Paul has successfully continued to make mokuhanga and his paintings.  Royal Academy of Arts Summer Exhibition - is a summer exhibition held at the Royal Academy in London, England. It is an open submission, one which started in 1769, showcasing all types of artistic mediums.  余韻 - (yoin) - is a Japanese word which means “lingering memory.” The Lake District - is an area in North West of England which has numerous mountains, lakes, and a National Park. It has been an inspiration for many artists, writers, and actors for years. It is a UNESCO World Heritage Site.  © Popular Wheat Productions opening and closing credit music - Cut/Copy - Rendevous from the album, I Thought of Numbers (2001) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***      

The New Curator: Exhibiting Architecture and Design (Routledge, 2021) examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the ‘new curator'. Instead of exhibiting finished works or artefacts, the rise of ‘performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of ‘custodian' or ‘expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento. Featuring over 100 color illustrations, this highly designed, beautiful book offers an innovative contribution to the field. An essential read for students and professionals in architecture, design, art, visual culture, museum studies, curatorial studies and cultural theory. The book also features a foreword by Deyan Sudjic and an afterword by Leon van Schaik AO. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The New Curator: Exhibiting Architecture and Design (Routledge, 2021) examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the ‘new curator'. Instead of exhibiting finished works or artefacts, the rise of ‘performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of ‘custodian' or ‘expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento. Featuring over 100 color illustrations, this highly designed, beautiful book offers an innovative contribution to the field. An essential read for students and professionals in architecture, design, art, visual culture, museum studies, curatorial studies and cultural theory. The book also features a foreword by Deyan Sudjic and an afterword by Leon van Schaik AO. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

The New Curator: Exhibiting Architecture and Design (Routledge, 2021) examines the challenges inherent in exhibiting design ideas. Traditionally, exhibitions of architecture and design have predominantly focused on displaying finished outcomes or communicating a work through representation. In this ground-breaking new book, Fleur Watson unveils the emergence of the ‘new curator'. Instead of exhibiting finished works or artefacts, the rise of ‘performative curation' provides a space where experimental methods for encountering design ideas are being tested. Here, the role of the curator is not that of ‘custodian' or ‘expert' but with the intent to create a shared space of encounter with audiences. To illustrate this phenomenon, the book explores a diverse, international range of exhibitions. Divided into six themes, a series of project profiles are contextualized through conversations with influential curators and cultural producers such as Paola Antonelli, Kayoko Ota, Mimi Zeiger, Catherine Ince, Aric Chen, Zoë Ryan, Beatrice Leanza, Prem Krishnamurthy, Marina Otero Verzier, Brook Andrew, Carroll Go-Sam, Rory Hyde, Eva Franch i Gilabert, Patti Anahory and Paula Nascimento. Featuring over 100 color illustrations, this highly designed, beautiful book offers an innovative contribution to the field. An essential read for students and professionals in architecture, design, art, visual culture, museum studies, curatorial studies and cultural theory. The book also features a foreword by Deyan Sudjic and an afterword by Leon van Schaik AO. Bryan Toepfer, AIA, NCARB, CAPM is the Principal Architect for TOEPFER Architecture, PLLC, an Architecture firm specializing in Residential Architecture and Virtual Reality. He has authored two books, “Contractors CANNOT Build Your House,” and “Six Months Now, ARCHITECT for Life.” He is an Assistant Professor at Alfred State College and has served as the Director of Government Affairs and as the Director of Education for the AIA Rochester Board of Directors. Always eager to help anyone understand the world of Architecture, he hosts the New Books Network – Architecture podcast, is an NCARB Licensing Advisor and helps coach candidates taking the Architectural Registration Exam. btoepfer@toepferarchitecture. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Clare and Yves are joined by interdisciplinary contemporary Australian artist Brook Andrew, whose work converses with the archives in an interrogation of the legacies of colonialism and modernism. Can confronting the trauma of the archives take us to places of freedom and healing? Where is the line between critique and trauma porn? The group discusses the archival turn in contemporary Indigenous art, the learnt voyeurism of culture, and art as a release from the archive.

