Podcasts about Ceri

What do you do when an artwork you've been quietly developing for years suddenly goes stratospheric? And how do you turn a hit into a career-changing opportunity without sacrificing your health, your family, or the work itself? My guest today is extraordinary artist Freddie Yauner, whose work explores how our drive for continual growth impacts people and the planet. Held in MoMA's permanent collection, his projects range from world-record-breaking toasters to portraits of CEOs painted with pollen. Years ago, I invited Freddie to make a film using his Mirror Mask, an ingenious piece reflecting the viewer rather than the wearer. Newly edited and reposted, the film exploded - racking up millions of views, reaching fans like Dawn French, and sending thousands of masks around the world. We discuss the mechanisms of success: how great ideas are mobilised, navigating health issues and imposter syndrome when things take off, and how to reinvest a hit to protect your creative life. Freddie also shares what shifted for him when he joined my six-month Artist Mastermind Circle. KEY TAKEAWAYS Sometimes a number one hit arrives years after you first made the work. Your job is to be ready for it. Treat virality not as a fluke but as the moment when preparation meets opportunity. You don't have to do everything yourself. Investing in help with admin, social media or production isn't indulgent, it's how you create the capacity to stay creative, resilient and available to new opportunities. Doing less, better, is a radical act. When health or life reduces your capacity, it can also sharpen your priorities. Limitation can become a lens that clarifies what really matters in your practice. BEST MOMENTS “Luck favours the prepared mind.” “Treat a successful artwork like a number one hit… don't abandon it because you're already thinking about the next thing… stay curious about how far it can travel, who else it might reach and what doors it might open.” “You put all this energy into making the work, and then actually it's not complete until you work out how to share it as well.” If you're an experienced artist who's already had some success through exhibitions, but you know there are areas where you're ready to level up, applications are now open for my next Artist Mastermind Circle. It runs for six months, from November 2026 to May 2027, with twenty-five artists from around the world. A carefully curated group, so places are by application, and the deadline is Monday 28 September. Apply here: cerihand.com/artist-mastermind-circle. EPISODE RESOURCES https://freddieyauner.co.uk/ https://www.instagram.com/freddieyauner HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals - https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

