Podcast appearances and mentions of cecilia vicu

Poésie contre fin du monde c'est une exposition comme une réponse à la question "ça va ?" mais sans sourire gêné ou oui automatique. C'est en ces termes que mes invité·es d'aujourd'hui on choisit de présenter l'exposition qu'iels montrent à Mécènes du Sud Montpellier-Sète-Bézier. L'une est senior curator à Kanal Centre Pompidou à Bruxelles, il s'agit de Devrim Bayar ; quand l'autre Ethan Assouline est artiste. Ensemble iels ont pensé la quatrième occurence d'un projet que porte Ethan depuis 2021 : la médiathèque autonome. Un espace de consultation et de partage de textes qu'Ethan glane ça et là depuis ses études. Jusqu'au 4 janvier prochain, vous pouvez les découvrir au milieu d'oeuvres d'artistes qui tentent elles et eux aussi d'esquisser de nouveaux récits et de répondre par la fiction, les mots et la poésie aux maux de notre époque. Parmi elleux Neïla Czermak Ichti, Youri Johnson, Luna Mahoux, Rafael Moreno, Cecilia Vicuña, Walter Swennen, Agatha Wara et Slow Reading Club. C'est pour mettre en commun toutes ces pensées que je les reçois aujourd'hui dans PRÉSENT·E ! Références citées dans l'épisode :

 - A few tricks up the sleeve… (Part One) Exposition curated par Lou Ferrand et Katia Porro avec Ethan Assouline, Sara Blosseville, Claire Finch, Youri Johnson, Silvana Mc Nulty, and guests: Marguerite Bones, Danaé Falcoz, Emmanuel Guy, Lome Lu, Callisto Mc Nulty, Revue Show, The Big Dumb Object à Doc! Paris en mai 2021. - Exposition "Four Sisters" au musée juif de Bruxelles - Marcher à côté de ses lacets dans un frigidaire vide. Chantal Akerman. Épisode retranscrit sur podcastprsente.com/ Crédits : Présent.e est un podcast produit, réalisé et diffusé par Camille Bardin. Cet entretien a été enregistré en septembre 2024 à Montpellier, il est produit par Mécènes du Sud Montpellier-Sète-Bézier. Réalisation et mixage : Camille Bardin. Générique : David Walters.

La Pinacoteca de Sao Paulo en Brasil acoge la exposición "Soñando con el agua-Una retrospectiva del futuro (1964...)", de la artista, poeta, cineasta y activista chilena Cecilia Vicuña. Un trabajo que reúne alrededor de 200 piezas de su trayectoria con pinturas, textiles, fotografías, esculturas o instalaciones que indagan en el imaginario de Vicuña. Nos lo cuenta Sabrina Aguado.Escuchar audio

En Hora América, nos trasladamos hasta la Pinacoteca de Sao Paulo en Brasil, que acoge la exposición Soñando con el agua-Una retrospectiva del futuro (1964), hasta el 14 de septiembre. Un trabajo que recoge la producción de la artista, poeta, cineasta y activista chilena, Cecilia Vicuña. Alrededor de 200 piezas repartidas en 9 salas, entre pinturas, esculturas, instalaciones, textiles y algunas de sus obras icónicas como los llamados quipus y precarios. Nos cuenta todo lo que hay detrás de esta coproducción la comisaría jefa de la pinacoteca, Ana María Maia.Escuchar audio

Today's guest Chilean poet, performance artist, visual artist, activist, and filmmaker Cecilia Vicuña, joins us to discuss her latest work, Deer Book, or Libro Venado. A bilingual collection, with translations by the acclaimed poet and translator Daniel Borzutsky, Deer Book brings together nearly forty years of Vicuña's poetry and drawings surrounding the cosmologies and mythologies […] The post Cecilia Vicuña : Deer Book appeared first on Tin House.

Repasamos la actualidad del continente americano y que nos lleva hasta Panamá, donde el presidente José Raúl Mulino toma posesión de su cargo frente a varias autoridades, entre los asistentes se encuentra el rey de España, Felipe VI. También hablamos de Bolivia, Argentina, México o Estados Unidos. Después, nos sumergimos en el imaginario de la artista chilena Cecilia Vicuña que cuenta con una exposición sobre su trayectoria en la Pinacoteca de Sao Paulo en Brasil. Una muestra que ya ha pasado antes por Chile o Argentina y ahora estará en Brasil hasta septiembre.Escuchar audio

In this episode of ‘The Art Bystander' our host Roland-Philippe Kretzschmar meets with Silvana Lagos in a relaxed conversation to discuss art curating, how to price art, the role of art in democracies and her latest ventures in art across the globe.Silvana Lagos is a curator and writer based between London, UK, and Stockholm, Sweden. She is the artistic director of Meridian Creative Center – El Anatsui. An independent art professional, with a strong background in curating, project management, and strategic consulting. Demonstrated wide multidisciplinary experience in the field of museums and public art as a project director and curator, with delivered projects in Europe, The United States, Latin America, China, and the Middle East, managing large-scale multi-national projects.Delivered projects include - macLYON, Mfa Boston, Ludwig Museum, SF MoMa, University of Greenwich, Hauser & Wirth, Zurich, Fondazione Prada, Prada Double Club Miami, Museo Tamayo, Luma Foundation Arles, Qatar Museums, Gagosian NYC, Massimo de Carlo, Milan, Noor Light Festival, Riyadh, “All the World's Futures” 56th Edition of Venice Biennale, Galleria Continua Beijing, and simultaneous co-running exhibitions at Copenhagen Contemporary and KUNSTEN Museum of Modern Art Aalborg, Denmark. As a curator, Silvana has worked with the development of the Norberg Festival art program and artwork commissions. Notable artists included Christine Sun Kim (US), Romain Tardy (FR), Farvash Razavi (SE), and Anna Sagstrom (DE/SE). She co-curated Silver Sehnsucht as a b-side exhibition during Frieze London. She is on the board of Amalgama, a cultural program and digital platform devoted to exhibiting, promoting and publishing the work of women artists from Latin America. Her recent public program: TRAMA saw conversations between Rosana Antoli, and Marti Manen, Director of Index, Paola Torrez Núñez de Prado, with Dr. Giuliana Borea and Cecilia Vicuña and Camila Marambio, curator and Director of the nomadic research program Ensayos. As well as a set of artists conversations during Frieze NYC (2023) at the Standard Hotel with Tschabalala Self and Sanford Biggers.Member of AWITA Advisory Board Art and Theory PublishingContributor to Elephant Magazine Hosted on Acast. See acast.com/privacy for more information.