"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” "This episode will discuss approaches to curriculum for global Indigenous arts from within and beyond the settler institutions of the university and the museum. In addition to an ongoing conversation on this topic with Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation, the episode centers on a narrative by Jaime Morse, educator for Indigenous Programs and Outreach at the National Gallery of Canada, Ottawa. Focusing on her experience as an educator at the two large-scale exhibitions of global Indigenous art, Sakahàn (2013) and Àbadakone (2019), Morse describes the work of Sámi architect and artist Joar Nango (Sámi Architectural Library, 2019) at the latter as a space of gathering and knowledge exchange, not only for other artists in the exhibition, but also for Indigenous community members. At the beginning and end of the episode are two spoken word pieces by writer, artist and curator Taqralik Partridge, of Inuit, Scottish and Canadian heritage: ‘Decolonisation is a Pyramid Scheme' and ‘Untitled'. The former was included in a TV show created by Joar Nango and Ken Are Bongo called Post-Capitalist Architecture TV for Bergen Kunsthall, while the latter was included in NIRIN: 22nd Sydney Biennale, curated by Brook Andrew. ‘Untitled' was originally written following a performance by Indigenous Brazilian artist Denilson Baniwa in Toronto and Partridge agreed for it to be included in today's episode with a request for donations to support the South American Indigenous Network Emergency Fund – here is the link to donate: www.gofundme.com/f/south-american…k-emergency-fund " -Minus Plato

"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” "This episode will discuss approaches to curriculum for global Indigenous arts from within and beyond the settler institutions of the university and the museum. In addition to an ongoing conversation on this topic with Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation, the episode centers on a narrative by Jaime Morse, educator for Indigenous Programs and Outreach at the National Gallery of Canada, Ottawa. Focusing on her experience as an educator at the two large-scale exhibitions of global Indigenous art, Sakahàn (2013) and Àbadakone (2019), Morse describes the work of Sámi architect and artist Joar Nango (Sámi Architectural Library, 2019) at the latter as a space of gathering and knowledge exchange, not only for other artists in the exhibition, but also for Indigenous community members. At the beginning and end of the episode are two spoken word pieces by writer, artist and curator Taqralik Partridge, of Inuit, Scottish and Canadian heritage: ‘Decolonisation is a Pyramid Scheme' and ‘Untitled'. The former was included in a TV show created by Joar Nango and Ken Are Bongo called Post-Capitalist Architecture TV for Bergen Kunsthall, while the latter was included in NIRIN: 22nd Sydney Biennale, curated by Brook Andrew. ‘Untitled' was originally written following a performance by Indigenous Brazilian artist Denilson Baniwa in Toronto and Partridge agreed for it to be included in today's episode with a request for donations to support the South American Indigenous Network Emergency Fund – here is the link to donate: www.gofundme.com/f/south-american…k-emergency-fund " -Minus Plato

The visionary Turkish artist and his studio collaborate with computers to make hallucinatory public art.We go into the studio of Kate Just, who's knitting a feminist project bound for the Museum of Contemporary Art.And Tony Albert and Brook Andrew discuss the legacy of significant Australian artist Gordon Bennett.

The visionary Turkish artist and his studio collaborate with computers to make hallucinatory public art. We go into the studio of Kate Just, who's knitting a feminist project bound for the Museum of Contemporary Art. And Tony Albert and Brook Andrew discuss the legacy of significant Australian artist Gordon Bennett.

The visionary Turkish artist and his studio collaborate with computers to make hallucinatory public art. We go into the studio of Kate Just, who's knitting a feminist project bound for the Museum of Contemporary Art. And Tony Albert and Brook Andrew discuss the legacy of significant Australian artist Gordon Bennett.

The visionary Turkish artist and his studio collaborate with computers to make hallucinatory public art. We go into the studio of Kate Just, who's knitting a feminist project bound for the Museum of Contemporary Art. And Tony Albert and Brook Andrew discuss the legacy of significant Australian artist Gordon Bennett.

The visionary Turkish artist and his studio collaborate with computers to make hallucinatory public art. We go into the studio of Kate Just, who's knitting a feminist project bound for the Museum of Contemporary Art. And Tony Albert and Brook Andrew discuss the legacy of significant Australian artist Gordon Bennett.