“I don't know enough people” might be one of the most convenient lies artists tell themselves. And before you get cross with me, hear me out. If you tell yourself, you don't know the right curators, collectors, commissioners, gallerists, or writers, you get to keep believing the problem is your network. You don't have to risk contacting somebody. You don't have to hear no. And you get to keep hoping that one day somebody might discover you. But hope is protecting you from the very thing your work needs you to do. I speak to artists every single day, and I hear versions of this constantly. “I live in the arse end of nowhere.” “I don't have the money.” “I hate private views.” ““I'm awkward.” “I didn't go to the right art school.” “My work is too strange.” “I'm an introvert.” And look, I have empathy with a lot of this. I'm an introvert myself. Given the choice, I would much rather sit in my little home office writing or talking properly to one interesting person than spend three hours shouting over somebody at a private view. But I think something else is going on. Why, when you already know how to network, are you still not doing it? I don't think most artists need another lesson in networking. I think some of you need to stop waiting to feel comfortable enough to start. That's what today is about. KEY TAKEAWAYS Stop waiting to be discovered. You can't control whether somebody says yes, but you can control whether you make the invitation, send the email, follow up, or put the work in front of somebody. You don't need the whole art world. You need your world: the people whose interests genuinely overlap with what you're exploring.  Who curated the exhibition that you loved, who wrote that essay that you keep returning to? Who commissioned that artist whose trajectory really fascinates you? Start with your curiosity, research those people, and follow the threads. You don't have to become fearless, extroverted, or brilliant at networking. Start ridiculously small. Find five people you'd genuinely like to talk to, choose one, and contact them. Then do it again next week. One small gesture each week is all it takes. BEST MOMENTS “Your network should grow out of your curiosity, not your desperation, because desperation makes everybody look like a gatekeeper. Curiosity makes everybody interesting.” “When your brain says, "I don't know anybody, I want you to course correct it. It's a thought error. Say I don't know them yet.” “You don't have to become fearless. You just have to become more practised.” HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Andrea Grover has spent nearly thirty years championing artists who take risks. And right now, she's taking a few of her own. She's turned her dining room into an experimental performance space called the Ponderosa Lounge. She's started doing stand-up comedy in her fifties. And after ten years leading Guild Hall in East Hampton, she's thinking deeply about what creativity, community and leadership can mean when life changes in ways you could never have planned for. Andrea is a curator, writer and arts leader who founded the pioneering Aurora Picture Show in Houston, went on to curate ambitious projects including Radical Seafaring, and has spent her career making space for experimentation, play and what she calls the “head-scratchers”, the art you don't immediately understand but can't stop thinking about. Earlier this year, Andrea was diagnosed with ALS. We talk about what that diagnosis is teaching her about accepting help and love, why she's using comedy to process what's happening, what decades of working with artists have taught her about leadership, and why she believes creativity can bring people together when so much around us is pulling us apart. There is so much life in this conversation. I hope you enjoy it as much as I did. KEY TAKEAWAYS Creative community can feel like finding your way back to the weird kid lunch table. A place where you're allowed to be fully yourself, to laugh, to be vulnerable, and to let other people help you when you can't do it all alone. Depth matters more than churn. When you commit to artists and audiences over time, you create the conditions for real trust, real risk, and real change.  Leadership in the arts isn't about control; it's about distributing power - trusting others to hold the work with you and letting them surprise you.   BEST MOMENTS “An extraordinary creative life really asks of us. Not that we control what happens next, but that we remain curious enough to meet it. To make something with what we have. To let other people in. To keep finding joy, play and connection.” “Accepting love, accepting help has been very healing …. this sickness is healing me. It's healing me of this relentless pursuit, a forward motion towards I don't know what.” “I love people who don't think like me.” “You can't just run a cultural institution on ideas. You actually have to know how to run a business and how to pay people.” EPISODE RESOURCES https://www.guildhall.org https://www.instagram.com/gentleridevan/ @guild_hall // @gentleridevan HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Explore APSC's My Family Audio Series A story-driven 3-part audio project about Cambodian, Hmong, Laotian, Vietnamese, and other Southeast Asian families doing everything possible to breathe with ease and live freely besides the people we love.  Created by the Asian Prisoner Support Committee and APEX Express, and hosted by writer and activist Michelle MiJung Kim, My Family seeks to answer many of the questions countless families in our communities are grappling with today. Mass deportation and family separation are fueled by isolation and silence. With My Family, we aim to dismantle both with stories full of heart, compassion, and an honest look at the tangled paths many of us take to reckon with the past, rebuild our lives, and make a new place home.  Our deep gratitude extends to all the community members who shared their stories with us, even while painful to recount. Their commitment to creating stronger, more informed communities is unparalleled.    My Family Ep. 2: What happens in ICE detention? In our second episode, we take a closer look at what happens when people are forced into ICE detention, including after completing their sentence in state prison and transforming their lives. You'll hear from NC, Pam, and Tony, who endured ICE detention in California and other states, as well as Elijah Chhum, executive director of New Light Wellness.  Music from episode 2, as well as related resources, can be found below in the show notes. If you are an impacted community member in California or have a family member who is directly impacted by detention and deportation, we encourage you to contact APSC at info@asianprisonersupport.org or our partners at New Light Wellness and the Center for Empowering Refugees and Immigrants.  Music: Original composition by Joe Sin and the Angkor Wat Band. Joe is a Khmer elder and community leader in Oakland Temple by Thao Resources: My Family Episode 2 discussion guide APSC Data Report on Incarcerated and Formerly Incarcerated Asians and Pacific Islanders Asian Law Caucus legal resources and video explainers for Southeast Asians facing deportation threats USC Equity Research Institute analysis on ICE arrests of Asian and Pacific Islander Californians We Are California: Hmong History and Cultural Studies A special thanks to Hmong Innovating Politics for their guidance on Hmong communities' history and refugee experiences.   Transcript Michelle MiJung Kim: [00:00:00] Hello. Welcome to “My Family,” a project by the Asian Prisoner Support Committee and APEX Express. I'm your host, Michelle Mijung Kim. If you haven't yet, I invite you to check out our first episode. We'll include a tag in the show notes, which you can find at kpfa.org/program/apex-express/. As as [00:01:00] listeners may know, many Southeast Asians are in the United States after their families found refuge here in the '70s and '80s, fleeing genocide and violence in Vietnam, Cambodia, and Laos.   Most have loved ones who didn't survive. The ones who did make it out, around one point one million, are the largest refugee community ever resettled in the US. Today, after decades of building a home in the US, these families are targeted by mass detention and deportation. According to the latest data, forty-two percent of all Southeast Asian deportations to date happened between 2025 and 2026. There's been a twentyfold increase in the deportations of Southeast Asian elders. Amid the pain and fear, families are seeking answers. How did we get here? What can we do to keep our family safe and together?   That's why I'm partnering with the Asian [00:02:00] Prisoner Support Committee and APEX Express, to bring our communities and families honest recounts of what is happening so that we can be there for each other. In today's episode, we'll focus on what happens in ICE detention.   Welcome to “My Family.”    A content warning for our listeners that in today's episode, we'll be discussing incarceration, depression, and family separation.   We first met NC in our last episode. NC and his family are Hmong. Like many other ethnic groups in Laos, including Lahu and Mien, Hmong people's stories are unfa– Hmong people's stories are unfamiliar to many.   These ethnic groups and others have shared ancient roots in the central and southern– in the central and southern regions of China. About 300 years ago, they were forced to flee the Chinese government's oppression and persecution. Many sought safety in the highlands [00:03:00] of Southeast Asia. NC's family settled in N- N- NC's family settled in Laos.   During the Vietnam War, the CIA recruited tens of thousands of Hmong boys and men, including members of NC's family, to fight in a covert campaign in Laos known as the Secret War, which you can learn more about in the resources we'll share in the show notes. Hmong fighters served behind enemy lines, rescued US planes, and risked their lives for Americans.   The Hmong soldiers were told that they were– The Hmong soldiers were told they and their families would be protected, but when the war ended, the Americans left, and thousands of Hmong were left behind. Facing persecution for their work with the United States, the Hmong were once again forced to flee. One– Facing p- facing persecution for their work with the United States, the Hmong were once again forced to flee to survive, rendering them stateless.   Thousands of Hmong families and other ethnic minority groups hid in the jungles or escaped on foot. Many died on the journey from starvation, drowning, and disease. NC's parents, [00:04:00] his mom pregnant with him, finally crossed the Mekong River into Thailand. NC was born into a refugee camp there, and after some time, his family was brought to the US, first in Long Beach and later in Stockton, where his dad opened an auto body shop   As a young person, NC was convicted of a crime, which led him to being incarcerated for 24 years. On the day he was supposed to be released from prison last year, instead of finally, instead of finally being able to return home, he was picked up by ICE. He had planned to finish his college education and become a social worker, helping young people struggling with trauma and loss like he did.   ICE took him to Mesa Verde, a detention facility in Bakersfield, California. For years, people detained in Mesa Verde and other ICE facilities in California, and other facilities, and other f- and other ICE facilities in California have led hun– Oh my gosh. For years, people detained in Mesa Verde and other ICE facilities in California have led hunger and labor strikes to protest medical neglect, gruesome conditions, including a perpetual lack of food and clean water.   California Attorney [00:05:00] General Rob Bonta says the conditions are worse now, calling ICE's facilities in the state, quote, ” cruel, inhumane, and unacceptable.” As of this recording, at least 24 people have died in ICE custody nationwide this year. We'll hear from NC what happened after ICE agents brought him to the Mesa Verde ICE facility.   Here's NC   NC (pseudonym): Yeah, it's kinda… It's hard because when you hit detention, it's like you paroled, you're happy that you paroled because you've been incarcerated, 'cause I've been incarcerated for like like 24 years, and like, you know, it's the next step.   So it's the next step to freedom. And while I went to a detention facility, you know, you know, it's like the main thing is just try to get out, not, not to get into trouble, you know. um, so during that time, it was like you don't have like, like… If you don't have, like, money to hire an attorney, then basically it's kinda like you trying to ask for a pro bono attorney, somebody that's willing to help you and represent you, but they have a lot of people in the [00:06:00] detention facility as well.   So when they come, it's like they're just overwhelmed with a whole bunch of people, and you hardly even get to, to really sit down and talk with them. So if you see them, they come visit like, I think, once a month, and then they'll just take your A number down, and then they'll just talk to you, and then they'll just, you know…   If they come back to you, I guess they come back to you. But I haven't really seen any, anybody, you know, um, they ever got back to that I know of, so. so.    Niketa Kumar: Mm-hmm.   NC (pseudonym): all the people, all the de- detainees that was there, um, those that were fighting their case, you know, Either they have a private, uh, immigration attorney, um, fighting for them, uh, uh, or they're just doing paperwork themself.   one of the thing I wanna point out is while you're in detention, you don't have access to anything, you know. They give you like a tablet, and they give you like some cases on it, but you really don't have access to look up anything or research anything. You only have, you know, the access to whatever that they [00:07:00] gave you um, According to their tablet. And, And, and it's just like the tablet, they only have like… Like, for example, when I was there, um- We only had to, we had to share, like, four tablets, and there was a lot of us. And people sh- use it to, like, order canteen. Somebody would, like, use it to watch movie, listen to the radio.   Some people would use it to, um, talk with their family, Mm-hmm … like um, But, um, um, we don't have enough tablets and, um, we don't have enough, um, um, batteries on the tablet. And um, just getting a hold of the tablet is, is, um, is pretty hard to get. And, And, like, um…   They give you, like, a little pin for the, the computer, but it's hard to, um, access it because they don't really… There's, like, no… They don't really teach you how to access anything anyway. So you're just, like, going from one place to another, and if you have something, you don't know how to save it. So you would have to ask other people that's been there for a while, and then you would have to go to, like… like…   You know, all this is, all this is just, like, um, like, um, I learned after, you know? It's not like, like, like when I was [00:08:00] there-   NC (pseudonym): somebody was, was, you know, you know, showing me. So you have to sign up. You have to go to the library, and when they schedule… ‘Cause there's, like, it's overcrowded and there's so many people. And, and they schedule the library.   There's, like, one librarian and, and,  you know, you know, we have to share the library. And then if you go there, then you have to try to get it printed or, you know, stuff like that. And then, and then when you do that stuff, you have to be able to sign up. You gotta have it, and if the librarian's not there, then you just have to wait until another time.   So everything is just, um, hard. It's not like, um, like if you remember something, then you can do something. And it's, like, uh, even pencils and paper, if you don't have, like, money to buy it on your canteen, then you would just have to ask somebody for it because everything… ‘ Cause once you get there, they don't give you any property, you know?   So sometimes, um, if you talk to the, the, uh, detaining officers, if they let you take some of your, um, like hygiene items. Like if you come from prison, you take some of your hygiene items, they'll allow you to bring it with you. [00:09:00] But other than that, it's like you really don't have access to anything. ‘ Cause once you get there, you have to slip out of your clothes, and you gotta wear, you know, prison clothes and can't have any, um, any personal belongings on you.   So you're just, like, going from one… It's like one, one prison to another prison.   You just, you know, try to just be calm and, um, you know, try to just, you know, stay, don't get into trouble, uh, you know, await for your, um, immigration hearing. um, And the first time I was there, um, I waited for my immigration hearing and, um, um, they didn't even, um, um, get my paperwork because something happened, and I had to call, call, and had to write a bunch of letters and paper and that's how… That's why I didn't, like, go to, um, um, my immigration hearing, like, like, within, like, a couple of weeks when I got there.   I had to wait, like, a whole month, you know, before I got scheduled for one. So, 'cause they, they lost my paperwork. I don't know if they, they d- lost it or sent it because I was writing to the, the, ICE agent that, um, um, is in charge of my case, and they said they [00:10:00] don't have any paperwork on me, so they can't…   You know, You know, I was writing to the courts and I was, you know, dialing the phone number to the courts to see if they, um, um, uh, scheduled me for m- an immigration hearing. So it was, it it was, part of the process of sending the paperwork from the ICE place to the, uh, courts so they can schedule it, and they didn't, they didn't, they didn't do it.   So I had to wait. I had to stay, like, an extended like, period of time, much longer than I should have um, I was able to finish… I mean, they were able to schedule me and then, um, during that time, you know, I saw attorneys and they were just telling me, ” Oh, nothing's gonna happen to you. Um, the country's not gonna accept you.   Um, just go and, you know, you can fight it if you want, but you're probably gonna lose. So you're gonna be here, like, two, three, four, five years fighting it in, in detention. And then if you just, you know, s- agree to it, like, yes, yes, yes, and then, then, after you sign all the paperwork, you just, you know, you'll wait about, like, a month, and, and then you'll just be out of here.”   So that was just the, like, like, you know, Basically, like a protocol.   Michelle MiJung Kim: [00:11:00] NC was eventually put on an Omni Air International plane. Many first learned about Omni's large contract with ICE in 2018 when it helped execute the then largest deportation flight of Southeast Asian refugees in the United States history.   Since 2025, Omni's work for ICE has quadrupled. As journalist Gillian Brockell has ex– as journalist Gillian Brockell explained, Omni has been the only large jet airline flying shackled passengers on long-haul ICE flights to Africa and Asia.   A former ICE official told NBC last year that each ICE flight costs taxpayers about $25,000 per hour. NC was deported last November.   NC (pseudonym): Well, like like when I came to Laos, I didn't have anybody. Um, I didn't know nobody, not a single relative or friend over here. But, um, um, uh, when I went to the detention [00:12:00] facility, I met a guy and we became friends, and he kinda like, like, he had relatives here in Laos.   So he told me that, um, um, you know, “Hey, if, um, um, if you don't have anybody, you know, you know, I'll tell my, um, my family to, to come and, um, um, sponsor you.” You know, like his, his, distant part of the family. And I say, sh- you know, “Thank you.” You know? um, when I got here, um, it was hard, too, because he had to try to like really, really try to convince them as well.   Um, it wasn't like something that they would want to, you know, just do, you know? you know? So, um, it was very, very hard to get them to trust me. So, So, uh, uh, when they came and see me and they talk with me, and then they say okay, they'll, they, they'll decided to sponsor me. So with that, uh, I had a, you know, a little bit of relief because um, when you get here, it's kinda like like if you don't have a sponsor, uh, you don't know how you gonna manage. You don't know how you gonna… You don't even, they won't even let you out of the camp. So it's like you're just going from one detention facility to another detention [00:13:00] facility, but the only difference is at the campground here is much better because you're not…   You know, You know, you wear your, your clothes and you're fr- you, you roam free, and then, um, you sleep in a place where, um, you know, you have mattresses. You sleep in a place and, um, they do, they give you like, uh, uh, three meals a day, too. So, but then the thing is that you're s- you're stuck in the camp if nobody comes to get you, and I don't know, I don't know about the people that's been there.   They can be there, They'll stay there for, like, like, two, three months, and if they don't have no sponsor, I don't know what happens after that, 'cause I didn't stay that long to, to see what happened to the people that, that don't have a sponsor to come get them. You know? So it's kinda scary, too, if you don't have a sponsor to come get you, ‘ cause you don't know where you're gonna end up    Niketa Kumar: Hmm.   NC (pseudonym): But once I got a sponsor and, and,  you know, you know, I came out, the thing is that the, it's hard because once they, they get you out, it's like, you know, you start to realize that, you know, they're not your family, and then they want you to, you know, keep paying them and all this other stuff. And then, and then you have to like, you know, you don't wanna like get into anything that's not good [00:14:00] with them, you know?    you know?   you know. Mm-hmm. So then you try to go and find a place. So you kinda like just move out, you know, because you only there, you only allow, you know, they, you know, like, um, what's the correct way? It's like you can stay with them, like, like, but you only stay with them like temporary. Yeah.   So then you gotta go find your own place. but the, but the messed up thing is that if you don't pay them, they don't really help you to go find a place of your own. So that's when, um, um, I was talking to some of my friends in America, and I was asking like, “Man, it's kinda messed up 'cause we don't have any programs here.   Like this country doesn't have any programs that will, will, will help you transition, you know, into –    Niketa Kumar: Hmm …   NC (pseudonym): you know, the way of life in, in Laos.” And basically, I, I, I had to just try to learn everything the best way I can, talk to people, be as cordial as I can, and, uh, uh, and respectful as I can, and, uh, talk and ask.   And, but I don't know Laos, so I don't talk to any of the Laos people. But fortunately there are some Hmong people here, so then I talk to some other Hmong people here, and   I was fortunate to meet some people who was, who was willing to help me.   Um, so I made some [00:15:00] friends. And although I don't know the Laos language, you know, sometimes I ask them to go help me translate, then they would, um, if they, you know, have time. But it's, it's, it's hard, like for a time, for a time in the beginning I was just like just staying out. Sometimes I stayed out all night.   Sometimes if I find a place to sleep, I would, you know, s- you know, sleep at a guest house. Um, but then like it would drain my funds really, really fast because I had to, you know, pay like per night. And then some nights I'd just stay up all night. like, um, you know, like, it's sad because for the first time like, um, felt, I felt, felt homeless, you know? you know?   That's, that's the, that's the correct term, I guess. I was just homeless, you know, just roaming the streets. And then I was thinking to myself like, “What?” I don't know how to go rent an apartment or a place here because, um, I don't have the connections. So you don't know how to talk to people, and you don't know who to talk to and ask.   And, and a lot of times they won't rent it to you unless they know that you can, you know, pay them. So, So, you know, you know, you have to, um, have [00:16:00] somebody talk to them. So when I have my friend and she went to talk to them and, um, find out that, um, um, the room was open, and I was able to, you know, rent it. then, then I started, um, um, talking to my grandma back in, um, the US, and then my grandma then found a, a distant cousin of ours.   um, kind of I kind of reached out to them, they don't live where I live. They live like really, really far up north. So I really talked to them, and then they started pointing directions like, “Oh yeah, you know, you know, we do have some distant cousins here in this, in this village. If you have time, you go visit them.”   So that's what I do. I, I would, you know, if I could and I have the funds, I would go visit them because they're not gonna come visit me. You know what I mean?    Niketa Kumar: Mm-hmm   NC (pseudonym): so yeah, I have to go visit them and show them that, “Hey, you know, this is me. Um, I'm here,” and, you know, um- basically like that, but, um, still like like transitioning is still hard because, you know, have to learn the language, you know, practice it, um, every single day and then learn the customs and, and learn how not to get in trouble and stay out of trouble.   Michelle MiJung Kim: [00:17:00] It's time to come back to Pam, who you heard from in the first episode of My Family. Pam also grew up in California and was incarcerated for 16 years. When Pam first learned that she could be deported after serving her time, she said her parents were shocked. They told her, “There's nobody over there who can support you, take care of you.   You've been here in America all your life. Why does ICE want to send you over there since you already did your time?” She spent a lot of time in the prison law library trying to understand her options to come back home to her parents and her children. Once she paroled, like NC, like NC, ICE came and took her directly to a detention center.   Here's Pam. Here's Pam   Pam (pseudonym): It's pretty much worse than, um, in prison, because if in prison you could walk, you could program, you could [00:18:00] do other stuff.   But in the ICE ICE detainer, you get a yard, hour a day. It's like you, you're locked up in prison for, you know, when you get… Getting locked up again. You go, you go into that, the hole. You know, where us prison, we call it the hole, or jail is another way of, you you know, know, expressing it. in 24 hours, you only get a hour of yard time, and it was hard to be being in a dorm with all these people, over 100 people in the dorm.   It was hard. It was hard. But it's like you're against the world, and I never felt like that before.   I never felt like I'm against the world before. I have to fight for my life. So that was the first time. Even though I did my prison time, I didn't feel like I have to fight my life, because I know what I did wrong. But that's the first time I ever feel like I have to fight for my life just to be alive and [00:19:00] free, either with my family or without my family. So I'm going to another country that I, I never known since I was two years old. I left Cambodia when I was two, and now I'm almost 50. that's a big old gap, what I'm going to a whole new world. When I first, from ICE detainer, I was nervous, and then I thought they're gonna take me.   I thought they gonna not deport me at all. I thought they gonna move me to another ICE detainer. And I heard about another ICE detainer is worse, like Texas is worse. But also, even the officer in the detainer won't even treat you, they don't treat you like human. your personal property, your family send pictures, they copy your photo and they throw your original one away.   They say, “Oh, you got the copy.” What you mean? it's not like [00:20:00] person you can have your copy, but they would throw your original. They won't even save it for you. And then when you're about to get deported, you have to make sure, you have to, like, be on them about, “Hey, I don't have no clothes.   Can my family send money? I mean, send boxes for me so I can take my clothes?” Because I have my rights that I can ask for 40-pound box, before I leave. And it took them a long time to process your paper to get, to let your family send stuff like that. And about time you, that you got it, they're going through every little detail, and then, like, some of your stuff is missing or damaged.   Like, hey, why my, my, stuff is damaged? My son send me a watch, it almost got damaged. Good thing that he, he wrap it with a bunch of clothes, they don't care about your property. They don't. They really don't. So you have to ask them, what can you ha- can, what can your family send you? And sometimes they tell you, “Hey, I can't get you a box,” they [00:21:00] tell you you're about to leave, you And sometimes it's not even true. You end up leaving the next day. So- It's a lot of, it's a lot of stuff I was s- I was s- going through it. I never go through… I had never felt like I'm going through a war zone with them. They just not specific with everything. They, they really treat you like you're not… You never been in United States.   They really treat you like a great straight out prisoner. Even the prison don't treat you like that. So it's, it's hard. It's hard, tough, and, uh, hopefully, you know, the only thing that keep me going is strong bond with your family. Family, friend, loved ones, like, Any group that help with the deportation, what you have to go through, you know? So that's the only way that you feel like you don't have to battle with nothing. You ha- I nev- I never felt like I'm- Dead to the world. it was hard. It was hard. For a whole year sitting in detainer, it was hard.   Medical [00:22:00] was bad.   my brother and sister never seen me cry before on the phone and they're like, ” If they not gonna accept you, if they said, ‘ Okay, do you wanna appeal?'   we want you to be happy. We want you to be happy. We want you to… The sound, we hear you, you sound like tired, you're drained, and I think you're really going through it right now. You're really going through it, and we just want you to be happy. If you get deported, well, well, now we still love you. We still love you no matter what.”   I was like, “I know,” but I was expect to go home. My son bought a car for me. He bought a car. He bought a car. He's like, “Mama, you're not, you're not getting deported. I got you a Honda Civic already. I got you a car. I got a place for you.” You know how, how, that affect me when your family member bought you stuff, be thinking that you coming home?   It was, it was sad. it hit me hard towards the point that I'm never gonna go home ever again. I'm never gonna step in America [00:23:00] again. That was my part of my experience going through ICE detainer. But when my… when about time when I'm about to leave, I was a little bit excited, a little bit scared because I don't know what  going- gonna happen to me. I don't know how they're gonna escort me. Uh, you know, I heard so many bad things how they escort people and how the ICE officer don't care about you.   A lot of bad things. But I come to find out I was really lucky. I was really lucky. I got three wonderful ICE officer. They helped me. They said, ” Hey, ma'am,” because I got my 40-pound box of clothes. They say, “Ma'am, I need you to tell me what's really important for you to carry on a plane, and what's not that important, it's okay if you lose it because you can go…   We end up, uh, riding two flight. We're gonna make a stop, so we don't want nothing to be missing that is very important [00:24:00] to you.” So I got my paperwork in my backpack, and something that's, you know, so dear to me is my kids' pictures and letters, and other things. I, my clothes, for real, for real, I only have… I make sure I have one extra pair of clothes in my backpack, too.   And the rest of the stuff I was like, “Okay, as long as I got one pair of clothes, I'm fine.” So- The rest, and you know, you know, they was taking time. They were waiting for our pack or I pack my luggage how, the way I want it. they say, “Go ahead, finish packing your luggage. Put your watch on. Put, this, that on because, you know, as long as…   Then you know, you go through a me- metal detector, I need you to take it off. They say, “We're not gonna cuff you because you're gonna fly with us. You're the only one to fly with us, so make sure you have your socks on, your tennis shoes on. Go ahead, put your shoelace.”   They was like, “Whatever make you comfortable, go ahead. But we're gonna tell you this, if you cause a scene at the airport, we're [00:25:00] gonna show you. That's it. That's all we're asking. If you give us a smooth ride, we give you a smooth ride. If you get hungry, you get thirsty, let us know. That's all we can afford for you.   And if you get sick, we could get you meds. We could take you and get meds, but besides that, like anything you wanna buy or you wanna get, you have… It come out your pocket.” they pretty much make it clear for me, if you try to run, you know we're gonna catch and slam you down.   So I look at it as where, where, where I'm gonna go? Where am I gonna go? I'm on a whole different flight. Haven't seen the world for 16 years- So I was like, “Oh, whatever.” I was excited, when I first stepped outside, ICE came to pick me up. I'm not gonna lie, ICE came pick me up a day before I parole. a day before I parole. And then when I got shipped and deported, I was from Washington, Seattle, [00:26:00] and I fly a good… I don't know how long I fly. I sleep throughout the whole flight. Uh, they only wake me up for my meals. I ate my meal. I get three serving on a plane. Every, you know, it's not just peanut butter sandwich, I, I get to eat what the commercial people eat.   Uh, Uh, they always ask me what I want, roast chicken or something, rice and chicken. I can't remember, but the food was good. The food was good. The food was better than prison. And it's way better than, way better than, ICE detainer. I only woke, I only wake up to eat and use the bathroom, and I barely use the bathroom.   Michelle MiJung Kim: That was three years ago during the Biden administration. Since then, Congress and the Trump administration have supercharged ICE with a two hundred billion dollar budget. Pam reminded us many times [00:27:00] that her story is just one experience, that she's one of the lucky ones. She knows people who have been shackled the entire flight, blocked from using the bathroom.   News reports have shared how people have been forced to soil their seats because they can't get up. Others have been held in straitjacket-like devices or endured verbal and physical abuse from agents, from agents. Flights can last multiple days, stopping in four, five, or even seven countries.   When Pam was deported, the only thing she knew about Southeast Asia was a f– was a fruit shr– When Pam was deported, the only thing she knew about Southeast Asia was a fruit shr– was a fruit she remember– Uh. When Pam was deported, the only thing she knew about Southeast Asia was a fruit she remembered liking as a small child.   Since then, Pam has slowly rebuilt her life. She… Since then, sh… Since being deported, Pam has slowly rebuilt her life. She has a job and an apartment. We asked Pam about her home in Cambodia now and how she keeps in touch with her big family back in California.   Pam (pseudonym): Like, a little studio with a little sink, but you have to buy your own furniture. And it just a room. It's just, like, like, almost like a cell, [00:28:00] but you got windows you can open anytime.   You got doors you could go in and out, and it only cost me $50 a month. So that helps. And my food, oh, you know, you know, in a street vendor, if you go buy a street vendor, a bowl of rice, 1,000 riel. 1,000 riel 25 cent, you get a bowl of rice. the vegetable, I only spend, like, I, I mean, I, I mean, I fill up my whole refrigerator with vegetables and it cost me $20, but it last me for two weeks.   You know? not expensive, but if you don't have no income from your family, it is expensive. But if you have income from your family, support from the state, all the stuff like that, it's not that expensive. Because American money and the prices here, my paycheck, I only get 500 a month.   But my 500, I get to save 100 a month because I don't really [00:29:00] need nothing. All I need is food, some clothes, and pay my bills. That's it. Pay my phone bills, pay my electricity bill, my water bill, and my rent. So… I, And I, I get to save $100 a month. So for that, I say I see is the state, I work for 16 hours and I can't even save money.   Mm-hmm. But here, I work for from what? 7 to 5, 10 hours. About 10 hours. But I can save my money. So, and it, I'm not gonna lie, when I was over there at the state, I didn't get no sleep. I didn't really get no sleep. I usually get two hours sleep. So I came to Cambodia and I sleep, I never sleep this much in my life.   So I feel like, yeah, I gained some weight. I'm not gonna lie. I'm gonna g- I gain, I gained a few weights. But, but I'm okay. I'm okay. Because why? I got a good family, helps me. Mm-hmm. And my mom, she going through [00:30:00] her own little struggle, but she said… This is the thing about my mom. She would never come to step foot in Cambodia again because she lost, she still trigger from, she lost three daughters in Cambodia during that war.   So she said she love me, she care about me, she wish I was in United States, but as much as she love me, she would never willing to step back into Cambodia. So that hurts in a way, but I also I have to understand what she go through as a mother losing her own child, three of her child before I was b- even born.   I have to understand how she go, what she go through.   The only thing that's different is the time. I told my family, call me at 3:00 o'clock in the morning because I'll be up getting ready for work, this and that.   I can still put you… You know, I can still talk to you while I'm doing stuff [00:31:00] So that's what me, my family have a deal. from between 3:00 in the morning to 7:00 in the morning that I could talk to them before my class start, before I start working or whatever. And sometime, you know, when I first got here, I got my phone you know, uh, from Washington because they the one that has people fly over here, people from the group, they fly over here because my son send a phone with them to give it to me.   I still don't know how the mailing process. I still working on that, how people send stuff from United States to Cambodia. I still don't know that. I finally know how my family send money to me once in a while. Before, they didn't have Western Union, they only have MoneyGram. So now they finally have Western Union for us.   two months ago they just finally opened a Western Union, and I don't know how that works. I don't know if it works really good or not. I was scared to [00:32:00] try My family try and make everything a negative turn into a positive. You know, try to keep me company and keep me, like, we just wanna s- we just wanna see you free, you happy. they hook me up with, on the Facebook.   They said, ” You know, whenever you got time, wherever you go to do new places, I want you to take video. We wanna see where you at.”   Michelle MiJung Kim: Pam told us that she's learned to stay busy to take care of her mental health. When she first arrived in Cambodia, she thought to herself, “I need to start crocheting and get some yarn.” Crocheting helps her mental health and to stay strong. Before we continue, I invite you to take a deep breath with me Today, more and more people are sharing their outrage at the inhumane, at the inhumane and cruel conditions of ICE detention.   But this brutality didn't just start this year. But [00:33:00] this brutality didn't just start this year. People have been, people have been enduring and pushing for change in the community for a long time. People have been enduring and pushing for change in the community for a long… People have been enduring and pushing for change in the community for a long time.   To help share how, we spoke with Tony, who was first detained by ICE nearly 27 years ago in Los Angeles. He's still fight, he's still fighting to keep his family to– He's still fighting to keep his family together   Tony (pseudonym): Um, my first time I, you know, went to a immigration detention center was back in October of 1999. Went there, you know, you know, for doing a county lid in Los Angeles, California. You know, we call it a county lid because it's, you know, we took a plea bargain for one year of county time. And I did, like, eight month and 20 day.   From there like, before I got released, ICE came and interviewed me, told me that I got immigration hold, and they will, uh, you know, come and pick me up or detain me and, you know, take me to the processing and all kind, you know. Because, um, I got order to removal. So when I got to ICE in October of '99, two weeks later I went to court you know, we just [00:34:00] got a court hearing.   There's no lawyer, no nothing to represent you at all. You just in there solo bolo with the judge, and they ask you, you know, you know, um, how you plea or do you wanna fight your case, or you know, to sign the paperwork for final removal to get, you know, deported back to whatever country we from.   you know, that time it was my first experience going to ICE detention center, so first thing in my head is, like, “No, I'm not going back to my country without a fight.” So, you know, I called my family. They got me a lawyer, and I fought it for a good six month. That's when, you know, the court make the final decision that I still getting deported.   And it was tough, you know, for my family to come up with the lawyer fee money and stuff, because during that time when I was, uh, incarcerated at, um, at the ICE detention center, there's no pro bono lawyer, no orientation, any, i- any uh, uh, support group to help us at all. We just in there like a sitting duck, and everybody was going [00:35:00] through h- like, you know.   The feeling of that is more harder than, you know, being locked up in a, in a jail cell or, uh, or doing, you know, doing life, because there's no release date, and they just like, they drain you all of all your hope and everything. And then, you know. And throughout the whole time, you know, people At the detention center, they went from a normal person to, you know, people go there. At the detention center, they went from a normal to, need mental health issue.   That's how stressful it is. you know, from there, you know, I stayed there for a good 11 month until people start, like, you know, filing habeas corpus, and they slowly granted us, each one of us, a habeas corpus to go home   So, you know, you know, those are the worst experience I have ever had, and my family was like, you know, keep on asking me, you know, you know, “What's the next step? What's the w- what should they do?” I tell them, you know, you know, “Just save your money.” You know, since we lost the case already, “Save your money, you know, just in case I get deported, uh, you know, I have something to start a new life with back in Vietnam even though I don't have no family and I don't even have no family over [00:36:00] there, and I don't even know nothing about Vietnam because I left the country when I was 10 years old.”   it was just like, you know Hard for me to, you know, you know, be far away from my my f- my brother, my sister, and my dad, 'cause, you know, I grew up with a single parent. My mom passed away when I was five years old. My dad raised all four of them, my si- you know, you know, me and my sibling all by himself. So it just emotion and everything washed in, it's just like, you know, heartbreaking.   So every time, you know, when my dad come to visit me, he always break down and cry because he just like, you know, like, you know, feel sad that his oldest son is gonna get shipped back to his country. that's my experience from being in an ICE detention center   After I got out, it's like, you know, they make… They put me on ICE supervision. I started out with, you know, go and check, go check in once a month, from once a month to every three month.   But the feeling of going there to check in is like, you sitting there, each time you go check in, you sitting there, it's like, you know, you got like a weird [00:37:00] feeling, like a butterfly in your stomach, makes you stress, oh, it's like, “Oh, are they gonna detain me and ship me back?” And all kind of stuff washing in.   It's like, it's just like the mind game they're playing with you when you're on supervision. Even though, you know, back in the day, you know, my country, they still don't accept people to go back or, you know, or anything. But it's just a feeling that's like, hey, you know, the law could change. Anything could happen, and it just like, like, you know, slowly break you down inside and outside.   ‘   Tony (pseudonym): once you're in ICE detention center, they don't care you have any health issue at all.   Whatever medication they give you is not even, you know, What we call it is like, you know, genetic like, you know, medication, the dose or whatever treatment is not even there. uh, , you have to sign up on um, like a doctor waiting list for you to go see a doctor or s- to go get a checkup.   Because the only way that you g- you get any, um, you know, medical attention is when you drop, when you drop right there on the spot in front of them. [00:38:00] That's the fastest way for them to, you know, show you me- medical attention. Other than that, we just like, you know, animal locked in a cage, you know. That's why a lot of people, like, you know, you know, they go on there, they have health issues and stuff, and some, you know, end up, you know, being sick and, you know, die or,  you know, or their, you know, health condition get worse because we don't have the fair treatment  like, you know, to help us at all.   I have to fight for my, you know, my life every single day because, you know, you know, I got diagnostic with a heart failure back in June of 2018, a day after my son was born. And I went to the emergency room three, uh, three different time. The first time they didn't detect that I have a health issue or anything at all.   They just, you know, prescribed me some medication. ‘Cause I went there, I told them I have, uh, I got food poison. And, uh, you know, all they concentrates on are the food poison. But I told them I have this you know, like shortness of breath, my legs all, you know, swollen [00:39:00] up. I could not walk more than, you know, 20 step and stuff without, you know, have to take a break.   But I guess the, whatever, you know, the nurse and the doctor, they didn't d- you know, catch that symptom at all, so… so… they just send me home, prescribed me some medication. And then the second time I went back, same thing. Just give me more medication. Until the third time I went in, I I got, I didn't even get admitted.   I was still in the gurney waiting for them to do all the testing. Less than 30 minutes later, they came back and told me that I was diagnosed sick with a heart failure, and they have to drain out all the liquor from my body because my body was puffed up like a puffer fish. I was, uh, hospital life for two months fighting for my life because my, um, my heartbeat function, faction, function or faction went down to 12%.   So I have to, you know, breathe, you know, inhale, exhale, do a breathing machine like, you know, for at least a [00:40:00] month for me to get, you know, my strength back and everything.   After I got discharged from the hospital, they don't wanna be uh, like, liability for me to drive like an hour like and 20 minutes just to go check in. So they want me to do like, like, you know, call them every six months to check in, I've been doing that for the past three years already.   But each time I call them to check in, my heart, you know, it just like stop beeping. Like, you know, my heartbeat just stop just to wait for them to say, “Okay, call me back this, this and that date.” You know, and then ever since, you know, Trump became the president, he make everything more worse. And each time, you know, you know, I call just like, like, you know, I get more worry and scared and paranoid   Because it will be hard and everything 'cause you don't even know, we don't even know nothing about that country anymore because we get so adapted to the, you know, the environment over here in the United State.   And some of us, you know, you know, might get like, you know, emotional [00:41:00] breakdown and everything when, when, when that day come and, you know, 'cause there's so many uh, thing going through our head. all we have to do is just, you know, be, be sharp, strong-minded, and and, you know, just have faith And to our family, you know, we just have to pray for the best, and hopefully, you know, you know, the, you know, hopefully down the, down the road, you know, new law change and, you know, the bars that, you know, they deport us back, we could come back, you know, in future, maybe 5 or 10 years down.   You never know. you know, we just have to pray for the best and stick together. Don't- Don't give up all hopes and, you know, fight for your freedom   I think what have changed is that, you know, right now you know, people are fighting back and s- you know, 'cause they lost a lot. You know, we lost like, you know, loved one, family members, you know. Um, you know. Um, some lost their parents due to, you know, you know, ICE. And I'm happy, you know, all this you know, all the support group are, you [00:42:00] know, you know, coming out to support the, you know, their own people.   Even though, you know, is they're not a- you know, you know, like from Southeast Asia, but, you know, we all human being. We have to, you know, stick together and treat each other equally and fairly. Because, you know, when you in ICE detention center, they treat you like animal. They don't care, you know? Sometime when we got feed, you know, you know, in the middle…   Like outside section was fully cooked, but the middle section was still raw, and then we complained. It's “Hey, you know, that's all you have. You eat, either you eat it or you starve.” That's it. And I'm happy, you know, you know, a lot of have changed, and for us you know, to g- see the better future we all, every, each one of us and our community have to stick together and help each other, you know, as one and be u- you know, united and fight against, you know, whatever is wrong.   Michelle MiJung Kim: According to the latest analysis by the University of Southern California Equity Research Institute, ICE arrests of Asian [00:43:00] and Pacific Islander Californians increased by over 1,000% between 2024 and 2025. A link to this data is included in our show notes. When we talked to Tony, he emphasized the need for solidarity within and across communities as we grapple with immeasurable toll on families, neighborhoods, businesses, schools, and on every thread in the fabric of what makes our lives.   Before we end this episode, I wanna bring in Elijah Chhum, who leads New Light Wellness, one of the community groups Tony mentioned. Who leads New Light Wellness, one of the community groups Tony mentioned. New Light Wellness works closely with the Asian Prisoner Support Committee and other California groups to serve Southeast Asian communities impacted by deportation.   Here's Elijah.   Elijah Chhum: in 2019, that is when Trump 1.0, um, the administration was really targeting our Cambodian families, um, and targeting them for detention and detainment and deportation, and that is when I joined the [00:44:00] movement.   And I really have to thank the leaders of Asian Prisoner Support Committee, the lawyers of Asian Law Caucus, the faith healers and interfaith healers of Interfaith Movement for Human Integrity, and of course, the wives and mothers and children of the directly impacted folks, um, that came to CERI. And we all coalesced in this moment, um, in February and March, and particularly on March 6th of 2019 when we all came to CERI, which was this old Victorian house in East Oakland, um, by Clinton Park, and we all met in the living room 'cause it was, it was a, uh, community center that was basically in a three-bedroom apartment, um, on the second floor of a Victorian house in East Oakland.   And so 60 of us gathered together all in a circle, um, on the living room floor of CERI, and we were [00:45:00] doing political education. We were listening to elders talk about genocide and talk about resettlement, and then now fearing the worst, that, that this government, you know, this… in America, that they could also endure family separation.   Um, and so that was the moment that changed our lives and changed my life, and that began the seed of New Light Wellness, but at that moment, we were just, you know, um, healers and, and mental health practitioners, um, that tried to provide wraparound care and mutual aid, um, for families also impacted by deportation, um, and that felt isolated at that time.   New Light Wellness emerged as our own organization in the summer of July 2024. We were first a project that was, um, part of a seed grant from New Breath Foundation around the year 2020. And at that moment, um, after… And this was during the pandemic. A little bit before that, you know, in 2019 as I [00:46:00] mentioned, we were first just starting to give wraparound care for impacted families.   Um, during that time, while we were holding the, uh, four impacted individuals and their families in the Pardon Refugee campaign, um, in those three to four months of actions, our- those four community members were detained, um, and most likely were going to be deported. Um, through our advocacy with all the different organizations, as I mentioned, um, which was, you know, bilingual sessions in political education, art builds, uh, getting resolutions passed at city, city council meetings and board of supervisor meetings, um, signing petitions, creating support letter templates, uh, going to the capital and advocating at- with electeds, um,   um, so all of that built our confidence that we can continue to do this and be intentional about this, and focus on anti-deportation and give wraparound care. And so in some ways we felt like we were filling a gap, um, and a need in the movement. And so our work of New [00:47:00] Light Wellness, um, now going to 2020, this was during the pandemic.   We were all trying to scramble how to still give care to… and a community in, you know, in East and West Oakland, um, that so desperately needed us. Um, so we couldn't stop work. Um, we had to pivot and find ways to, to, um, actually adopt Zoom and give telehealth and connect folks and get our elders to, um- Learn how to use the app and y- learn how to unmute and mute and all the things that, uh, we're doing now.   Um, and during this moment, um, as we were learning and honing our skills in, you know, virtual telehealth, you know, spaces, um, we received this seed grant from New Breath Foundation just to start something, some virtual program to, um, to focus on folks that do end up getting deported and living in Cambodia.   And around 2020, um, you know, there's 18 years has passed since, uh, there was a s- uh, since the [00:48:00] Repatriation Act between Cambodia and the US was signed. So for 18 years, our community members have been deported and lived in Cambodia. Um, of course, there has been organizations, uh, on the ground that support folks, um, living in Cambodia, and there are, there have been movements that have come and gone to try to bring people back, um, and fighting their case or reopening their cases.   Um, and at the same time, um- There was a delegation called kites to Southeast Asia, um, composed of different Southeast Asian orgs based in the US that went and did a listening tour. And when they came back, um, their report back was really that they needed or they saw that mental health and wellness was something that was missing, um, as a resource in Cambodia.   And so with New Breath Foundation, the seed grant was please start some type of mental health or wellness support, uh, for folks in Cambodia. And, you know, mental [00:49:00] health is, is a word and, um, a service that is, is often used by licensed clinicians. Um, and, you know, traditional therapy can only be done, um, within the licensure of that licensed clinician within, you know, the state.   And, and so it was really hard for us to then see who, who could offer, offer this wellness support or healing support, and how do we not use mental health or the term mental health, and how do we… And if, if we're not using licensed or getting the support of licensed clinicians to hold wellness space, then, then what are we doing?   And, and so we really adopted a peer specialist model, a community health outreach worker model, and now it's evolving to a wellness coaching model. And, and so what are the kinds of things we can do and offer across the seas that is still accountable and responsible to the folks we're serving,   though we're not crossing the lines of what is traditional therapy?   Michelle MiJung Kim: [00:50:00] New Light Wellness has grown so much since 2020. We'll hear even more about their work after a short break.   We'll hear even more about their work after a short break. You've been listening to music by Joe Sin and the Angkor Wat Band. Joe is an elder in Oakland and a leader in the Khmer community. Let's hear some more [00:51:00] Welcome back.   That was Joe Sin and the Angkor Wat Band.   In our next episode, Elijah will share more about New Light Wellness's work in California. For now, I asked him to tell us more about the organization's new community center in designed specifically for people who have been deported from the US   Elijah Chhum: when we hold spaces with our New Light Wellness support groups, and we hold spaces in person at events and in villas and, and, you know, and, you know, we close the door or shut the gate and, you know, our folks are safe inside, they feel at ease.   They feel like they can show off their tattoos or, you know, eat their burgers and fries or have their kids run around and speak English openly and without judgment. Um, so those, just for those few hours that they're accepted as who they are. Um, and so I know that in Cambodia there needs to be some kind of narrative change and narrative shift so that the local community can understand what [00:52:00] our impacted community went through, what our 1.5 generation went through.   Because in the eyes of the local community in Cambodia, they believe the US is so just and so fair. And so to be deported, they believe and judge our community members for doing something so egregious, um, that they deserved to be deported. And so it's, it's a hard conversation, and it's a hard conversation that our local community has to either be prepared to have or to avoid or, um…   And then sometimes, um- You know, it could be very risky, um, and it could be very negative to have these conversations, especially at, at a place like a workplace. And we've heard s- situations where students Google the, um, you know, a lot of our folks get teaching jobs, and, um, the students are very curious about the teacher, of course, 'cause that's how youth are.   Um, and now we live in an internet age, and, you know, deportation isn't this, um, you know, marginalized story any longer. It's very much in the [00:53:00] open, especially in Trump 2.0. So the youth in Cambodia are, are savvy enough to Google folks' names or, you know, look people up by their images, and they may even out our, our community members, even in the classroom in front of their, in front of the other students.   So, you know, there's, there's a lot of different experiences when it, when it comes to our folks facing society in Cambodia. And, you know, some folks may say just to assimilate, that is the best way. You know, be as Cambodian as possible. Cover up your tattoos. Speak Khmer. Marry a Khmer partner. Have Khmer children.   You know, try to let go of all your tastes. Um, and that can help, and that can and has worked for some, but not for everyone. And the road to acceptance of, you know, their fate or the road to acceptance that they are there, the road to healing and even being held a space for grief, the grief of their identity, a grief of loss of, you know, family [00:54:00] relationships, um, is also part of this.   Um, so it's not a one-size-fits-all, um, for any community member. I think it's just offering space for folks to hear many stories, actually, um, and different experiences, and it may not be your experience that you have when you arrive in Cambodia. Um, but to honor that, you know, previously, since 2002, some p- some people did not have any resources, so it's really honoring those that have really survived and lived in Cambodia, some of them for over 20 years now.   And so in some ways, folks that have been deported more recently, um, gets the benefit from, um, the lived experiences and the traumas of those that, that came before them. And so I think it's learning and relearning together, um, from all the different experiences and honoring those stories of survival, um, and honoring the leadership of those that came before us.   Michelle MiJung Kim: [00:55:00] [00:56:00] Thank you for joining us for this episode of “My Family,” a project by APEX Express and the Asian Prisoner Support Committee. I invite you to move into the rest of your day by taking a moment to honor the stories of survival and the resilience of those fighting the oppressive systems today. The music in today's program is by Joe Sin, a Khmer elder in California, and the Angkor Wat Band, and the Angkor Wat Band, and one of our favorite songs by Thao.   We'll include links to these songs and additional resources at kpfa.org/program/APEX-express and asianprisonersupport.com. We hope you'll join us for the final episode of “My Family” where we'll deep dive into what happens when people are [00:57:00] forced to move to a country they've never known.   Thank you for listening, and we'll see you next time on “My Family.” I'm your host, Michelle MiJung Kim, and this podcast is brought to you by APEX Express and the Asian Prisoner Support Committee. APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam.   Have a great night, and see you next time         The post APEX Express – 9.17.26- My Family Ep 2: What happens in ICE detention? appeared first on KPFA.