Polo Ramírez en Figura y Fondo junto a César Gábler, comentaron el libro que desataca artistas latinoamericanos, entre ellos, a la chilena Cecilia Vicuña. Además, junto a Francisco Arena conversaron con Pablo González, investigador del IMII y profesor de la Facultad de Ciencias Biológicas de la Pontificia Universidad Católica de Chile, respecto de la investigación permite resolver la dificultad que implica saber, en el caso de inmunizantes que usan el virus completo -como es el caso de CoronaVac-, cuáles anticuerpos son generados por el fármaco y cuáles por la infección.

In our latest episode we visit with artist legacy specialist Ursula Davila-Villa. In her crucial work, Ursula helps artists and their families put appropriate plans in place to ensure that their work and archives will exist in a way consistent with the artist's wishes after they are gone. This unique work draws upon conservation, archives, estate planning, curation, and more. Despite how critical this work is, it isn't really something you can go to school for. Tune in to hear the fascinating path that led Ursula to become a leader in this field, working countless artists including Cecilia Vicuña, Lorraine O'Grady, Carolee Schneemann, and many more.Links from the conversation with Ursula> https://blantonmuseum.org> https://www.fundacionjumex.org> https://www.alexandergray.com > Davila-Villa & Stothart: https://dvs.art> Aspen Institute Artist Endowed Foundations Initiative: https://www.aspeninstitute.org/programs/program-on-philanthropy-and-social-innovation-psi-2/artist-endowed-foundations-initiative Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

We start our journey into intimacy by considering our interactions with strangers. The unexpected crossing of paths between people who have no knowledge of each other can be emotionally impactful, whether these moments leave us unsettled, or uplifted by a sense of hope and connection. What forms of proximity arise between strangers in public spaces? How and why do artists make work which invites new encounters between themselves and audience members? What possibilities and risks emerge when they do?  Featuring a conversation with Adrian Piper, an interview with Scottee, a performance by Cecilia Vicuña from the Serpentine archive, and Serpentine curator Tamsin Hong in conversation with Gaylene Gould. Subscribe to Serpentine Podcast now to be the first to hear new Intimacies episodes. You can connect with the series on socials @serpentineuk, and find more information and full descriptive transcripts at www.serpentinegalleries.org/art-and-ideas/serpentine-podcast-intimacies/.   CREDITS Hosted by Gaylene Gould Produced by Katie Callin (Reduced Listening) Production support by Nada Smiljanic (Reduced Listening) Executive production by Anishka Sharma (Reduced Listening) Curated by Hanna Girma and Fiona Glen Mix engineering by Jesse Lawson (Reduced Listening) Theme music by Hinako Omori Visual identity by the unloved Voice acting on Adrian Piper's contribution by Jeannette Robinson   ABOUT INTIMACIES Serpentine Podcast: Intimacies explores the complexities of closeness, and asks how we can expand and evolve our intimacy with others, ourselves, and the world around us. Join our host, Gaylene Gould, as she gathers perspectives from artists, designers, writers, thinkers, and more on how we can rekindle trust, and open ourselves up to new possibilities for connection. Confronting the slippery topics of fear, vulnerability, sex, love, and loneliness in art and life, the Intimacies series delves into the feelings and experiences which we don't always voice – from our relationships with family or strangers, to the things we fear most and our deepest desires, to our surroundings and our innermost selves. Each episode combines interviews, original audio works, conversations, and pieces from the Serpentine archive. This series itself is personal, emotional, reflective, and an exploration of vulnerability in many ways. 

Rodrigo Guendelman comentó el reconocimiento a artista visual y poeta quien fue elegida como Premio Nacional de Artes Plásticas 2023. Además, conversó con Magdalena Novoa, Co-directora de Open House Santiago y co-directora de Fundación Aldea sobre OH! Stgo y con Nicole Andreu, directora y curadora de Art Stgo, sobre la feria más grande de arte que cumple 10 años de vida.

Rodrigo Guendelman conversó con el artista Alejandro "Mono" González y Daniel Cruz, director del Museo de Arte Contemporáneo sobre las nuevas exposiciones del MAC. Además, habló con Varinia Brodsky, directora subrogante del Museo Bellas Artes, de la exposición de Cecilia Vicuña en su museo.

Send us a Text Message.For Episode 9 of The Heart Gallery Podcast, Rebeka Ryvola de Kremer talks to climate story consultant Alisa Petrosova.This episode explores how the film and TV industry is doing on climate messaging. According to research from Good Energy and The Media Impact Project that analyzed 37, 453 scripted television episodes and films released from 2016 through 2020, less than 3% acknowledge climate change.Alisa works at Good Energy, which supports TV and film creators in telling stories that honestly reflect the world we live in now—a world that's in a climate crisis. They have worked on the recent climate-focused Extrapolations, on Apple TV, and are focused on intersectional elements of climate stories, committed to showing how historically marginalized people are harmed “first and worst”. Alisa talks about how stories help us connect, process, and learn and how we need our stories to reflect the realities of the world and the future we want to move towards.  See accompanying blog post here for annotated climate trailers, Alisa's HW, and the podcast transcript.Mentioned: - Climate poet & artist Cecilia Vicuña - Writer Rebecca Solnit.- Rebecca Solnit's Hope in the Dark-  Rebecca Solnit's, A Paradise Built in Hell-  David Wallace-Wells', Uninhabitable EarthConnect:- Alisa: @minipetro, LinkedIn- The Heart Gallery Instagram- The Heart Gallery website- Rebeka Ryvola de Kremer InstagramCredits:Samuel Cunningham for podcast editing, Cosmo Sheldrake for use of his song Pelicans We, podcast art by me, Rebeka Ryvola de Kremer, w/ the drive-in photo sourced from Boston Globe archives.