Brook Andrew, Artistic Director of NIRIN, 22nd Biennale of Sydney in discussion with exhibiting NIRIN NAARM artists, including Victoria Hunt, Justin Shoulder and James Tylor. Hosted online for a limited one-week period from 10–15 November, NIRIN NAARM is a unique collaboration between ACCA and the Biennale of Sydney, presenting key works from NIRIN, the 22nd Biennale of Sydney online on ACCA's website. Read more about NIRIN NAARM here: https://acca.melbourne/exhibition/nirin-naarm/ Recorded on Zoom on Saturday 14 November 2020

Brook Andrew's passions have never been contained to the artist's studio, from his interest in the anonymous sitters of early ethnographic photographs and memorials to the lives lost in Australia's frontier wars, to the repatriation of Aboriginal remains. Brook speaks to guest host Rosa Ellen about what drives him and what he set out to do as the first Indigenous artistic director of the Biennale of Sydney, which he renamed NIRIN.

Brook Andrew's passions have never been contained to the artist's studio, from his interest in the anonymous sitters of early ethnographic photographs and memorials to the lives lost in Australia's frontier wars, to the repatriation of Aboriginal remains. Brook speaks to guest host Rosa Ellen about what drives him and what he set out to do as the first Indigenous artistic director of the Biennale of Sydney, which he renamed NIRIN.

Brook Andrew's passions have never been contained to the artist's studio, from his interest in the anonymous sitters of early ethnographic photographs and memorials to the lives lost in Australia's frontier wars, to the repatriation of Aboriginal remains. Brook speaks to guest host Rosa Ellen about what drives him and what he set out to do as the first Indigenous artistic director of the Biennale of Sydney, which he renamed NIRIN.

Brook Andrew's passions have never been contained to the artist's studio, from his interest in the anonymous sitters of early ethnographic photographs and memorials to the lives lost in Australia's frontier wars, to the repatriation of Aboriginal remains. Brook speaks to guest host Rosa Ellen about what drives him and what he set out to do as the first Indigenous artistic director of the Biennale of Sydney, which he renamed NIRIN.

Season 2 opens with one of my favourite episodes. Day 105 Sydney, Day 0 Melbourne - as Melbourne locked down suddenly again in a second wave - we speak to artist Belinda as she gazes out onto Sydney Harbour the night that Melbourne locked down. She talks about the arts community in Australia in lockdown and the Sydney Biennale, the first time it has been curated by an Indigenous artist Brook Andrew - turned on its head at the very last minute as it coincided with lockdown. She talks about what happens to an artist's practice under stress, nurturing in a crisis and grieving and celebrating her father who died during the lockdown when gatherings were not permitted. She covers the fascinating changes happening in Australian society across states and the seen and unseen in all our lives that the pandemic will bring to light. https://www.smh.com.au/culture/art-and-design/aboriginal-artist-and-provocateur-brook-andrew-on-shaking-up-the-sydney-biennale-20190930-p52w6c.html You can follow Belinda and her work @belinda_brighthouse on instagram and at https://www.belindapiggott.com/ This episode was recorded on 8 July 2020. If you have enjoyed this episode and would like to see the story unfold *subscribe to Coexisting at your preferred podcast host here: https://pod.link/1517874874 * share with a friend *leave a rating/review on Apple Podcasts *connect on: FACEBOOK https://www.facebook.com/coexistingpodcast INSTAGRAM https://www.instagram.com/coexistingpodcast/  LINKEDIN: https://www.linkedin.com/company/coexisting It all helps people to find us! 