La brouille entre le Mali et l'Algérie semble être terminée, notamment avec la visite cette semaine à Bamako du Premier ministre algérien Sifi Ghrieb. À Paris, Luis Martinez est directeur de recherches au Centre de recherches internationales (Ceri). Il revient également sur l'arrivée spectaculaire le 30 août d'avions militaires algériens au Niger, l'autre grand pays du Sahel central. Quelles sont les ambitions d'Alger au Sahel ? Luis Martinez répond aux questions de Christophe Boisbouvier.   RFI : Les visites croisées des premiers ministres algérien et malien, est-ce que c'est le signe que la brouille est terminée entre Bamako et Alger ? Je pense que si, à ce niveau-là, il y a une visite mutuelle et puis des projets d'établissement d'un certain nombre de coopérations, je pense que oui. Il me semble que ce qui a d'abord été initié avec le Burkina Faso, puis après avec le Niger, et aujourd'hui avec le Mali, signifie très clairement qu'Alger a retrouvé, disons, un dialogue apaisé et sans doute plus constructif avec ses voisins de l'Alliance des États du Sahel. Côté malien, la rupture s'est faite en avril 2025, quand l'Algérie a abattu un drone malien à la frontière entre les deux pays. Le Premier ministre Maïga a alors accusé l'Algérie d'être un « État exportateur de terroristes ». Pourquoi cette volte-face aujourd'hui ? Je pense que ce n'est pas tant une volte-face qu'une exagération des propos tenus à l'époque par le président du Mali. Je pense qu'il y a un certain nombre de propos qui avaient été tenus aux Nations unies et ailleurs, qui, quand même, soulignaient un peu l'extravagance d'un certain nombre de propos. Ce qui n'était pas acceptable pour le Mali, c'était très clairement que l'Algérie cherche à avoir un droit de regard sécuritaire sur la frontière algéro-malienne, et en particulier cherche à dissuader toute forme de présence militaire extérieure. Parce que le drone, c'est essentiellement un drone turc. Il y avait une inquiétude que demain cette région-là devienne une zone d'observation pour l'armement turc, demain émirati, etc. Il y avait déjà le problème avec les Russes. Je pense que le message était plutôt, du côté d'Alger, que cela ne serait pas acceptable. Ce n'était, bien évidemment, pas acceptable aussi pour le Mali. Cela a entraîné la situation que vous avez décrite, de brouille, mais il me semble que ce à quoi on est arrivé assez rapidement, c'est que l'Algérie, comme le Mali, les deux pays ont besoin l'un de l'autre. Cela n'est pas possible d'avoir une relation conflictuelle, diplomatiquement problématique, dans la mesure où ces pays quand même partagent une zone extrêmement importante ensemble, plus de 1 000 kilomètres. Et surtout, l'Algérie doit sécuriser ses ressources énergétiques dans le Sahara et le Mali doit faire attention à ces groupes armés dans le Nord. Il me semble que le bon sens l'a emporté sur les propos et les attitudes de ces derniers mois. Est-ce que ce n'est pas la perte de la ville de Kidal au nord du Mali, le 25 avril, qui a conduit le numéro un malien, Assimi Goïta, à changer de stratégie vis-à-vis de l'Algérie ?   C'est un autre élément qui vient s'ajouter, si vous voulez, dans la volonté malienne d'apaiser sa relation avec l'Algérie. C'est, plus globalement, la situation sécuritaire qui amène le Mali à se rendre compte aussi que, finalement, l'apport russe en matière de restauration de la sécurité n'est pas au rendez-vous et que les troupes maliennes ont énormément de mal, souffrent, ont beaucoup de pertes à chercher à restaurer une partie de leur souveraineté sur le territoire national, et encore plus proche autour de la capitale. Je crois que oui, cela participe très clairement du fait que l'apport turc et l'apport russe ne sont pas décisifs dans le renversement du rapport de force avec les groupes jihadistes. Est-ce que les Russes ont joué un rôle dans la réconciliation entre Bamako et Alger ? Sans doute. Parce que déjà, l'Algérie était assez mécontente de l'attitude russe à sa frontière. Il me semble qu'on a quand même eu entre la Russie et l'Algérie un petit peu de différend. Et ce différend, sans doute, qui s'est traduit aujourd'hui par le fait que les Russes eux-mêmes sont conscients que l'Algérie est pour eux importante dans la région, et qu'ils ne peuvent pas avoir une politique totalement indépendante et autonome de l'Algérie, sans prendre en compte la vision de l'Algérie. La Russie est quand même extrêmement dépendante de pays dans lesquels elle essaie d'étendre son influence. La présence toujours à Alger de l'opposant malien Mahmoud Dicko, l'imam Dicko, est-ce que cela ne reste pas une pomme de discorde tout de même entre Bamako et Alger ? Cela peut l'être si l'Algérie réitère les mêmes maladresses. Je pense aux maladresses qui avaient été celles formulées dans le passé, de chercher à être une sorte de théâtre dans lequel les Maliens pourraient se réconcilier. Je pense que l'imam Dicko est une figure très importante au Mali. Cela peut être, demain, un élément dans un dispositif plus global de réconciliation, mais c'est à l'Algérie à mesurer le fait qu'elle ne peut pas faire l'économie du sentiment, un petit peu, d'ingérence, d'amertume de l'armée malienne, de difficulté à comprendre. Bien sûr que l'Algérie, de par son expérience, considère que toute forme de répression militaire au Mali sera vouée à l'échec. Parce que la problématique n'est pas seulement jihadiste, elle est régionaliste, elle est indépendantiste, elle est islamique. Il faut donc trouver des formes de négociation au Mali. Mais la manière de l'avoir proposé n'a sans doute pas été forcément la meilleure. Et je crois que l'imam Dicko, lui-même, a l'air quand même de se mettre assez en retrait de cela. Au début du mois d'avril, le Mali a renoncé à soutenir le Front Polisario. C'était pourtant sa politique depuis plus de 50 ans. Bamako a reconnu la marocanité du Sahara occidental. Est-ce qu'aujourd'hui, après ces visites croisées entre Alger et Bamako, le Mali pourrait à nouveau changer d'avis ? Alors tout peut arriver parce qu'il y a eu brouille, puis réconciliation. Mais il me semble que plus globalement, sur le Sahara, il y a quand même un succès diplomatique marocain qui amène une grande partie des pays de la région, finalement, à aller vers le plan marocain qui est proposé. Il y a quand même le soutien des États-Unis, il y a le soutien de l'Europe. C'est peut-être le moment de considérer de faire un choix, quitte à ce que, du point de vue de l'Algérie, ce soit un petit peu abandonné. Il me semble ainsi que ce n'est plus forcément l'enjeu central. L'Algérie a compris que, dès l'instant où l'Union européenne, la France, les États-Unis, l'Espagne reconnaissent la marocanité du Sahara, il est quasiment illusoire de chercher à retourner quelques pays de la région dans l'espoir de faire de la résistance. L'enjeu ne se situera pas là. Il se situera peut-être dans des négociations qui nous échappent aujourd'hui, entre le représentant pour le Moyen-Orient l'Afrique, de l'administration Trump et des autorités algériennes, sur quelles seront les compensations éventuelles, quelles seront les formes d'accords ? Tout cela, pour l'instant, cela reste quand même assez difficile à percer dans les échanges qu'il peut y avoir. Entre le Niger et l'Algérie, la réconciliation est encore plus spectaculaire puisqu'au lendemain du coup d'État manqué du 29 août à Niamey, plusieurs avions militaires algériens ont atterri au Niger. Est-ce qu'on peut parler d'un changement historique dans la stratégie d'Alger, en Afrique, voire dans le monde ? Alors ce qui est sûr, c'est que ce message vient dire une chose très importante. C'est que le Niger, plus que tous les autres États du Sahel, est extrêmement important pour l'Algérie parce qu'il ne relève pas seulement d'une question sécuritaire ou d'une problématique de revendication autonomiste, mais il s'inscrit dans un projet plus global pour l'Algérie, qui est celui de relier le Nigeria à l'Algérie, via le Niger. Le Niger, c'est vraiment le point sur lequel l'Algérie pourrait éventuellement être amenée à vraiment être engagée militairement, si ce pays était amené à connaître des difficultés majeures sur le plan sécuritaire. C'est cela, le message que je retiens. C'est que l'Algérie fait passer clairement ce message que le Niger, non seulement c'est la grande puissance démographique de demain, avec peut-être 50 ou 60 millions d'habitants, mais ensuite c'est surtout l'État envers lequel l'Algérie doit avoir le plus d'attention si elle veut pouvoir demain relier le Nigéria et établir entre ces deux grands pays pétroliers, le gazoduc. Mais pas seulement, parce qu'il y a des tas d'autres projets qui sont en perspective, notamment avec le Nigéria. Je pense que là, oui, il y a un message important. Est-ce que cela pourrait se reproduire au Burkina, au Mali ? J'en doute profondément. Je crois que là on a vraiment un message qui est très clair, qui consiste à dire, le Niger, c'est un voisinage envers lequel l'Algérie souhaite établir une relation stratégique, et à partir de là, à s'engager militairement, éventuellement, si les autorités nigériennes le souhaitent. Ce qui est frappant depuis le 30 août, c'est que l'Algérie, pour la première fois de son histoire, envoie des troupes à l'étranger de façon…ostentatoire. Or, longtemps, l'Algérie a fait confiance dans son soft power, la nation révolutionnaire victorieuse de la France, pour exercer une forte influence politique en Afrique sans avoir besoin d'y envoyer des troupes ou des avions. Est-ce qu'au fil des ans, cette politique de prestige n'a pas montré ses limites ? Absolument de façon ostentatoire. Cette politique avait déjà montré ses limites sous la Libye de Kadhafi. Le Sahel était quand même beaucoup plus relié à la Libye de Kadhafi qu'à l'Algérie. L'avantage pour l'Algérie, c'est que Kadhafi, entre guillemets, entretenait une gestion qui permettait d'établir une certaine sécurité régionale, qui profitait à l'Algérie. Le fait que l'Otan, la France, le Royaume-Uni aient renversé la Libye de Kadhafi - on a vu les conséquences dans le Sahel, en Libye, mais surtout dans le Sahel - et à partir de là, on voit bien qu'il y a quand même dix années d'hésitation pour l'Algérie. Qu'est-ce qu'on fait ? On y va, mais ça veut dire qu'on accompagne les troupes françaises au Sahel. Cela, c'est impensable. La France est partie, les Russes y sont, cela ne marche pas. Finalement, l'Algérie va à petits pas. Mais je crois qu'elle y va vraiment dans un sens très précis, qui est celui de considérer que le Niger - et peut-être pas forcément le Mali et le Burkina - le Niger en particulier, va littéralement relever d'une diplomatie de privilégié, en quelque sorte, par rapport à l'Algérie dans ses relations, dans la perspective de voir, je le redis, le Nigeria et l'Algérie se retrouver reliés éventuellement par cet État que serait le Niger. Je crois qu'on est plutôt là-dedans. Si on le remet en perspective, c'était compliqué pour l'Algérie d'agir ces quinze dernières années. D'abord parce qu'il y avait la France. Ensuite, quand la France est partie, il y avait la Russie. Quand la Russie est empêtrée, aujourd'hui, les États du Sahel se fâchent avec l'Algérie. Donc là, on arrive peut-être à un moment donné où on n'a plus d'alternative, en Algérie comme au Sahel, pour trouver des compromis et essayer d'agir ensemble.           À lire aussiMali: à Bamako, le Premier ministre algérien plaide pour un renforcement des relations entre les deux pays    