Dr. Meredith Clark doesn't want to talk about how to improve in world language instruction. She wants actions that will to move the needle. What does that mean? Nothing less than getting all 5.4 million Texas students proficient in another language. Better dust off your boots because Meredith doesn't just talk the talk, she walks the walk. Visit the Language Lounge on Twitter - https://twitter.com/langloungepod Connect with Michelle - https://twitter.com/michelleolah Have a comment or question? Leave a voicemail at (207) 888-9819 or email podcast@waysidepublishing.com Produced by Wayside Publishing - https://waysidepublishing.com Watch this episode on YouTube - https://www.youtube.com/wayside Bio: Dr. Meredith Clark is the World Languages and Fine Arts Consultant at Region 10 ESC, one of Texas' twenty, regional education service centers. In her current role, she helps school districts in a ten-county area with professional learning, curriculum writing, assessment development and creative projects. She is the author of "Vicuñiana: El arte y la poesía de Cecilia Vicuña, un diálogo sur/norte" published by Chilean Press, Editorial Cuarto Propio. In addition to working with teachers regarding all things arts and languages, she enjoys spending time with her palomino, quarter horse, Spiderman, travelling home to see the Blue Ridge Mountains, reading, and writing. Social media for Meredith: @r10worldlangs,@palabratejida,Meredith Clark on FB, https://www.linkedin.com/in/meredith-clark-592b6a94/ Mentions Jennifer Terri, Spanish Teacher at Cooper Junior High in Wylie ISD, TX Katrice Quitter, Hamilton County Education Service Center, Ohio, Diversity, Equity, Belonging and Inclusion Training: One Degree Shift https://www.linkedin.com/in/katrice-quitter-17910aa7/ Greta Lundgaard Mrita Cleaver Debi Callihan-Dingle World Lnaguage Program Director at Noerth East ISD, San Antonio, TX Shelli Brown @ProfeBrownTX Tracye Thomas, Language Acquisition Coordinator, Brazosport ISD, TX https://www.linkedin.com/in/debbie-callihan-dingle-ed-d-111aa88/ Texas Education Agency TEKS - Texas Essential Knowledge and Skills Texas Language Leaders Leadership Cohort ACTFL - LILL - Leadership in Language Learning https://www.actfl.org/learn/leadership-initiative-language-learning ESC - Educational Service Center COERLL - Center of Open Educational Resources and Language Learning https://www.coerll.utexas.edu/coerll/ Texas NFLRC - National Foreign Language Resource Center TFLA: Texas Foreign Language Association Language Leaders Advisory Committee (Advisors for the Texas Language Leaders Think Tank) Texas Language Leaders Influencer by Joseph Grenny, Kerry Patterson, David Maxfield, Ron McMillan, Al Switzler

This week: Ben Luke talks to Anny Shaw, a contributing editor at The Art Newspaper, about the atmosphere at the Frieze London and Frieze Masters fairs amid the UK's economic struggles and the strong US dollar. They also discuss the booming market for so-called “ultra-contemporary” art, and a shift in the artists being bought by collectors. We then talk to Cecilia Vicuña, the Chilean artist and poet who, this year alone, has won the Golden Lion at the Venice Biennale, had a major exhibition at the Guggenheim Museum in New York and is the latest artist to take on the Turbine Hall commission at Tate Modern, where we caught up with her. Our acting digital editor, Aimee Dawson, talks to Camille Morineau, founder of the Paris-based organisation AWARE (Archives of Women Artists, Research and Exhibitions), about Spotlight, the section of Frieze Masters dedicated this year to women artists of the 20th century. And this episode's Work of the Week is Boy in Short Pants (1918) by Amedeo Modigliani. We talk to Simonetta Fraquelli, the consulting curator for a new exhibition of Modigliani's work at the Barnes Foundation in Philadelphia, about the painting.Frieze London and Frieze Masters, Regents Park, London, until 16 October.The Hyundai Commission: Cecilia Vicuña: Brain Forest Quipu, Tate Modern, London, until 16 April 2023; A Quipu of Encounters, Rituals and Assemblies, Tate Modern, from 14 October. Works by Cecilia Vicuña are at Lehmann Maupin, Frieze London, stand F2.Modigliani Up Close, Barnes Foundation, Philadelphia, 16 October-29 January 2023. Hosted on Acast. See acast.com/privacy for more information.

Hong Kong, Paris and New York galleries and museums are in the spotlight as we hear the latest in a series of discussions exploring what it means to run museums and galleries in the 21st century. For the Frieze/Radio 3 Museum Directors Debate 2022 Anne McElvoy is joined by Suhanya Raffel (director of M+ Museum for Visual Culture, Hong Kong), Richard Armstrong (director of the Guggenheim Museum, NYC) and Nathalie Bondil (head of museums and exhibitions at the Institut du Monde Arabe, Paris). The directors chose 3 artists whose work is either currently on show or has been recently displayed at their institutions: the graffiti painter Tsang Tsou-choi, better known as "King of Kowloon"; Cecilia Vicuña (currently showing at Tate Modern in the Turbine Hall 16 April 2023) and the Jordanian sculptor Mona Saudi who died earlier this year and whose work can be seen outside the Institut du Monde Arabe. They also discuss issues including their approach to questions about donors, decolonisation and digital displays. You can find other discussions with directors from galleries in Singapore, Dresden, Washington, Paris, Beijing and London in the Free Thinking collection exploring art, architecture, photography and museums https://www.bbc.co.uk/programmes/p026wnjl Frieze London runs from Oct 12th - 16th 2022 Producer: Torquil MacLeod

Cecilia Vicuña: Spin Spin Triangulene, is a new exhibition at the Guggenheim that focuses on the life and work of Cecilia Vicuña, a Chilean artist who didn't return to her native country for a long time after the Pinochet-led coup and takeover in 1973. The show will display work of Vicuña's from the late 1960's, to the 1980's when she settled in New York, and to work she's still creating today. Vicuña and curator Geaninne Gutiérrez-Guimarães and join us to preview the show, which is on display until September 5. *This segment is guest-hosted by Matt Katz*

This episode is also available as a blog post: https://thecitylife.org/2022/05/29/cecilia-vicuna-spin-spin-triangulene-on-view-at-the-guggenheim-through-september-5/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

En el Rat Pack de Mesa Central, Iván Valenzuela conversó con Andrea Vial, Paula Comandari y Angélica Bulnes sobre la comisión de sistema político en la convención, los diálogos tributarios que inician esta semana y el triunfo de Cecilia Vicuña en el Bienal de Venecia.

En el Rat Pack de Mesa Central, Iván Valenzuela conversó con Andrea Vial, Paula Comandari y Angélica Bulnes sobre la comisión de sistema político en la convención, los diálogos tributarios que inician esta semana y el triunfo de Cecilia Vicuña en el Bienal de Venecia.