“À toi appartient le regard et (…) la liaison infinie entre les choses”au musée du quai Branly – Jacques Chirac, Parisdu 30 juin au 1er novembre 2020Musée du quai Branly – Jacques ChiracExtrait du communiqué de presse :Commissariat : Christine Barthe, responsable de l'Unité patrimoniale des collections photographiques au musée du quai Branly – Jacques Chirac, en charge des acquisitions en photographie ancienne et contemporaine. Scénographie : Pascal RodriguezÀ partir du 30 juin 2020, l'exposition « À toi appartient le regard et (…) la liaison infinie entre les choses » propose une plongée dans les univers sensibles de 26 artistes issus de 18 pays différents. Dans le sillage de son programme de résidences et des prospections menées depuis une dizaine d'années, le musée du quai Branly – Jacques Chirac a choisi de mettre en relation les pratiques d'artistes contemporains aux profils divers : jeunes et émergents comme Gosette Lubondo, Lek Kiatsirikajorn ou José Luis Cuevas, mais aussi de nombreux auteurs majeurs, parmi lesquels Guy Tillim, Dinh Q. Lê, José Alejandro Restrepo, Dayanita Singh, Sammy Baloji, Rosângela Rennó, Mario García Torrès, Yoshua Okón, Samuel Fosso ou Brook Andrew.Utilisant la photographie, l'image en mouvement, la vidéo, l'installation, ils composent des récits, interrogent notre rapport aux images, mènent des enquêtes approfondies, questionnent les héritages historiques des photographies, repensent les notions d'appropriation et de réappropriation visuelle.« À toi appartient le regard et (…) la liaison infinie entre les choses », est une évocation tirée de la littérature allemande du 19e siècle (Ludwig Hülsen) qui sert de fil conducteur à la découverte du travail des artistes, au rythme des notions évoquées dans le titre. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Sou Moara Brasil, artista visual e curadora ativista. Nasci em Belém do Pará e resido em São Paulo. Minha Família paterna e materna vem de Santarém. A paterna vem da comunidade de Cucurunã e a materna da Vila de Boim (Rio Tapajós). Faço parte do coletivo @colabirinto. Atualmente estou me dedicando à pesquisa sobre o apagamento e resistência da memória indígena de minha família de Cucurunã e na criação de um "Museu" itinerante, o “Museu da Silva”, que, além de tratar da pesquisa sobre minha genealogia familiar, procura revelar as consequências contemporâneas dos processos violentos da colonização. Meus últimos trabalhos incluem uma performance no Festival Internacional da Imagem Valongo, em 2019, com curadoria de Diane Lima. Como também no Seminário de Histórias Indígenas do MASP, fui uma das convidadas para falar sobre o “Museu da Silva”, ao lado do curador Brook Andrew ; fui curadora e participei do “Agosto indígena” (2019/São Paulo - @colabirinto); fui convidada par o evento Teko Porã, na Expo coletiva “Re-antropofagia” com curadoria de Denilson Baniwa e Pedro Gradella (2019/Niterói- Centro de Artes da UFF). Recentemente fui convidada para a Bienal de Sydney de 2020 (curador Brook Andrew) com um vídeo inédito que fiz da Marcha das Mulheres Indígenas em 2019. Já fui indicada ao Prêmio de Arte e Educação da Revista Select, em 2018, pelo projeto II Bienal do Ouvidor 63, ocorrido na maior ocupação artística de São Paulo. Faz parte dos coletivos "MAR (mulheres artistas paraenses)".

In the time of COVID19 breakout, Three bellybuttons is making special episodes to accompany you with an art community on air, and to entertain you with art-related topics. In this episode, Leanne Waterhouse, Jaime Powell, Julie Gough and I made a conversaion about their ‘real’ physical experiences in visiting the 22nd Biennale of Sydney titled Nirin. Julie and Leanne have generously shared the photos and videos they took in the biennale. Please go to Three Bellybuttons blog to view them. https://threebellybuttonspodcast.blogspot.comThe links:Speakers:Leanne Waterhousehttps://www.leannewaterhouse.comJaime Powellhttp://www.jaimepowell.com.auJulie Goughhttps://juliegough.net/brief-biography/The links to the contents mentioned in the conversation:Nirin - the 22nd Biennale of Sydneyhttps://www.biennaleofsydney.artThe First Nations symposium that Julie participated during Nirin, the biennale of Sydney is:Aabaakwad Symposium. It was convened by Wanda Nainbush and Brook Andrewhttp://events.biennaleofsydney.art/aabaakwadBiennale of Sydney Spotify channelhttps://open.spotify.com/user/ehst2171vge3al8pzunkxyo5qThe learning resources: https://www.biennaleofsydney.art/learn/learning-resources/The exhibitions at AGNSWhttps://www.biennaleofsydney.art/venues/art-gallery-new-south-wales/The exhibitions at MCAhttps://www.biennaleofsydney.art/venues/museum-contemporary-art-australia/Brook Andrewhttp://www.brookandrew.comTony Alberthttps://tonyalbert.com.auKunmanara Mumu Mike Williamshttps://www.biennaleofsydney.art/artists/kunmanara-mumu-mike-williams/Karla Dickenshttps://www.biennaleofsydney.art/artists/karla-dickens/Warwick Thorntonhttps://www.biennaleofsydney.art/artists/warwick-thornton/Tony Albert’s work in Cockatoo Islandhttps://www.biennaleofsydney.art/learn/learning-resources/learning-nirin-home-tony-albert/Mohamed Bourouissahttps://www.biennaleofsydney.art/artists/mohamed-bourouissa/Aziz Hazara’s work Bow Echohttps://www.biennaleofsydney.art/artists/aziz-hazara/Latai Taumoepeauhttps://www.biennaleofsydney.art/artists/latai-taumoepeau/Extra: Jaime’s print is featured in the recent series of Sex Zine along with other 8 artists/illustrators,. This zine is edited by Anngee Neo and can be purchased from Slowburn Books. 