Today, I am talking about a feeling that most of us know intimately. A feeling that most of us don't talk about: Envy. This episode is about both kinds, which turn out to be the same machine running in two different directions.   We'll look at what happens inside you when you hear someone else's good news - the prize, the residency, the museum acquisition, the sold-out show - and feel that sharp jab under the ribs that bends you double. We'll talk about how, within about 90 seconds, you can pick up their achievement and swing it at your own career like a wrecking ball, and why that reaction isn't just you being “awful,” it's information.   Drawing on research into “benign” and “malicious” envy, we'll separate the kind that quietly points you upwards towards the work you actually want to be making from the kind that wants to pull other people down when you feel you have no control over your own situation.  We'll also talk about the other half that almost nobody names: what happens when you are the one being envied. The colleague who goes a bit cool, the snide remark at the opening, the tall poppy swipes that land at two in the morning and come home with you.   This episode is an invitation to notice which kind of envy has landed, what it's trying to tell you, and how to move from resentment and comparison towards honest data and self-trust. KEY TAKEAWAYS Envy is a two-way machine. It's one word for two different emotions, both triggered by someone else's good news but pulling you in very different directions.   When you envy others, ask what kind it is. The benign kind pointing you towards your own next step, or the malicious kind that needs you to reclaim your sense of agency.   Expect some envy, some odd weather as you become more visible: the cool colleague, the snide remark. Pause and sort what you're seeing and hearing. Warm, awkward admiration gets a “thank you”; real nastiness usually gets no response and never results in a smaller you. BEST MOMENTS “When it (envy) lands, ask what kind you've got. If it's pointing you upwards towards work that you want to be making and you're not currently making, it's data, useful data.” “Being envied by someone whose eye you trust is a form of recognition that no review will ever give you. That artist had the benign kind.” “People are far more accepting of success they believe was earned and feel justified in cutting down success that looks like bragging or luck or shortcuts.” PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