This episode is also available as a blog post: https://thecitylife.org/2022/04/11/guggenheim-museum-presents-cecilia-vicuna-spin-spin-triangulene/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Polo Ramírez conversó con César Gabler sobre el reconocimiento a Cecilia Vicuña con el León de Oro en la 59° Bienal de Arte de Venecia. Además, conversó sobre la falta de vitamina D en la población chilena junto a Rodrigo Valenzuela, doctor en Nutrición y Alimentos de la Universidad de Chile.

En este segundo capítulo de una nueva temporada de Siempre es Hoy, Carolina Urrejola conversó con la legendaria artista visual y poeta, Cecilia Vicuña, con quien abordó algunos de los hitos de su trayectoria, su relación con la muertes y lo que significa recibir el León de Oro de la Bienal de Arte de Venecia.

Im April findet endlich die Venedig Biennale statt, nachdem die internationale Kunstausstellung um ein Jahr verschoben wurde. Jetzt wurde auch bekannt gegeben, wer den Goldenen Löwen für das Lebenswerk bekommen: es sind die beiden Künstlerinnen Katharina Fritsch und Cecilia Vicuña. Monopol-Chefredakteurin Elke Buhr stellt die beiden Frauen und ihre Arbeit vor. Moderation: Anja Bolle detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

En este segundo capítulo de una nueva temporada de Siempre es Hoy, Carolina Urrejola conversó con la legendaria artista visual y poeta, Cecilia Vicuña, con quien abordó algunos de los hitos de su trayectoria, su relación con la muertes y lo que significa recibir el León de Oro de la Bienal de Arte de Venecia.

Untitled Art Miami Beach guest curator Miguel A. López in conversation with Moving Feeling artists Jim Denomie (Bockley Gallery) and Sylvia Fernandez (Galería del Paseo) Miguel A. López is a writer, researcher, and curator. Between 2015 and 2020, he worked at TEOR/éTica, in Costa Rica, first as chief curator and, from 2018, as co-director and chief curator. Recent curatorial projects include: ‘and if I devoted my life to one of its feathers?' at Kunsthalle Wien, Vienna (2021); ‘Cecilia Vicuña, a Retrospective Exhibition' at Witte de With, Rotterdam (2019) and MUAC-UNAM, Mexico City (2020); co-curated ‘Virginia Pérez-Ratton. Central America: Desiring a Place' at MUAC, Mexico City, (2019); ‘Victoria Cabezas and Priscilla Monge: Give Me What You Ask For' at the Americas Society, New York (2019); and ‘Social Energies/Vital Forces. Natalia Iguiñiz: Art, Activism, Feminism (1994–2018)' at ICPNA, Lima (2018njj). Recent books include: Ficciones disidentes en la tierra de la misoginia (Dissident Fictions in the Land of Misogyny) (2019), and Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Stealing History: Counter-narratives and Oppositional Art Practices (2017). His writing has appeared in Afterall, Artforum, Art in America, e-flux journal, and Manifesta Journal, among others. López is also a co-founder of the independent art space Bisagra, active in Peru since 2014.

Como todos los viernes, Matías Rivas, Arturo Fontaine y Sofía García Huidobro conversaron sobre lo mejor de la cultura nacional e internacional.

Como todos los viernes, Matías Rivas, Arturo Fontaine y Sofía García Huidobro conversaron sobre lo mejor de la cultura nacional e internacional.

If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.

If you were out and about in 1984, you might have noticed a striking poster wheatpasted everywhere. It featured two heroic silhouettes pulling down a statue, clearly avatars of the People topping the icon of a hated political dictator. But instead of a statue of a man in uniform, they were bringing down an image of a huge banana. If you were an art fan you might also recognize the signature of Claes Oldenburg, one of the most famous Pop artists. But whereas Oldenburg was best known for playful, giant-sized sculptures of everyday objects, this giant banana had a clear and outspoken message of political solidarity: the term “banana republic” comes from the bad governments of Central America that the U.S. propped up at the behest of its fruit corporations. And the U.S. was once again intervening in Central America."Installation view, Art for the Future: Artists Call and Central American Solidarities at Tufts University Art Galleries, 2022. Peter Harris Photography."[/caption] Oldenburg's memorable lithograph was one image associated with the "Artists' Call Against U.S. Intervention in Central America." And it is one of a huge number of artworks and artifacts relating to this intense early-'80s moment of artist organizing that have just gone on view at Tufts University Art Galleries in the show “Art for the Future: Artists Call and Central American Solidarities.” The '80s are remembered as a time of political conservatism and yuppie excess. But it was also the height of the late Cold War machinations. The Ronald Reagan administration's backing of death squads and repression of left-wing movements in places like Nicaragua and El Salvador is one of its darkest chapters. A robust Central American solidarity movement across the United States in the early '80s organized to defend refugees and decry the U.S.'s backing of the brutality. The Artists Call was inspired and in dialogue with this wave of public activity, an attempt to use art's clout to raise money and to reach an influential public. Involving figures including the Salvadoran poet and exile Daniel Flores y Ascencio, the curator and artist Coosje van Breuggen, and the famed art critic Lucy Lippard, the Artists Call was an organizing network that brought together, as Lippard remembers, “young and old, Latin, Central, and North American, lefties and liberals, artists working in a broad spectrum of styles.” Emerging from the discussions around a show by the art collective Group Material dedicated to Central American activism in 1982, the Artists' Call would ultimately inspire participation from thousands of artists, including Vito Acconci, Louise Bourgeois, Sol LeWitt, Donald Judd, Ana Mendieta, and Cecilia Vicuña. Yet despite the high-profile names it rallied and the recent interest in historical models of artist activism, the Artists' Call has been little remembered until now. On this week's episode, Ben Davis, Artnet News's chief art critic, had the chance to talk about the Artists Call with the curators of “Art for the Future”: Erina Duganne and Abigail Satinsky, as well as Lucy Lippard herself.

Today's episode dives into Cecilia Vicuña's 'Colliding and not colliding at the same time'. The performance begins as the audience, having been encouraged to ask questions about an art video that had just been screened, went momentarily silent. No questions were being asked, so Vicuña began improvisationally to fill the room with words and sounds, exploring a convergence or collision of topics: the then-recent election of Donald Trump, the “millionaires' coup” in Brazil, the “mystery of what is happening at this moment in the earth,” the collective thought of the people in the room, and the room itself. Edwin Torres, Huda Fakhreddine, and Jena Osman joined Al Filreis in the Arts Café at the Kelly Writers House to record this episode.