We live in cities and towns that reflect the denial of Indigenous histories and perspectives, but momentum around this issue is building. What role can design play in addressing the lack of memorials and visibility to the memories and legacy of the frontier wars in Australia? What are the challenges around this for both non-Indigenous and Indigenous designers? MPavilion’s second annual BLAKitecture forum brought together Indigenous built environment practitioners on the Yaluk-ut Weelam land of the Boon Wurrung people. The forum aimed to centralise Indigenous voices in conversations about architecture, the representation of histories, the present state and the future of our built environments. BLAKitecture was curated by MPavilion’s program consultant Sarah Lynn Rees. Image: Standing by Tunnerminnerwait and Maulboyheenner (2016) Brook Andrew & Trent Walter Bluestone, aluminium, steel, archival paper, Agfa P55 photo plates on aluminium Commissioned by the City of Melbourne, 2016 City of Melbourne Art and Heritage Collection This event was kindly sponsored by RMIT Architecture.

This week Kulja and Dylan speak with Dr Nicole Kalms, Director of XYX Lab, and the Senior Lecturer in the Faculty of Art, Design and Architecture at Monash University. They have a chat about a piece she wrote in The Conversation on designing safer cities, and listening to the experiences of women: https://theconversation.com/to-design-safer-parks-for-women-city-planners-must-listen-to-their-stories-98317 (emerg. 0408 006 636) Then, Brook Andrew talks about his Boiler Room Lecture: Walking on Bones, Empowering Memory: Brook Andrew and guests at SLV (part of the R.R. Memorial Forum) and his contribution to the book Remembering the Myall Creek Massacre Finally, Kulja and Dylan have a chat with Hayley West, who talked on the panel: Speakeasy: Death at the Emerging Writers Festival

It's biennale central here at The Hub on Art this week as we cover the Lorne Sculpture Biennale, the Sydney Biennale and the announcement that Sydney artist Angelica Mesiti will be Australia's next representative at the Venice Biennale.

In the fifth lecture in our 'The Artist As…' series, co-presented with Curatorial Practice at Monash Art Design and Architecture, Brook Andrew reflects on his collaborations and interventions in museums both in Australia and internationally. Andrew examines the important role his own extensive archive plays within these works, and what led him to collect in the first place. 13/09/2016

De Anima, by Brook Andrew, was a major new video installation on display at RMIT Design Hub from 12 December 2014 to 14 February 2015. In this MTalk, presented by RMIT Design Hub, Justin Shoulder and Mama Alto revisit their performances from De Anima in a live response to the film’s composition by Theodore Wohng. Their performance is followed by a Q&A with Brook Andrew, Theodore Wohng, Justin Shoulder, Mama Alto and RMIT Design Hub curators Fleur Watson and Kate Rhodes. http://www.mpavilion.org/program/mtalks-rmit-design-hub

As part of Sydney Architecture Festival, 2012, Andrew Burns, architect, and Brook Andrew, artist, discuss their collaborative project - Australia House, in Niigata Prefecture, Japan. Introduced by James Grose, National Director and Principal, BVN Architecture. Recorded at Sherman Contemporary Art Foundation (SCAF), 25 October 2012.