You're bendy. You get dizzy when you stand up. Your periods are heavy, the headaches are worse the week before, you're constipated, you're exhausted, and your mood falls off a cliff for a few days a month. Every one of those has been looked at on its own and waved off. Your bloods came back normal, so that was that.You probably don't have seven separate conditions. Dr Ceri Cashell is an Irish GP on Sydney's Northern Beaches who has spent her career on the part of medicine nobody was taught, and she starts this episode by explaining what fake nails have to do with any of it.Related EpisodesEvery Women's Health episode in one place → https://tr.ee/womenshealthMentioned in this episodeHealthy Hormones — the free national community Dr Cashell co-founded with Dr Emma Harvey. There's a medically moderated community for women, and a list of clinicians who've completed their extra menopause training → https://www.healthyhormones.au/welcome — Instagram @healthy_hormonesAustralian POTS Foundation — download the active stand test, and find POTS-aware practitioners → https://potsfoundation.org.au/The Ehlers-Danlos Society — including the Beighton score, the basic hypermobility self-check → https://www.ehlers-danlos.com/Dysautonomia International → https://www.dysautonomiainternational.org/Dr Cashell's own books have been closed for a couple of years — Healthy Hormones is where to find a clinician.Join the ADHD Mums Facebook group — the listener questions in this episode came from there → https://facebook.com/groups/adhdmumspodcastAll episodes → https://adhdmums.captivate.fm/listen

My guest today is the wonderful Italian-Australian singer-songwriter Gabriella Cilmi. Many of you will remember her breakthrough hit Sweet About Me, which became a global success when she was just sixteen. Since then she's toured the world, won awards, shared stages with some of music's biggest names, and now, after thirteen years, she's released a remarkable new album called Pure Love. It's soulful, analogue, deeply human, and for me, one of those records that gets better every time you listen to it. What fascinated me wasn't the success. It was the journey back to herself. In this conversation, Gabriella shares what it took to stop running from other people's expectations, how she learned to trust her own creative instincts again, why the people around us shape the work we're capable of making, and how she finally found the confidence to make the album she'd always wanted to make. If you've ever questioned your own voice, struggled to trust your instincts, or wondered whether it's too late to create the work that's really inside you, I think you're going to love this conversation. KEY TAKEAWAYS The work often changes when we stop trying to outrun ourselves and start listening to the part of us that knew what it loved before everyone else's expectations got involved.  Sometimes your younger self knows more than you think. Return to that place within yourself that cannot be destroyed, your spark. The right people can create the conditions for extraordinary work to exist. Being seen, supported and challenged by others can give you the confidence to take risks. Don´t eliminate all uncertainty from your creative process. Deliberately creating slight discomfort, more opportunity for spontaneity and the possibility of failure introduces energy into your work. Some imperfection is not a defect; it can be part of the character of the work. BEST MOMENTS “That first seed of idea is so important. don't lose track of it. It can change. Be open to it changing, but there's always something in that.” “Fear never disappeared but became something she learned to work alongside. And perhaps most importantly, success became less about proving herself and more about finding peace with herself.” “I just stopped trying as hard and just did what felt natural.” EPISODE RESOURCES https://open.spotify.com/artist/5v2GEv1pQaCp6oeOQROdKE https://www.instagram.com/gabriellacilmi/ - to pre-order her new album HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

I was watching The Big Deal, the new programme with Steph McGovern on the BBC, and I came away with more thoughts than will fit into one episode. Most of them can wait. Today I want to use one thing from it, because it landed directly on top of something that comes up in my membership every single week. An artist has made a body of work. It went out once, into one exhibition, and it didn't sell. Now it's in the studio taking up space, and the question arrives in one of three forms. Should I auction it off cheap? Should I give it away? Should it even be on my website anymore? So, three questions, and every one of them is a plan for getting rid. It is interesting the speed at which the artist brain goes to disposal. The work has been out once…. and already the conclusion is that it's spent, it's evidence of something that didn't work, and that the fastest way back to feeling alright is to make it disappear. And underneath that is something bigger - artists hate the idea of selling. Yet, I know that every artist can turn their graveyard of pieces that did not sell into a living archive that attracts collectors. KEY TAKEAWAYS Unsold work is not failed work. That back catalogue you're quietly ashamed of might be the best thing someone new to it sees this year. Your job is not to hide it, but to remember why you made it and let it back into circulation.   An aversion to the idea of sales holds you back. Selling doesn't require you to become louder, slicker, more salesy. It's shared enthusiasm. When you reconnect with the ideas, stories, and processes behind a piece, you can talk about it in a way that lets other people decide whether it's for them.   You need a simple practice. One older piece a month: document it properly, write a short note about where it came from, and release it through your newsletter, socials, or a personal email. BEST MOMENTS “The work in the corner of your studio isn't waiting to be disposed of. It's waiting for you to remember why you made it and share your enthusiasm for it.” “You have to sell yourself on the work first before you try to sell the work to anybody else.” “She started looking for her people, her collectors, the ones already half interested in what she was interested in.” If you want more of this in your inbox every week, subscribe to my newsletter Beat the Block cerihand.com/subscribe and it'll land in your inbox every Friday. EPISODE RESOURCES How to sell more art episode - https://podcasts.apple.com/tw/podcast/want-to-sell-more-art-fix-this-first/id1709105337?i=1000700986682 HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Benyamin Netanyahu est sous pression à un mois et demi des élections législatives, à la fois de ses électeurs et des pays étrangers. Les sondages montrent que sa coalition pourrait perdre sa majorité. Et une enquête affirme désormais qu'il avait été informé d'une attaque en préparation du Hamas, quelques jours avant le 7 octobre 2023, et n'a pas transmis l'information, a provoqué une avalanche de critiques. L'analyse du sociologue Alain Dieckhoff, chercheur au CNRS et ancien directeur du CERI de Sciences Po. Il a dirigé l'ouvrage collectif Radicalités religieuses, au cœur d'une mutation mondiale, Albin Michel.  RFI : C'est le dernier jour pour le dépôt des listes pour les législatives en Israël qui auront lieu le 27 octobre. La campagne commence enfin. Elle se poursuit dans un contexte difficile pour le Premier ministre Benyamin Netanyahu, de plus en plus critiqué par les dirigeants occidentaux. Londres officialise aujourd'hui des sanctions en réaction à la colonisation en Cisjordanie et aux violences qui sont commises dans ce territoire occupé. Cela a-t-il un effet sur le vote des Israéliens ? Alain Dieckhoff : En tout cas, pas les pressions ou les mesures politiques que pourraient prendre des pays occidentaux comme la Grande-Bretagne ou d'autres. Je pense que cela n'aura pas d'effet en interne. En revanche, oui, il y a un débat interne très vif avec la polarisation de la société : d'un côté, ceux qui continuent à soutenir contre vents et marées le Premier ministre Benyamin Netanyahu, et de l'autre ceux qui le critiquent. Ce qu'il faut dire aussi d'emblée, c'est que la capacité de résilience de Benyamin Netanyahu ne doit pas être sous-estimée. Il a baissé dans les sondages depuis maintenant deux ans et demi, mais, malgré tout, le socle de ses soutiens persiste aussi. Les jeux restent ouverts pour les élections fin octobre. Il a fait de la colonisation le cœur de la campagne. Peut-il se permettre de lâcher un peu de lest pour satisfaire les alliés occidentaux, sans perdre le soutien, crucial pour lui, des partis d'extrême droite qui composent aujourd'hui sa coalition au gouvernement ? C'est très clair que ce qui prime, avant tout, pour lui, c'est sa survie politique et donc l'alliance avec l'extrême droite. Il ne fera rien pour paraître « soft ». Au contraire, il va montrer qu'il reste ferme sur la ligne inflexible qui est la sienne, sur la colonisation, de façon à pouvoir conserver cette alliance avec l'extrême droite et éventuellement la reconduire après les élections de la fin du mois d'octobre. En revanche, il est en difficulté concernant le 7 octobre 2023, l'attaque terroriste d'une ampleur totalement inédite menée par le Hamas. Le Premier ministre israélien Benyamin Netanyahu aurait été alerté par les Émirats arabes unis d'une attaque en préparation et n'aurait rien fait de cette information : c'est ce que dit le journal Haaretz. Cela peut-il lui nuire ? Je pense que ça lui nuira de façon assez marginale. Ceux qui sont contre lui, même avant ces révélations, y verront une confirmation du fait qu'il ne faut pas lui faire confiance. Et les autres, qui continuent à soutenir le Premier ministre, diront que, soit l'information est fausse, soit qu'elle n'avait peut-être pas une importance telle qu'il fallait considérer qu'elle annonçait, d'une façon, je dirais, relativement proche, l'attaque terroriste du 7-Octobre. Comme on dit, chacun voit midi à sa porte. Je pense que, sur la campagne électorale, cela aura finalement, en termes de décision des électeurs, un impact assez limité. À lire aussi7-Octobre: une enquête de Haaretz affirme que Netanyahu avait été alerté Le parti de Benyamin Netanyahu n'est pas en bonne posture, même si pour l'instant il fait tout pour garder ses alliés et espérer pouvoir former de nouveau une coalition. Où en sont les autres partis politiques israéliens ? Peut-il y avoir une alternance, fin octobre, à l'issue du vote ? Il ne faut pas aller trop vite en besogne parce qu'on est dans un pays où le système est proportionnel. Cela veut dire que oui, c'est important de savoir quel parti sortira vainqueur des élections du 27 octobre, mais c'est aussi important de savoir quel parti sera ou non en mesure de constituer une coalition. Cela, évidemment, on ne le sait pas avant d'avoir le résultat le 28 octobre au matin. Pour le moment, ce qu'on peut dire en fonction des sondages, c'est que son parti Likoud enregistre une baisse, c'est évident, mais pas un effondrement. Il reste en moyenne autour de 24-25 sièges dans les sondages, il en a 32 aujourd'hui. Mais de l'autre côté, le parti qui en gagne le plus est un nouveau parti, celui de l'ancien chef d'état-major Gadi Eisenkot. On a beaucoup parlé de Gadi Eisenkot ces derniers temps. Qu'est-ce qui marche pour lui ? Lui part de zéro puisqu'il n'est pas représenté pour le moment au Parlement et il arrive aussi à 23-24 sièges, à peu près à parité avec le Likoud. En revanche, le parti qui avait, avant la création du parti de Gadi Eisenkot, le vent en poupe, a baissé, c'est-à-dire le parti qui unit Naftali Bennett et Yaïr Lapid perd des sièges, par rapport à ce que Yaïr Lapid a aujourd'hui tout seul au Parlement. Cela veut dire que, dans le fond, oui, il y a une possibilité d'alternance, mais elle ne sera quand même pas évidente. Il faudra constituer, encore une fois, comme je le disais, des coalitions : ce sera difficile pour les deux. Si on regarde les prévisions électorales qui existent, les choses peuvent encore changer en l'espace de huit semaines. Concernant le climat dans lequel se déroule cette campagne, la presse a parlé de la campagne la plus immonde de l'histoire d'Israël. Il y a quelques jours, le leader de gauche Yaïr Golan avait dénoncé de nombreuses menaces de mort à son égard. Son fils aussi. Pensez-vous qu'il y a un risque de violences réelles ? Pour le moment, on n'en a pas enregistré, mais c'est sûr qu'il y a un climat extrêmement polarisé, un climat de divisions internes très fortes et d'antagonismes : il n'y a pas de doute. Malheureusement, dans le passé, il y a parfois eu des campagnes électorales extrêmement vives. Je pense en particulier aux années 1980, lorsqu'il y avait déjà le Likoud au pouvoir et une opposition travailliste à l'époque. Il y a eu une campagne électorale en 1984, par exemple, qui a été très virulente. On peut retrouver quelque chose de ce type. Je pense que les uns et les autres éviteront d'aller à une confrontation qui serait véritablement violente. À lire aussiIsraël: à Jérusalem, un café renonce à ouvrir le samedi sous la pression des ultra-orthodoxes