Hosted by Al Filreis and featuring Jena Osman, Edwin Torres, and Huda Fakhreddine.

Recorded by Cecilia Vicuña for Poem-a-Day, a series produced by the Academy of American Poets. Published on September 15, 2021. www.poets.org

This episode is also available as a blog post: https://thecitylife.org/2021/08/27/high-line-art-presents-insectageddon-by-artist-and-poet-cecilia-vicuna-a-day-long-festival-and-call-to-action-to-save-insects-on-september-25/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Two rivers situate our conversation with two friends, poet/artist Cecilia Vicuña and art historian/curator Sarah Lookofsky. El Río Mapocho begins in the Andes Mountains and runs through the city of Santiago, Chile where Cecilia was born, while the River Akerselva begins in Maridal Lake and flows through waterfalls and former industrial areas of Oslo where Sarah recently moved. What might we learn to hear if we attend to the interweaving languages of these ancient waters and the many lives, joys, brutalities, and deaths they carry, remember, and resist? In this episode, Cecilia and Sarah talk about multispecies connection, histories of contamination and colonialism, quantum co-evolution, listening with fingers, dancing with mussels, speaking with red wing thrushes, and the "explosive commitment to the beauty of being alive." ceciliavicunasarahlookofsky

Bodies exceed humanity. They remind us that we are part of something vaster—and smaller—more complex, more connected than our mere existence as an atomized species. Our bodies, and bodies in general, are composed out of heterogeneity and multitudes. All bodies are wet collective bodies, defined by how they link to other bodies, places, environments, technologies. Think of breathing, clogging, decomposing, discharging, flushing, lubricating, melting, menstruating, transfusing. Bodies exist as trans- and extra-territorial beings. They live in hybridity. This porous condition produces a planetary wet-togetherness, a “commoning” force that constitutes all bodies as collective hydro-subjects. Wet-Togetherness is a collaboration between e-flux and the 13th Shanghai Biennale, Bodies of Water, curated by Andrés Jaque, Marina Otero Verzier, Lucia Pietroiusti, Filipa Ramos and YOU Mi, and organized and promoted by the Power Station of Art. It consists of 9 sound pieces in which 21 artists, activists and researchers enact aqueousness through sound. The series has been edited by José Luis Espejo and Rubén Coll with the sound design of Tomoko Sauvage, coordination by Roberto González García, and locutions by Yang Yang. Episode 1. Menstruating: Cecilia Vicuña Menstrual fluids are carriers of taboos, gender stereotypes, social behaviours, notions of life and death, purity and uncleanliness. Their symbolism connects bodies to the moon, mountains, rivers, and goddesses. Menstruating involves both synchronicity with the cosmos and forms of earthly solidarity.   Image: Paula Vilaplana de Miguel.

What is a body? Is it natural? Is it political? These questions are posed in this episode of Into the Aura, which looks at the work of two pivotal feminist artists, Ana Mendieta and Cecilia Vicuña. Blurring the lines between performance, installation, and activism, these two artists challenge our ideas of what art looks like and who gets to make it. This episode is presented by Sasha Karpova and Veronica Bello.

We're talking translation with Rosa Alcalá!! Rosa Alcalá has published three books of poetry, most recently MyOTHER TONGUE (Futurepoem, 2017). The longtime translator of poet Cecilia Vicuña, Alcalá has been the recipient of an NEA Translation Fellowship and runner-up for a PEN Translation Award. She teaches in the Department of Creative Writing and Bilingual MFA Program at the University of Texas-El Paso.​​ We're featuring Alcalá's performance and interview from City of Asylum's Literary Festival—more info on the festival can be found at cityofasylum.org. We'll also get into what it's like to be translated, how to figure out the right word, what we're reading, and some thoughts for the road!

Conversando de identidad, raíz y resistencia al canon, entre otras cosas, encontramos a Antonella Estévez, Patricio López y Omar Sarrás a propósito de "Cruz del sur", antología poética de la maestra Cecilia Vicuña.

En el capítulo de hoy, nos convoca hablar de “Cruz del sur” de Cecilia Vicuña.

Javier Orcaray, (Barcelona, 1980) is a Spanish cultural manager, curator, photographer and environmental activist. He holds a MA in World History and a MA in Visual Culture: Theory (NYU). In 2010 he opened the artist residency La Fragua, which soon became a benchmark in Spain for research and thought in the rural world. In 2014 he was a founding member of CoMbO, an independent arts space in the city of Cordoba that proposed new exhibition discourses based on the production work at La Fragua, with emerging contemporary artists such as Jacobo Castellano, Nathalie Haüsler, Angel Masíp, Tobias Sojber, David Bestué, Pablo Captain del Río, Fernando M. Romero, ATOI, Laia Estruch, Ethan Hayes-Chute and Tommy Hovik among others. In 2020 he opened /Plata, the only independent space in Cordoba dedicated for the arts and transdisciplinary research. Included in his most relevant curatorial projects are: “Mi casa es tu Casa” with the international collective Kandor13 (Catherine Czacki, Brock Enright, Pablo Jansana, Daria Irincheeva, Andrea Galvani, Cecilia Vicuña, Carolina Saquel, Santiago Reyes Villaveces, Balam Bartolomé, Esperanza Mayobre, Angélica Teuta, Alejandro Almanza Pereda, Felix Lazo, Lars Laumann at Centro de Arte Pepe Espaliú). "How a Grape can Float in the Ocean" with artist Javier Arce at Centro de Arte Pepe Espaliú as part of the 16th biennial of photography in Cordoba . "AABAS: Art Agriculture Biodiversity Food and Health" a symposium of experts and artistic residencies with Pedro Soler, Aniara Rodado, Laura M. Dávila, Daniela Moreno-Wright at the Center for Contemporary Creation of Andalusia. Plata. The new cultural space in Cordoba, 2021 Adding compost for AABAS (Art, Food, Biodiversity and Health) at Centro de Creación Contemporánea de Andalucía 2017 CoMbO (2014-206). Tommy Hovik and Pablo Capitán del Río. Exhibition at our gallery.

I speak with Kythe Heller about mysticism, both old and modern, and how it intersects with art. We delve into the activism and writing of 13th century mystic Marguerite Porete, the word-weaving of the Chilean poet Cecilia Vicuña, and the sacred music of Estonian composer Arvo Pärt.