Some artists spend their whole lives trying to outrun the work that made them famous. Others spend their lives trying to find their way back to themselves. Today's guest has somehow done both. Wreckless Eric exploded onto the music scene with Whole Wide World, a song that became part of popular culture. But behind the myth sits Eric Goulden: musician, songwriter, producer, writer and relentless observer of ordinary life, who's spent four decades building a body of work far richer and more personal than most people realise. In this conversation, we go far beyond punk and nostalgia. We talk about growing up, art school, perfectionism, collaboration, his distrust of the music industry, and what it means to keep evolving when everyone thinks they already know who you are. We explore his partnership with songwriter Amy Rigby, why imperfection makes music human, and how returning to songs he'd once considered failures became one of the most liberating creative acts of his life. This isn't really a conversation about success. It's about staying curious enough to keep becoming. I loved every minute of it, and I think you will too. KEY TAKEAWAYS You don't need perfect conditions to make honest work. You can start exactly where you are, with the tools and spaces you already have, and let the scruffy, makeshift reality around you quietly seep into what you make. Celebrate your idiosyncrasies and make the work anyway. No one is queueing up for it - and that's freeing. The wrong notes, rough edges and sudden left turns are often where the real human connection lives. BEST MOMENTS “You should celebrate your idiosyncrasies rather than try and fix them.” “Stay curious. Keep experimenting. Trust your odd rhythms. The work that lasts isn't usually the work that tries hardest to fit in. It's the work that sounds unmistakably like you.” “I got it in my head that rhymes were really banal… but she said they take you to places that you probably wouldn't go without them.” “It's like Morris dancing in a in a recording studio.” EPISODE RESOURCES https://www.wrecklesseric.com England Screaming - https://www.promojukebox.com/PEMDL87209220-2AV5YA5R7TBB4BCS-sean%40bureau-b.com%2Csean.newsham.tapet Leisureland - https://www.promojukebox.com/PEMDL42485375-R24DCBHF4GCTBTR7-sean%40bureau-b.com%2Csean.newsham.tapet Amy's Rigby's Hang In There With Me - https://www.promojukebox.com/PEMDL50672250-FNXA4A4HAZTVPWDE-sean%40bureau-b.com%2Csean.newsham.tapet HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

There is a page in Emma's notebook that has been written out, in more or less the same words, most weeks for months. Five things on it. Email the curator she met last spring. Book the studio visit. Get the new work up on the website. Finish the residency application. And every week, in that big looping handwriting of hers, the same five things go down on a clean page, and by the following week not one of them has a line through it. If you have a page like that, and I think most of you do, I think some of you could recite yours to me right now, then this one is for you. It will help you to work out why you are repeatedly delaying doing those specific tasks, so you can finally break that cycle, get them done and make some real progress.Before we go any further, if you haven't followed the show yet, do that now, because these solo episodes land every week and they are built to be used rather than just listened to. KEY TAKEAWAYS The task that´s been on your list for weeks isn't a procrastination problem; it's an emotional one. Emailing the curator, updating your website, raising your prices look like simple tasks, but by not doing them you are actually dodging the risk of rejection, judgement, or getting it wrong in public. Instead of asking, “Why can't I just do this?”, say, “I'm not avoiding the task, I'm avoiding the feeling that…”.  Reframe the task, make it tiny and less threatening: “email the curator” becomes “practice reaching out,” “update my website” becomes “practice being seen.”  Make taking action embarrassingly small. Send a three‑line email to that curator, spend 30 minutes on updating your website – so fear doesn't get a vote, and you can actually do it on an ordinary, messy day. BEST MOMENTS “Not one of those five tasks was a task. All five were feelings that she'd already decided the task would produce.” “You tell yourself to put the new work online, and it (your brain) files that under judgement. And you tell yourself to raise your prices, and it files that under losing everything you've built.” “Confidence arrives afterwards. It arrives as evidence. Every difficult email that you've sent, every application you've submitted, every room that you've walked into before you felt ready, your brain quietly loved that you came out the other side.” “Practising saying it out loud to yourself over and again is how it becomes embodied.” PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

When Ceri Menai-Davis' five year old son Hugh was diagnosed with cancer, his whole family's life was transformed. The emotional toll was unimaginable, but alongside that came myriad other hidden costs, and he soon found there was no support available. So why does the UK not help families going through this most devastating moment? And could a new law, championed by Ceri, change that?This podcast was brought to you thanks to the support of readers of The Times and The Sunday Times. Subscribe today: http://thetimes.com/thestoryYou can find more information and support Ceri's work here: https://www.hughslaw.uk/ Guest: Ceri Menai-Davis, co-founder and director of policy, It's Never You.Host: Manveen Rana.Producer: Harry Stott.We want to hear from you - email: thestory@thetimes.comRead more: Nobody should be bankrupted for spending time with their dying childFurther listening: Why are more young people getting bowel cancer?Photo: Ceri Menai-Davis.This podcast was brought to you thanks to subscribers of The Times and The Sunday Times. To enjoy unlimited digital access to all our journalism subscribe here. Hosted on Acast. See acast.com/privacy for more information.

Where are neighbourhoods taking general practice, and what does this mean for Primary Care Networks? In this episode, Ben is joined by Ceri Chaplin, Managing Partner at Hereford Medical Group, and Robert McCartney, Partner at Hempsons, to discuss the latest NHS England neighbourhood proposals and what they could mean for practices. They explore the changing role of PCNs, funding and locally enhanced services, governance, relationships between practices, and why now is the time for practices to prepare for what comes next. What exactly is a neighbourhood? (00:27) How different areas are approaching neighbourhoods (02:13) What does the NHS England consultation tell us? (04:14) Funding, contracts and potential risks for practices (05:15) Are neighbourhoods simply the next stage of PCNs? (07:05) What could changes mean for practices and PCN funding? (09:07) What should practices be doing now? (15:20) Governance, incorporation and preparing for new contracts (16:33) The challenge of difficult PCN relationships (18:00) Why practices need to act now (20:20) Should practices respond to the consultation? (20:43) The opportunities neighbourhood working could bring (21:32) Shifting care into primary and community care (23:02) For all enquiries about the Ockham podcast, please contact Ben Gowland here.

What does it really take to create extraordinary work with another person? Not just the exciting bits of making, but everything that happens behind the scenes. Building trust. Navigating creative differences. Talking honestly about money. Knowing when to compromise and when to hold your ground. And finding a way to keep making work together over many years without losing your own artistic voice. That's what today's conversation is really about. My guests are composer and sound artist Ain Bailey and vocalist, composer and movement artist Elaine Mitchener MBE, two artists whose work has quietly shaped the landscape of contemporary art and experimental music in Britain and internationally. Ain's work has been commissioned and exhibited by organisations including Camden Art Centre, the Serpentine, FACT Liverpool and CCS Bard in New York, and she's a recipient of the Paul Hamlyn Foundation's Awards for Artists. Elaine is a Wigmore Hall Associate Artist, an MBE for Services to Music, a former DAAD Artist-in-Berlin Fellow, and an exhibiting artist in British Art Show 9, with a practice spanning contemporary music, performance and visual art. Together they've created Maybe It's Because I'm a Londoner for Art on the Underground. But what they share today reaches far beyond a single commission. This is a conversation about creative partnership, artistic integrity, sustaining a practice over decades, and what it really takes to make ambitious work that lasts. KEY TAKEAWAYS Creative careers aren't built by endlessly saying yes. They're built by knowing what deserves your time, having the courage to walk away from what doesn't, and trusting that the quieter seasons aren't empty. The best creative partnerships are sustained by relationships that exist beyond a single project. Building trust over time, staying connected to your community and continuing to initiate relationships creates the network of people and opportunities that keep an ambitious practice moving forward. BEST MOMENTS “They don't confuse trust with vagueness. They ask difficult questions, they're clear about expectations, they value each other's time, and they aren't afraid to have honest conversations.” “There are friends who have seen the work of somebody online and think that they would want to collaborate with them. Then they do - and it's a horror show.” “You're not behind. Rest is part of the work. Learning is part of the work.” EPISODE RESOURCES https://ainbailey.com/  https://www.elainemitchener.com/ https://www.instagram.com/elainemitchener1/ HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Playing Ten To The Top was on Ceri's bucket list, but how will she do against James?

In this Mini Motivation episode of Healthy Her, Amelia Phillips is joined by Sydney GP and menopause expert Dr Ceri Cashell to tackle the practical side of HRT, from getting the right therapeutic dose to knowing how long to give it before deciding whether it’s making a difference. If you’ve started hormone replacement therapy (HRT), also known as menopause hormone therapy (MHT), you might be wondering: How do I know if it’s actually working? Together, Amelia and Dr Ceri discuss some of the most common challenges women experience when starting oestrogen, progesterone and testosterone, as well as the simple mistakes that can mean you’re not getting the full benefit from your treatment. In this episode, you’ll learn: The most common challenges women experience when starting HRT Practical tips for getting the most out of oestrogen, progesterone and testosterone How to make sure you’re using your HRT correctly and consistently How long it can take before you start noticing improvements Common HRT mistakes that could affect how well your treatment works Why your HRT may need adjusting over time The signs that it’s time to go back to your doctor for a review rather than simply pushing through If you’re already taking HRT, considering starting, or wondering whether your current treatment is working as well as it could, this episode will help you feel more informed about the practicalities of getting the most from your treatment. About the guest:Dr Ceri Cashell is a Sydney GP and co-founder of Healthy Hormones, Australia's leading evidence-based menopause education platform. A passionate speaker and advocate, she brings curiosity, compassion and a touch of comedy on her mission to create true gender equity in healthcare: educating both women and the clinicians who care for them. Instead of a midlife crisis, her team put menopause on the world stage at the Sydney Opera House, redefining the conversation for women everywhere. Healthy Hormones website: www.healthyhormones.auGet the app: https://apps.apple.com/au/app/healthy-hormones/id6749656733?l=en-GBDr Ceri Instagram: https://www.instagram.com/drcericashell/?hl=en About the host: Amelia Phillips is an exercise scientist, nutritionist, and published researcher (BSc, MNut) with a career spanning 26 years in health. A respected media presenter, Amelia has been featured on Channel 9’s hit show Do You Want to Live Forever? and is dedicated to helping people build a life of energy, connection, and purpose at any age or stage of life.Instagram: @_amelia_phillipsHave a question? Email: ap@ameliaphillips.com.auFind out more at: www.ameliaphillips.com.au CREDITSHost: Amelia Phillips Guest: Dr Ceri CashellAudio Producer: Darren RothMusic: Matt Nicholich Production Partner: Nova Entertainment Pty Ltd Healthy Her acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander cultures. See omnystudio.com/listener for privacy informationSee omnystudio.com/listener for privacy information.

I was looking at an artist's proposal recently for a really significant exhibition, and it was one of those proposals where you can immediately see that the artist has really thought about the opportunity. They haven't just taken some existing work and thought, right, where can I put this? They've responded to the place, they're thinking about how people might move through it, there are new works, things happening outside, possible collaborations and performances, ideas around public engagement. You can feel their excitement about what the project might become. And I was excited by it too. But because I've spent so many years on the other side of these proposals, working in galleries and institutions and actually having to get exhibitions and programmes made, I found myself reading it in two slightly different ways. One part of me was thinking, this could be fantastic. And the other part of me was thinking, bloody hell, this is a lot of work. This episode addresses how ambitious creative ideas can quickly spiral into overwhelming production work. It offers practical guidance on how to navigate institutional proposals in a way that makes sure you don´t inadvertently agree to do all of the tasks needed to deliver the project. KEY TAKEAWAYS Many ambitious artists let the excitement of a big idea quietly lead them to taking on responsibility for too many aspects of the project. Do not use your own labour to quietly fill the gap between a project's ambition and the available resources. The language in your proposal matters. Innocently writing "I will organize" or "I will connect" can quickly turn speculative ideas into lines on someone else's production schedule that you are expected to deliver. Find the beating heart of your project. Identify the essential core elements you care about most so you can navigate changes and compromises. An institution's commitment to your work goes beyond money. Look for their investment in time, expertise, relationships, advocacy, access to audiences, and quality documentation. BEST MOMENTS “One idea leads to another because that's what you're good at. Before long, you've offered the moon on a stick.” “Stop assuming that you have to arrive with every answer.” “I don't think ambitious artists need to demonstrate their ambition by showing everybody how much they're prepared to carry.” PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

PJ Raval has spent his career asking a deceptively simple question: whose stories are we willing to see, and whose stories have we been taught to ignore? He's an award-winning Filipino American filmmaker whose documentaries explore identity, community, justice and belonging. Across films including Call Her Ganda, Before You Know It and Who We Become, his work follows people whose lived experiences reveal much bigger questions about power, history, colonialism, ageing, queerness and what it means to find home. What struck me most about this conversation wasn't just PJ's extraordinary filmmaking. It was discovering that before he ever picked up a camera, he trained as a molecular biologist. We ended up having one of my favourite conversations on the podcast about the surprising parallels between science and art, why experiments never really fail, and how curiosity can become the engine for an entire creative life. We also explore growing up as a queer Filipino American in a small conservative town, navigating isolation, discovering filmmaking almost by accident, and why every documentary he makes is also a way of understanding himself. If you've ever wondered how artists choose the questions that become their life's work, or how creativity can become a way of making sense of the world, I think you're going to love this conversation. KEY TAKEAWAYS The questions that keep pulling at us are often the ones worth following, even when we don't yet know where they will lead. You don't have to know the answer before you begin - the work can be the way you find it. There is a particular freedom in knowing when to let the work go. After months or years of making, we have to release our grip and allow other people to bring their own experiences, interpretations, and meanings to it. BEST MOMENTS “There's no bad experiment because you learn from it. So even if something quote unquote fails, its knowledge gained.” “Community isn't something that arrives once you've become successful. It's one of the things that makes success possible.” “PJ follows curiosity, trusts the process and allows the work to change him along the way.” “Ultimately, I'm most intrigued by and fascinated by people's lived experiences and by looking at these lived experiences, presenting them to an audience. Hoping that people understand these social issues and the context that these people are living in.” EPISODE RESOURCES https://unraval.com/ https://www.instagram.com/pjraval/ PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Injection moulding is meant to save you time. Too often it hands you a mouthful of flash and a cleanup that swallows the chair time you thought you were saving.Dr Sandra Hulac is a Clinical Instructor at the Kois Center in Seattle and an Accredited Fellow of the American Academy of Cosmetic Dentistry. She uses full-mouth injection moulding to road-test occlusions and stabilise breaking-down dentitions, and she teaches the technique hands-on.In this episode she works through where the mess actually comes from, and how design, matrix strategy, careful PTFE and a simple cleanup protocol keep a case clean from the first injection.This episode comes with an infographic: the whole no-mess workflow on one visual guide to keep beside you during design and cleanup. Download it at protrusive.co.uk/nomess. It is the fastest way to turn this episode into something you actually use at the chair.What You'll Take From This EpisodeMost injection-moulding mess is prevented at the design stage, through thickness targets and clear lab communication, long before any cleanup.The alternating matrix technique, injecting every other tooth, is the biggest single cleanup saver and cuts the PTFE you need.Matrices cured in a pressure pot, with a spacer protocol, give even thickness and far fewer bubbles.Thin, careful PTFE prevents distortion; bunching it interproximally creates the very excess you are trying to avoid.An S-shaped motion with a Ceri-saw and several 12-plate blades clears resin while protecting the contact.Good pre-treatment hygiene, using diluted hypochlorite or povidone-iodine rather than chlorhexidine, cuts bleeding and contamination.Highlights of this episode:00:00 Teaser00:54 Introduction02:17 Dental Pearl: Free Injection Moulding Infographic03:17 Main Interview with Dr. Sandra Hulac4:49 Innovations in Dental Education07:26 The Mess Problem in Injection Moulding15:38 Alternating Matrix Technique18:18 Every-Other-Tooth Technique27:54 Cleanup Instruments and Techniques31:35 Handling Teflon and PTFE36:41 Patient Oral Hygiene Tips37:27 Dilution protocol:39:24 Key Principles for Minimizing Mess40:42 Matrix Fabrication and Spacer Protocol43:55 Course Information and Conclusion46:19 OutroFrom the GuestMaster Full Mouth Injection Moulding in this exclusive two-day hands-on course!

'I don't want them to think I'm difficult.' I've heard that sentence more times than I can count, usually about four minutes after somebody has told me the best news of their year. They've landed a gig, an exhibition, commission. The residency they've wanted since art school. We celebrate, then the room goes quiet, and out it comes. What they're worried about is never the work. It's the hundred emails from eleven different people wanting an answer that afternoon. The day of travel with nothing after it. The meet and greet with thirty people on arrival. Whether there will be somewhere to sit down for ten minutes. Whether the biggest decisions will land on the day they have the least energy. If you have ever done that arithmetic before saying yes, this episode is for you, because I want to give you something better than hoping it will be fine. Last week, I talked about my own experience of chronic fatigue and learning the conditions that let me flourish. That was the part we have some influence over. This part is harder, because it involves asking somebody else for something so we can work at our best. By the end, you will understand why asking feels so hard and how to do it without appearing “difficult to work with”. KEY TAKEAWAYS Most artists need certain conditions to do their best work e.g. ramp access, a day of rest between public events or meal breaks at particular times. But many worry that asking for “special” arrangements will make them seem difficult and affect future opportunities. Hiding the conditions you need comes at a cost. The energy you spend worrying about what people will think could be channelled into your work. An access rider gives artists a way to put their needs in writing before you're tired or under pressure. Every artist should consider writing one, whether they would describe themselves as disabled or not. BEST MOMENTS “When an artist told me early in writing exactly what they needed in order to do their best work, my honest reaction was relief, not irritation.” “The thing that actually frightens a producer isn't somebody with access requirements. It's discovering something on the morning of the install that could have been solved six weeks earlier with one phone call.” “You don't have to disclose a medical condition to anybody. In most countries, you're not obliged to, and a rider works perfectly well without one.” PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

De ce ne este atât de greu să cerem suma potrivită pentru valoarea pe care o oferim?Nu e pentru că nu am avea experiență, competențe sau rezultate, ci pentru că între ceea ce oferim și ceea ce cerem se strecoară, de multe ori, povești vechi despre bani, muncă și cât credem că merităm.În episodul de azi stau de vorbă cu Georgiana Chetrone, Money Behaviour Strategist și Master NLP Coach, despre relația dintre valoarea personală, felul în care ne raportăm la bani și curajul de a cere fără să ne justificăm, să ne micșorăm sau să ne simțim vinovate.

Welcome back to Extraordinary Creatives. Today's guest is the remarkable Simone Brewster. Simone is an artist whose work moves between sculpture, painting, jewellery, furniture, architecture, and public installation. On paper those disciplines might seem worlds apart, but beneath them all is one beautifully consistent line of enquiry.  Simone creates what she calls intimate architectures: objects and spaces that shape how we feel, how we connect and how we experience belonging. Drawing on Black diasporic histories, architecture, material culture and memory, her work feels both timeless and unmistakably contemporary. You may have seen her exhibition at the Design Museum in London, or her work in the Smithsonian's National Museum of African American History and Culture in Washington D.C. In this conversation we talk about growing up in London, finding your creative handwriting, why making bad work is essential to making great work, and how to balance self-initiated projects with commissions, jewellery with public spaces, and creativity with business. KEY TAKEAWAYS So many creatives end up defining themselves by what they make, when actually it's the enquiry underneath the work that matters most. If you stay true to that, your work can evolve across disciplines whilst still feeling unmistakably yours. Developing your creative handwriting means accepting that bad work will sit alongside the good. Not as a failure, but as a necessary part of the line of enquiry that makes the work unmistakably yours. Creativity and commerce aren't opposing forces. Learning how to build a business around your creativity gives your practice the time, space, and stability it needs to flourish - creating the conditions for your best work to exist. BEST MOMENTS “The difference isn't whether you make bad work. It's whether you're willing to keep going, learn from it and make the next piece.” “You never know who is watching you….do the work - share the work.” "Your peers are going to be one of the most valuable resources you ever have." “That cultivation, staying connected to your true fans, your champions, is one of the best things you could be doing.” EPISODE RESOURCES https://www.instagram.com/Simonebrewster_london/ https://www.simonebrewster.co.uk/Sign up for Simone's newsletter here / https://mailchi.mp/simonebrewster/welcome-and-subscribe PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

There's something I've been thinking about for quite a while now. It's something I've talked about with close friends, but hardly ever publicly. Not because it's a secret. And certainly not because I'm embarrassed by it. I think, if I'm honest, I just never wanted it to define me. But over the last few years, I've realised that by not talking about it, I've probably left out one of the biggest reasons I think the way I do. Because so many of you write to me about Long Covid, chronic fatigue, chronic pain, burnout, depression, caring responsibilities and all the unexpected things that change what we're capable of physically or mentally, it feels like the right time to have this conversation. I'm not a doctor or a neuroscientist and this isn't an episode about fixing chronic illness or pretending mindset alone can overcome real physical limitations. It's about what happens when life changes, and you quietly keep comparing yourself with the person you used to be. Today, I explore what chronic illness has taught me about creativity, why so many artists find themselves grieving a version of themselves they've lost, and share some practical ways to work with your energy instead of constantly fighting against it.  KEY TAKEAWAYS One of the hardest parts of illness, burnout or unexpected change isn't simply what it takes away physically. It's the quiet loss of identity that comes from comparing yourself with who you used to be. Instead of managing time, start managing energy. Becoming curious about the conditions that help you think, create, and recover allows you to build a creative practice that works with the life you have now. Acceptance isn't giving up on treatment or ensuring that things improve. It's simply saying this is where I am today, because once we stop arguing with today's reality, things drastically improve. Protect your energy from the things that deplete you but be sure not to let fear disguise itself as self-care. Learn to tell the difference between a genuine need for rest from avoidance. It is key to building a brave, sustainable creative life. BEST MOMENTS "I hadn't realised you could grieve your own life." “What people couldn't see was the constant calculation happening in the background. Could I afford (the energy) to go out tonight?” "Become a student of your well-being.'" "Ask, what are the conditions that allow this version of me to flourish?" PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

I first met Reuben Wu when I was Director of Exhibitions at FACT in Liverpool, and he was one of the coolest musicians in the city, co-founding the band Ladytron and shaping a distinctive sound that travelled around the world. Years on, he's one of the most singular photographers working anywhere - his images are held in the permanent collections of the Guggenheim, MoMA and the Met, and commissioned by Apple and National Geographic, for whom he reimagined Stonehenge as if you were seeing it for the first time. In this episode, we explore his extraordinary journey from a Liverpool kid who dreamed of becoming an artist, to an industrial designer, successful musician, and then to one of the most distinctive visual artists working today. Reuben rigs lights to drones and walks into deserts and snowstorms at night to make work no machine could ever fake - because, as he says, AI can simulate the result but never the process. And he is fierce about something most artists are frightened of: that the artist, not the gallery or the auction house, is the best person to sell and speak for their own work. If you've ever wished someone else would do the talking for you, this one's for you. Follow the show so you never miss an episode. I hope you find this as inspiring as I did. KEY TAKEAWAYS Reuben's story gleefully dismantles the myth of the straight-line creative career. Proving no experience is wasted, everything you do can and does feed into the artist you are, today. Artists are often uniquely qualified to sell their own work because nobody understands the story, the labour, the intention and the meaning behind it better than the person who made it. Breakthroughs happen when you are prepared for them - when you're ready. Luck is preparation when it meets opportunity. Being able to respond to that instinctively to those moments, creates the magic. Tap into the power of portfolio reviews. BEST MOMENTS “No experience is wasted. The industrial designer, the musician, the photographer and the artist all exist inside the work Reuben makes today.” “I call it ecstasy - it's like an ecstatic moment where you are suddenly not within yourself anymore. You are suddenly outside yourself.” “It's like a paintbrush, but with light.” “Creativity is not a destination but a practice of paying attention.” EPISODE RESOURCES https://reubenwu.com https://www.instagram.com/reuben - sign up for Reuben´s newsletter via his bio here. HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Welcome to the Extraordinary Creatives Podcast. I'm Ceri Hand. A former gallerist, curator,  now coach to creatives all over the world. I help them to make a bigger impact with their work and earn more money doing what they love. Recently, I have been noticing something, and I wonder whether you'll recognise it too.  We often think avoidance is obvious. We imagine it looks like procrastinating or scrolling social media or watching television instead of getting into the studio.  But I honestly don't think that's how avoidance shows up for most creative people. I think it looks responsible. It looks like being busy. It looks like finally getting on top of your admin saying yes to another teaching opportunity. Maybe helping someone else out with their project or sorting your accounts out.  All good things and things that genuinely need doing, and that's why it's so difficult to spot, because from the outside it looks as though you're completely committed to your creative life, and from the inside it feels as though you're working incredibly hard.  Then you get to the end of the week and realise that you've hardly touched the work that matters most to you.  KEY TAKEAWAYS Being busy is not the same as moving your creative practice forward. The work that keeps you occupied is often the very thing that keeps you from actually creating. Avoidance rarely looks like procrastination - it looks like responsibility. Admin, teaching, and helping other people all feel productive, which is exactly why they are so effective at pulling you away from the uncertainty of making your own work.  Your brain is not trying to sabotage your practice – it is trying to reduce discomfort. Every time you choose certainty over uncertainty, you reinforce the habit of stepping away just as the work starts asking something of you.  Creative confidence is not built by making uncertainty disappear. It is built by learning how to stay with it long enough for the work to emerge. BEST MOMENTS “She wasn't wasting time. Quite the opposite. Then I asked her how much time she'd actually spent making her own work, and there was a long pause, and she said, hardly any.” “Teaching gave her certainty. The studio gave her uncertainty, and without realising it, she'd slowly started choosing certainty over uncertainty, again and again.” “What I don't think helps is piling more pressure on.” HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

In this episode of Healthy Her, host Amelia Phillips asks leading menopause educator and GP Dr Ceri Cashell the questions on every midlife woman's lips – 'Should I consider HRT? Is now the right time to start if my symptoms aren't too severe? And what does treatment even look like, anyway?' They discuss what's happening as you transition from perimenopause through to post-menopause, the most common peri and menopause symptoms Dr Ceri sees clinically, how hormonal shifts can dramatically impact mood, and all the ins and outs of HRT – including Dr Ceri's advice for finding a great women's health doctor. About the guest:Dr Ceri Cashell is a Sydney GP and co-founder of Healthy Hormones, Australia's leading evidence-based menopause education platform. A passionate speaker and advocate, she brings curiosity, compassion and a touch of comedy on her mission to create true gender equity in healthcare: educating both women and the clinicians who care for them. Instead of a midlife crisis, her team put menopause on the world stage at the Sydney Opera House, redefining the conversation for women everywhere. Healthy Hormones website: www.healthyhormones.auGet the app: https://apps.apple.com/au/app/healthy-hormones/id6749656733?l=en-GBDr Ceri Instagram: https://www.instagram.com/drcericashell/?hl=en About the host: Amelia Phillips is an exercise scientist, nutritionist, and published researcher (BSc, MNut) with a career spanning 26 years in health. A respected media presenter, Amelia has been featured on Channel 9’s hit show Do You Want to Live Forever? and is dedicated to helping people build a life of energy, connection, and purpose at any age or stage of life.Instagram: @_amelia_phillipsHave a question? Email: ap@ameliaphillips.com.auFind out more at: www.ameliaphillips.com.au CREDITSHost: Amelia Phillips Guest: Dr Ceri CashellAudio Producer: Darren RothMusic: Matt Nicholich Production Partner: Nova Entertainment Pty Ltd Healthy Her acknowledges the Traditional Owners of the Land we have recorded this podcast on, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander cultures. See omnystudio.com/listener for privacy informationSee omnystudio.com/listener for privacy information.