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the Americas: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

Sarah and Omar join Cecilia Vicuña as she travels through ancestral memory via tenderly-told stories of her childhood in Chile. From a young age, Vicuña came to define solidarity as the combination of love and creativity occuring in kinship, and so deeply mourns the connection lost to the pandemic and to racial injustice. Separated from people with whom we create art and movements, how do we go on? It is mountingly necessary for Vicuña's continued poetry and art practice, which builds links out of a history that has been violently, deliberately obscured. She suggests that when our entire universe of knowledge is “forcefully removed” by colonization, our only recourse is through a memory not of linear record, but of sensuality, tactility, feeling, and heart. In this way, we build what is not only possible, but which memory tells us is precedented. Recorded via Zoom on May 25, 2020.

How are artists developing campaigns for the Earth? How can an artwork reconnect us with the environment? Can we "feel" the speed of climate change, or hear the sounds of a seed? Episode 2, hosts Victoria Sin & Lucia Pietroiusti welcome Ayesha Tan Jones, James Bridle & Cecilia Vicuña, three artists participating in Back to Earth, to begin to sow the seeds of their multifaceted campaigns. Image: Semiya/Seed Songs, Cecilia Vicuña, 2015.  Back to Earth is supported by Outset Partners' Grant. This episode was produced by Katie Callin at Reduced Listening.

Neste programa, recebi Maiara Knihs. Essa catarinense de Brusque é mãe, escritora e pesquisadora. Graduada em Língua Portuguesa e Literaturas de Língua Portuguesa (UFSC); mestra em Literatura (UFSC), onde dedicou-se à poesia de Cruz e Sousa; partiu para o doutorado em Harvard (EUA), onde, desde 2016, dedica-se à pesquisa sobre a produção artística contemporânea de mulheres latino-americanas. Interessada pela poesia, desde a graduação, criou com amigas o Coletivo de poesia Abrasabarca, do qual fez parte até muito recentemente. Conversamos sobre sua pesquisa, sua trajetória e como nasceu o curso "Performar os Saberes do Corpo", que será oferecido este ano aqui na Oficina da Palavra. Aproveitem o papo. Cyntia Silva ---- Referências indicadas por Maiara Knihs: - Para quem tiver interesse em conhecer o trabalho do Professor Sergio Delgado Moya, conferir, por exemplo, o livro Delirious Consumption: Aesthetics and Consumer Capitalism in Mexico and Brazil: https://utpress.utexas.edu/books/delgado-moya-delirious-consumption - Performance “Madre por un día ( 1987)”, pelo coletivo de arte feminista mexicano Polvo de Gallina Negra, composto por Maris Bustamente e Mónica Mayer, disponível em: https://www.youtube.com/watch?v=abaDXr3HKck - Sobre a exposição Mulheres Radicais que esteve em 2018 na Pinacoteca, em São Paulo, conferir: https://pinacoteca.org.br/programacao/mulheres-radicais-arte-latino-americana-1960-1985/ https://revistazum.com.br/radar/mulheres-radicais-pinacoteca/ - Para quem gosta de ler e escrever poesia: Coletivo Abrasabarca: https://abrasabarca.wordpress.com/ - Oficina performar os saberes do corpo na Oficina da Palavra: mais informações em breve. - Sobre a artista chilena Cecilia Vicuña e sua obra, ver: http://www.ceciliavicuna.com/ - Livro Necropolítica do Achille Mbembe: https://n-1publications.org/necropolitica - Livro ninharia: um livro sobre amamentação, desmame e o poder do leite. um objeto que testemunha o nascimento de uma língua da troca do leite pelo fio da palavra. O lançamento em Florianópolis está previsto para 28 de março (detalhes em breve). -------------------- O programa "Além das Palavras" é produzido pela Oficina da Palavra (www.ofpalavra.com.br) e traz uma série de conversas sobre a conexão entre literatura, história, redação, arte e o mundo em geral.

This is Draw The Line Radio Show with Jacki-e, featuring my mix in the 1st hr of music made by women and then, for the 2nd hr, I hand the decks over to a female DJ. Helping me Draw The Line this week it's Lisa Greenaway aka LAPKAT. She is a sound and installation artist, linguist, DJ, producer, and radio maker from Melbourne. LAPKAT’s DJ sets are lyrical, kinetic mixes of global rhythm and melody, multilingual poetry and story. She presents the podcast La Danza Poetica, featuring poetry, hip hop, folk traditions and global beats. Her recent sound art installations include SONORITY I, a 4DSOUND work created in residence at the Spatial Sound Institute, Budapest, 2018; ||Reflections|| at MPavilion, Melbourne, 2018/19 and White Night Melbourne in 2016 & 2017 Links for Lapkat:- Lapkat Website: http://lapkat.com Radio Show Website - https://lapkat.com/ladanzapoetica/ Radio Show Mixcloud - https://www.mixcloud.com/ladanzapoetica/ Lapkat Mixcloud - https://www.mixcloud.com/LAPKAT/ Lapkat Soundcloud - https://soundcloud.com/lapkat In my mix in the first hour I’m featuring music from Rebekah, Magdalena, Louisahhh, Mha Iri, Pooja B, Danielle Arielli, and lots more.. It's time to say NO to gender imbalance in dance music. It's time to Draw The Line!! Track list 1st hour mixed by Jacki-E 1. Tati – Latincrisp (original mix) 2. Isabella – Dicey Takes It’s Form (original mix) 3. Magdalena – Nautilus (original mix) 4. Distant Stars – Robots Do It Better (original mix) 5. Danielle Arielli – Lady Like (original mix) 6. Louisahhh – Line (original mix) 7. Death of Codes – On the Edge of Knowledge (original mix) 8. Jessi Frey – Dark Heart (The Fair Attempts remix) 9. Just Her – The Mirror (Extended mix) 10. Lost Algorithm, Pooja B – Uninterrupted (original mix) 11. Louisahhh – Like a Vice (original mix) 12. Magdalena – Isolation (original mix) 13. Rebekah – Blood on the Water (original mix) 14. Scuba – Too Strong (Nicole Moudaber remix) 15. Don Weber, Mha Iri – My Body (original mix) 16. Angry Kore, Deborah de Luca – Never Understand (original mix) 17. Lost Algorithm, Varya Karpova – Resolution of Death (original mix) 18. Charlotte de Witte _ Song of the Wood Nymphs (original mix) 19. Lawrence Hart, Casually Here – Interlude (original mix) 2nd hour Lapkat - An Exclusive Guest Mix for Draw The Line Radio Show. 1. Lisa Greenaway - Smoke Haze (Yarra River Pound Bend/Havelock Street) 2. Alice in Wonderland (1931) (sample) 3. Anna Stereopoulou – PLANO (sample) 4. Anna Stereopoulou - CXX (Original Mix) 5. Cecilia Vicuña - El Hueco, El Sonido, El Hueso 6. Kronos Quartet & Laurie Anderson - Everything Is Floating 7. Leanne Betasamosake Simpson - Road Salt 8. Andre Tajchman - Smoke 9. Bruce Baron - The Owl and the Harvest Moon 10. Pássaro - Assum Preto 11. Taqralik Partridge - No Sleep For The Wicked 12. Alice au pays des merveilles (1949) (sample) 13. Dengue Dengue Dengue - The Invisible Ones (feat. Kalaf) 14. Cecilia Vicuña - Aparéame Con El Cristal 15. Lido Pimienta - Al Unisono Viajan 16. Tanya Evanson - Act of Creation 17. Lisa Greenaway - Yarra River Pound Bend 18. Krista Papista - Caravaggio 19. Leanne Betasamosake Simpson - Under Your Always Light Draw The Line Radio Show is produced for radio by Sergio Erridge and is A Darker Wave production.

It's been a minute! Thanks for your patience as I've slogged through life. In this episode I spoke with Samuel Ace about his book Our Weather Our Sea. Samuel Ace is a trans/genderqueer poet and sound artist. He is the author of several books, most recently Our Weather Our Sea (Black Radish 2019), the newly re-issued Meet Me There: Normal Sex and Home in three days. Don’t wash., (Belladonna* Germinal Texts 2019), and Stealth with poet Maureen Seaton. He is the recipient of the Astraea Lesbian Writer Award and the Firecracker Alternative Book Award in Poetry, as well as a two-time finalist for both the Lambda Literary Award and the National Poetry Series. Recent work can be found in Poetry, PEN America, Best American Experimental Poetry, Vinyl, and many other journals and anthologies. He currently teaches poetry and creative writing at Mount Holyoke College in western Massachusetts. Sam's website Buy Our Weather Our Sea Also buy Meet Me There: Normal Sex & Home in three days. Don’t wash. Books, poets, artists, etc mentioned in this episode: Ari Banias  Oliver Baez Bendorf  TC Tolbert's "Dear Melissa"  j/j hastain Julie Carr's Real Life: An Installation Ronaldo Wilson's Lucy 72 Douglas Kearney's Mess and Mess and  M. NourbeSe Philip's ZONG!  Ching-In Chen's recombinant  Sawako Nakayasu's Mouth Eats Color  Harmony Holiday a reading from 2015  LaTasha N. Nevada Diggs's Twerk Caroline Bergvall's sound installations  Cecilia Vicuña's New and Selected Poems Saborami (Chainlinks) Tracie Morris two poems Andrea Abi-Karam's EXTRATRANSMISSION  Orlando White LETTERRS  Maureen Seaton  Rickey Laurentiis  Philip B. Williams  Ocean Vuong  Farid Matuk  Kaveh Akbar  Angel Dominguez's D E S G R A C I A D O  Ariana Reines's A Sand Book  Trace Peterson's Since I Moved In  Go listen to my interview with Roy over at the Marxist Poetry Podcast The Sound of Waves Breaking: Samuel Ace's "These Nights"  Editor and Social Media Manager: Mitchel Davidovitz

A short poem written at the Witte de With Centre for Contemporary Arts in July 2019. On a rainy day I had a wonderful exploration around the galleries. Most especially loving the exhibition of Cecilia Vicuña.

In this episode, Kevin Moore talks to poet, artist, and filmmaker Cecilia Vicuña about lost knowledge, the exploitative mind, and a long career of environmental art and activism.

Thick woolen knots, suspended from the ceiling, alive with projections and immersed in sound. You might not realize that Chilean artist Cecilia Vicuña has woven together your awareness of your own awareness, but maybe you just needed some help translating it. See the images: http://www.thelonelypalette.com/episodes/2018/12/1/episode-35-cecilia-vicuas-disappeared-quipu-2018 Music used: Django Reinhardt, “Django's Tiger” The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “The Face of the Thrush”, “We Build With Rubber Bands”, “Vdet”, “Between Stones”, “Cover Letter”, “Gentle Son” Support the show! http://www.thelonelypalette.com/2018listenerchallenge Episode sponsor: https://www.thegreatcoursesplus.com/lonely

On October 10, 2018, both the Museum of Fine Arts, Boston, and Cecilia Vicuña herself were generous enough to give me the opportunity to take a few moments away from the installation of "Disappeared Quipu" and interview Vicuña. We talked about bridging the masculinity of Land Art and the femininity of Fiber Art, the origins of Vicuña's life as an artist, and how her own awareness has evolved throughout her career.

Episode 1 of Commonplace’s special series on translation.Rosa Alcalá is the author of three full-length collections of poetry, most recently, MyOTHER TONGUE (Futurepoem), and translator of several full-length translations including the recently released New and Selected Poems of Cecilia Vicuña (Kelsey Street Press) for which Alcalá received a translation fellowship from the National Endowment of the Arts in 2015.Alcalá talks to Commonplace host Rachel Zucker about the experience of translating and transcribing the poetry and performances of Chilean-born artist Cecilia Vicuña. Alcalá speaks about growing up in Paterson, N.J., having been a child interpreter and mediator for her Spanish-speaking parents, language shame, studying at Brown and meeting Vicuña for the first time, studying transcription and ethnopoetics with Dennis Tedlock at SUNY Buffalo, grappling with how to record ephemerality, inaudibility, temporality, volume, tone and the feeling of listening (and mishearing) when translating, transcribing, and editing Vicuña’s multi-lingual performances for the book Spit Temple. Alcalá describes her long friendship with Vicuña, accepting the invitation to edit and translate Vicuña’s New and Selected, retranslating earlier translations, how the work of translating others affects her own writing, poetry as a space to say what is impossible to say in any language, literary and linguistic heritage, her interest in the NY School poets (especially Frank O’Hara and Bernadette Mayer), raising a bilingual child, and her poem “Heritage Speaker” from MyOTHER TONGUE.LINER NOTES:05 – Rosa Alcalá reads “The Brilliance of Orifices” from New and Selected Poems of Cecilia Vicuña (Kelsey Street Press, 2018).8:49 – Alcalá reads “Mondo (Fragmentos del Diario Estúpido)” from New and Selected Poems of Cecilia Vicuña.19:11 – Cecilia Vicuña singing and reading [McNally].22:20 – Vicuña introduces and begins reading her poem, “Quen- to Shipibo” [McNally].28:30 – “The translation is definitely associated to time...” Vicuña speaking about working with her translators [McNally].36:20 – Alcalá reads “Art in General, New York City, May 19, 1999” from Spit Temple (Ugly Duckling Presse, 2012).40:14 – Alcalá reads “Cecilia Vicuña: The Poetry Project at St. Marks Church, 2002 [a letter]” from Spit Temple.58:24 – Alcalá reads “Heritage Speaker” from MyOTHER TONGUE (Futurepoem, 2017).

  Today’s podcast is packed with fun art-related talk: my pottery obsession…er, class, the MFA Museum Council, and work by Yayoi Kusama and Cecilia Vicuña.  I …

  Today’s podcast is packed with fun art-related talk: my pottery obsession…er, class, the MFA Museum Council, and work by Yayoi Kusama and Cecilia Vicuña.  I …

  Today’s podcast is packed with fun art-related talk: my pottery obsession…er, class, the MFA Museum Council, and work by Yayoi Kusama and Cecilia Vicuña.  I …

This week on Open Stacks, a look at poemthings that point to the truths beyond the given names of the things contained within them, with Cecilia Vicuña and Jen Bervin.

Regresa a Diario Nocturno la gran artista chilena Cecilia Vicuña, una de las creadoras y pensadoras que han precursado el movimiento conceptual en Latinoamérica desde una óptica de liberación de los femenino. Hilando con este tema, nunca mejor dicho, Cecilia se convierte en el espejo en el que Puerperina se refleja para comentar un tema espinoso, vetado en la cultura occidental y que da título al programa. Hablamos de la menstruación desde la órbita del odio que históricamente se ha promovido hacia un proceso que la artista entiende como liberación y conexión cósmica. En toda la carrera artística de Cecilia existe un interés de aproximación hacia la menstruación femenina desde la simbología del hilo rojo como imagen de la sangre de la mujer. Desde que iniciara en 1972 su estudio en esta materia, la artista ha creado una cosmopoética que la ha llevado a protagonizar una de las instalaciones de la última Documenta de Kassel, recientemente finalizada. En esta conversación, asistimos a un diálogo limpio y sanador de una cuestión que socialmente se ha entendido como un tema asqueroso, poco elegante y carente de prestigio.

This event is a part of the “GIANT NIGHT: The Poetry Project at 50” platform series. In honor of our 50th Anniversary, and as part of our fundraising efforts, the Project teamed up with The Song Cave to print a limited edition portfolio of prints from five artists whose work is important to us: Jonas Mekas, Simone Forti, Cecilia Vicuña, Mary Manning, and Amy Sillman. All of the images were drawn from the artist's past bodies of work and were made between the 1960's and last year! The portfolio, which will be available for sale, is an edition of 50 c-prints and inkjet prints, and costs $1,000 for the set or $250 per print. There will be short performances by the artists as well as a showing of Sillman's “Draft of a Voice-Over for Split-Screen Video Loop” (Poem by Lisa Robertson drawing/animations by Sillman). The artists who love poets who will be performing this evening are: Jonas Mekas, Amy Sillman, Sreshta Rit Premnath, Sunita Prasad, Gordon Hall, and Sable Elyse Smith. Co-presented with The Song Cave. Reception to follow.

El derecho a hablar y a decir lo que uno siente es un acto fuertemente político. Cecilia Vicuña es una poeta y artista visual chilena que en los años sesenta fue censurada por escribir poesía erótica en Chile. Camila Moreno conoció su poesía en su adolescencia y le abrió las puertas del erotismo. A sus 62 años, reside en Nueva York y tanto su poesía como su performance es sumamente valorada a nivel internacional. Ella se atrevió a escribir lo que nadie decía. Se atrevió a hablar de política, erotismo y chamanismo en una misma frase. Se atrevió a viajar sola por el mundo y a vivir inseparablemente con su arte.En situaciones de suma precariedad estudió en Londres y vivió en Colombia. Rescata el imaginario indígena en sus performances y se relaciona con el trance y lo ritual desde una voz brutal. Se podría decir que es una de las pocas artistas en el presente que trabajan desde una verdad rotunda y devastadora. En Diario Nocturno queremos acercarnos a su poder y entender cómo se cruza el cóndor y el erotismo y hacer un poco de justicia ante una de las artistas más grandes y trascendentes de nuestro tiempo y que Chile aún no sabe reconocer.Su obra se ha presentado en Whitechapel Art Gallery, Londres; Bienal de Sydney, Australia; y el MoMa, Nueva York, en instalaciones de gran escala. Sus libros más recientes son El Zen Surado (2013), Chanccani Quipu, (2012) y Spit Temple: The Selected Performances of Cecilia Vicuña (2012). Ha recibido el título honorífico de Messenger Lecturer 2015 de Cornell University en Nueva York.

Monday Reading Series Rosa Alcalá is the author of two books of poetry, Undocumentaries (2010) and The Lust of Unsentimental Waters (2012), both from Shearsman Books. Her poems are also included in two recent anthologies: Angels of the Americlypse: New Latin@ Writing (Counterpath, 2014) and The Volta Book of Poets (Sidebrow Books, 2015). Spit Temple: The Selected Performances of Cecilia Vicuña (Ugly Duckling Presse, 2012), edited and translated by Alcalá, was runner-up for the 2013 PEN Award for Poetry in Translation. She is also the recipient of a 2015 NEA Fellowship in Translation. She lives and teaches in El Paso, TX. Jennifer Tamayo is a writer and performer. She received her Bachelor of Arts from the University of Chicago and her Master of Fine Arts in Creative Writing from Louisiana State University. She is the author of the collection of poems and art work, Red Missed Aches Read Missed Aches Red Mistakes Read Mistakes (Switchback, 2011) and the limited edition chapbook POEMS ARE THE ONLY REAL BODIES (Bloof Books, 2013). Her second full collection of poems and artwork, YOU DA ONE, was published in the fall of 2014. Since 2010, JT has served as the Managing Editor for Futurepoem an independent NYC press publishing contemporary poetry and prose. She lives and works in New York City.