We're told that creative talent is something you either have or you don't. Ela Thier has spent nearly 40 years disproving this crippling myth. A New York–based writer, director, actor, and founding director of The Independent Film School, she's helped more than 65,000 artists find and develop their voices. Her films include Tomorrow Ever After, Foreign Letters, and her latest, 109 Billion Followers, stars Oscar-winner J.K. Simmons. In this conversation, we trace Ella's journey from being her mother's “wild weed” - a third child raised with very little supervision and a lot of imagination, through quitting filmmaking for almost a decade, to returning with a completely different relationship to her work.  We talk about the difference between writing as therapy and writing as a gift, why craft is learnable, and why Ella believes talent is simply the courage to be fully yourself. She shares how she keeps “the rent and the real work” in two separate hands, and the cast of inner voices who appear in her book How to Fail as an Artist: My Best Tips - from Mr. Stop, whose only job is to talk her out of it, to the 120-year-old version of herself she writes to when she loses her nerve. If you've ever stood at the edge of giving up on your work - or you're standing there right now - this one's for you. KEY TAKEAWAYS The story many of us carry is that our work is a private indulgence, a side‑note nobody's waiting for. You may never see the life it touches, but you are not creating into a void. Make the film, the painting, the book as if it already matters to someone, somewhere - because it does.  Your audience is not a panel of judges to impress, but the people you are taking care of. The shift is from asking whether they will approve of you, to asking what they need and making the work from there. Keep the rent and the real work in separate hands - asking your art to also pay the bills is a reliable way to do neither well. BEST MOMENTS “Ela … has made peace with failure without ever making peace with quitting.” “Craft is learnable, the writer or the filmmaker is already in there, and that talent is simply the courage to be fully yourself on the page·” “The book gave me, and gives people, permission to just mess around, which is where our best work comes from.” EPISODE RESOURCES https://theindependentfilmschool.com https://www.instagram.com/elathier HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Every week inside the membership, artists send in their questions. Career challenges, pricing dilemmas, difficult clients, creative blocks, gallery relationships, commission nightmares, confidence crises. Ceri works through them live, unfiltered and at pace, with more questions landing in real time from the room. The result is one of the most popular sessions inside the membership. Fast, direct, occasionally sweary, and completely honest. No script. No softening. Just Ceri answering whatever artists are actually grappling with right now. It has yet to be proven that there is a question she cannot answer. This episode gives you a taste of what happens inside the Art Surgery every week. If you want the full session, the full archive, and the chance to bring your own question live, the membership is where it all happens. Join our Membership at - https://cerihand.com/membership/ KEY TAKEAWAYS Admin expands to fill whatever time you give it. Every email feels urgent. Almost none of it is. Batch it all into one admin day and protect the rest of the week for the work that actually matters. When anxiety spikes, “spray and pray” feels like action – but it isn't. Instead of firing off panicked applications, start by calming your anxiety, telling your brain nothing's gone wrong, so you can act from a calmer, more intentional place. One artwork can live many lives – One piece can quietly work for you all year, let it travel. That film or artwork can stay as a full piece or elements of it can be used for clips, newsletters, embeds on other people's sites and more. Selectors aren't hunting for perfect work. Most submissions are good. The ones that get remembered feel inevitable and alive – like the idea and the medium have clicked so well the work couldn't exist any other way. BEST MOMENTS “Rather than am I right for it? The question is - Is the work right for it? Would your work come alive in that context?” “We have to carve out the day to make ourselves the most clear-minded thinkers and makers. We have to give our time to that bit that only we can do.” “Don't do that little garden studio down because actually there will be absolute gold in there, and you want people to access it.” “We have to remind our brain that our creativity is fundamental to who we are, to everything we do … if we're not regulated. We can't do good stuff in the world.” PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Somewhere inside a mountain in the West Texas desert, a clock is being built to keep time for ten thousand years. All mechanical. Wound by whoever makes the day-long hike to reach it. Designed so it´s chimes never ring the same sequence twice. Zander Rose has spent nearly thirty years building it. He grew up in a junkyard on the Sausalito waterfront – boat builders, artists, an activist mother who went on to become mayor, and a flea market every Sunday where he and his father took machines apart to see how they worked. Before the clock he was making combat robots that won six world titles, fast machines built to win in seconds. Then he gave half his working life to the slowest object on earth. What he's really after isn't the engineering. It's a question I keep coming back to: Are we being good ancestors – and what would we build differently if we believed the future was watching? In this conversation we get into where that question came from, what it's like to design for someone who won't be born for thousands of years, and what the world's oldest organisations – a hotel run by the same family since the eighth century, temples older than most nations – know about lasting that the rest of us have forgotten. It will leave you thinking about being a good ancestor and building things to last. KEY TAKEAWAYS Trust the future. Build it room to think. Don't take options away from the people who come after you. The forest you don't cut down, the river you keep, the law written simply enough that the next generation can reinterpret it – that's the work. The conditions you grow up in aren't just backstory, they're training. A junkyard, a boatyard, a poor area – these aren't obstacles to a creative life, they're live laboratories. The places you learned to improvise quietly decide what feels possible to you now. Competition doesn't have to mean scarcity or shame. Other people's excellence can become raw material for your own growth, not evidence that you should stop. BEST MOMENTS “Look at what you're making this week and ask who it's really for. Then ask whether you're adding options to the world, or quietly removing them.” “Trust the future. Build it room to think.” “I was only interested in building something that was the first of its kind. I had zero interest in building another one of anything.” “Fail fast is definitely the fastest way to learn.” EPISODE RESOURCES https://rosefutures.com https://longnow.org HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

I'm Ceri Hand, and this is Extraordinary Creatives. Thirty-five years in the contemporary art world as a gallerist, curator, commissioner of public art, institutional director, and now coaching artists and creative leaders worldwide to make a bigger impact and earn more money doing what they love. Over the last eight weeks, we've built a complete commissioning practice together. We've looked at the mindset, the five signatures of under-pricing, the commission ecosystem, the inquiry filter, the chemistry call, the alignment document, paid concept development, the production agreement, managing the making, the delivery, the legacy package. What public art is, the roles you can play, and what changes when the commission is this big. So, today we're going to cover three things, and then I'm going to leave you with the one sentence that I hope you carry out of the whole series. KEY TAKEAWAYS Build your scaffold once, then run every commission through it. The artist who thrives isn't winging it each time; they've got a clear structure on the studio wall - they have stopped rebuilding the system from scratch for every new brief.  Run every commission through joy, safety and income filters before you say yes. When those filters are true to you and your practice they alert you early to commissions that look good on paper but still not right for you. Preserving your capacity for work that is truly yours. BEST MOMENTS “Saying no to a commission that doesn't pass the filters is not lost income, it's preserved capacity; every no protects the yes you're truly waiting for.” “Built once, used again and again. The artist who thrives has built the scaffold once and now runs their commission practice through it calmly, profitably, without drama.” “A process without the willingness to say no is just admin. It looks good on your website, does nothing for your life.” “The artist who wins commissions isn't the most talented. The artist who wins commissions is the one who makes it easy to say yes, makes it safe to trust them, and never starts from scratch.” Want grounded, art‑world‑tested guidance each week? Join my free Beat the Block newsletter and put this commissioning scaffold to work in your own practice by going to https://cerihand.com/subscribe/ EPISODE RESOURCES Pollinator Pathmaker  episode - https://podcasts.apple.com/us/podcast/making-ambitious-work-is-never-just-about-ideas-with/id1709105337?i=1000753927961&l=zh-Hans-CN PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

The art world runs on storytelling. The story of the artwork. The story of the artist. And one of the most seductive stories of all, the one that says if you got your toe over the line out of art school, your career goes onwards and upwards from there in a straight line. My guest today, Hettie Judah, has been inside the art world since the early 1990s, as a writer, critic, curator and advocate. And she has written a book that quietly dismantles that story. How to Enter the Art World… After a late start, a first career, illness, raising children, a crisis of confidence, leaving it in disgust… In this conversation, Hettie shares how the art world's myths are really costing the people inside it, why the relationships that move careers are built in quiet galleries rather than at private views, and what the financial reality of a successful writing and curating life actually looks like. You will leave with a sharper read on the structures around your practice, and permission to stop measuring yourself against a career shape that was never real in the first place. KEY TAKEAWAYS The art world tells a particular story about itself - A linear career. A clean upward arc. The right schools, the right shows, the right age. And if you didn't get on that track, or you stepped off it, maybe to have children or it was never offered to you in the first place, the story says you missed your window. Hettie demonstrates that is not true. If you are coming back to your practice, or finding your way in for the first time, or rebuilding after a long stretch away, take this as the invitation. Not to enter someone else's version of the art world. To build the one that holds your work. Often creative labour is quietly self‑subsidised so the rest of us can have the books and conversations we need – think a £150 fee for an event, from which the writer or artist still has to cover train fares and providing their own books. BEST MOMENTS “You can construct the art world you want to be part of …. the structures around artists can be changed.” “We all need one another…. we all learn from the questions that other people ask.” “I really wanted the book to feel like you were having a conversation with a friend.” “I remember them (art works) with my body as well as my mind's eye. I remember them so strongly.” EPISODE RESOURCES https://apollo-magazine.com/author/hettie-judah https://www.instagram.com/hettiejudah/ Hettie´s books - https://www.amazon.co.uk/stores/Hettie-Judah/author/B00E9ZRESS HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Artists – most of you who take your first public art commission lose money on it. Not because the budget was bad, but because nobody told you a public commission is not a bigger version of a private one. It is a different job, with a different shape, and the work that does not appear in the brief – procurement, contracts, maintenance, stakeholder hours – is what quietly eats your fee. By the time you realise what you have signed up for, you are eighteen months in, with years still to run, and no honest way out. Here is what I want to give you today: the six things that genuinely change when you step from a private commission into a public one; the hidden costs inside the budget that almost no commissioner spells out, and that you have to know to ask about; and the support structure you need around you before you accept the commission, not after, because by then it is too late. This is for artists invited to apply for their first public commission, and for artists already inside one who can feel the ground shifting and have not yet been able to name what is happening. This episode is part eight of a nine-part series on commissions. Last week we covered what public art is, the five reasons it gets commissioned, and the six roles an artist might play inside a public commission. If you have not heard that one, it sets the foundation for today, so start here - https://podcasts.apple.com/gb/podcast/the-six-roles-artists-get-hired-for-in-public-art/id1709105337?i=1000776044291 KEY TAKEAWAYS Public art is not just a bigger version of what you already do – it is a different job, with different time scales, different power dynamics, and a different kind of authorship you step into for decades, not months.   The number in the brief is never just “your fee” – it has to cover engineers, fabricators, insurance, installation, maintenance planning, everyone's professional time. If it does not, you will be the one underwriting the project with your labour.   Build a small, smart infrastructure around yourself, so you can hold the integrity of the work through years of stakeholders, contracts, and weather, without burning out.   BEST MOMENTS “Read the brief, do what the brief asks, no more, no less.”   “Public commission budgets sound large and often aren't by the time you have to account for everything they have to cover.”   “You'll need public liability insurance, often at significant levels of cover.” EPISODE RESOURCES Episode 7 of commission series – https://podcasts.apple.com/gb/podcast/the-six-roles-artists-get-hired-for-in-public-art/id1709105337?i=1000776044291 HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Ninety-six per cent of Black British adults don't swim regularly. That's the statistic from the Black Swimming Association that my guest came across while she was deep in research about bodies of water / about what they hold, what they absorb, what they promise. Phoebe Boswell is a Kenyan-British artist whose work has been shown at the Venice Biennale and in major institutions and collections worldwide. In this conversation, Phoebe talks about her latest large-scale commission for Art on the Underground, we move through scales of blue, now running alongside the escalators at Notting Hill Gate and Bethnal Green subway stations in London. She shares how she works with communities without extracting from them, why she stopped painting for twenty years and what brought her back, and what she has come to understand about figuration, freedom and the responsibility that comes with the work. You will leave with a deeper sense of what it means to make work that holds rupture and joy at the same time - and the courage it takes not to resolve them. KEY TAKEAWAYS Phoebe holds two things at once - A figurative practice that she describes as lovemaking - a sustained attention to the body, particularly the Black female body, as a way of truly seeing. And alongside it, a refusal to stay in the language of identity alone. Making work that holds rupture and joy at the same time isn't a flaw to be fixed. It's a way of working: that stays true to pain, history and politics while refusing to let go of tenderness, nuance, and beauty. Phoebe's approach to figuration, community and public space asks us to think more deeply about how we see who we work with. What we owe the people in and around our work, not just as subjects or audiences, but as co-holders of meaning. BEST MOMENTS “Art became a way of coming back to myself… it was a process of trying to re-see the self that had been kind of shattered. It was proclaiming myself, reminding myself that I'm still here.” “Art is this place for me to sense, to taste, or to test the borders of my own truth in a way that I don't think is always possible in real life. I think you go through seasons.” “Trust the porous borders between your projects. To return to what you left, changed. And to keep making work that is for the people in it, before it is for anyone else.” “I don't want to be free off the back of anyone else.” EPISODE RESOURCES https://www.phoebeboswell.com/ https://www.instagram.com/phoebe.boswell/ HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Artists if you've ever been invited into a public art commission, here's the thing nobody tells you. Most of you assume you've been asked to make a single artwork. A sculpture, an installation, a piece. You usually haven't. There are six different roles you might be playing inside that project, and getting the wrong one means you've quietly accepted a job you didn't sign up for. Worse hours. Different fee structure. Different scope. The same brief, with you doing the wrong work inside it. This is the most expensive mistake that artists make in public art. And almost nobody is told the roles even exist. Here's what I want to give you today: the five main reasons public art gets commissioned, the six roles' artists are actually hired to play and how to recognise which one you've been invited into), and one question to ask any prospective commissioner that reveals in 30 seconds whether they've properly scoped the project or are asking you to finish their thinking as well as the work. This is for artists curious about public art who haven't yet made the move, and for those already working in it who've felt a commission go quietly wrong without knowing why. This episode is part seven of a nine-part series on commissions. The first six cover everything from mindset and pricing through to the legacy package - the foundations you need before you take a single enquiry into public art. If you haven't done so yet, hit follow so you don't miss an episode. KEY TAKEAWAYS Understand which role you've been invited to at the start of the conversation. Ask yourself which of those five commission types is closest to what you make already and how you work - that tells you which kind of public commission to be looking for. If you're new to public art, treat temporary and meanwhile work as laboratories. They're lower risk for commissioners, and they let you test how your practice behaves in public BEST MOMENTS “Done well, a single public commission can shift the trajectory of an entire practice. Done badly, it can swallow two years of your life and leave you broke, exhausted, and quietly furious.” “Sometimes it's worth recognising you might not be able to be all things in public art.” EPISODE RESOURCES 1st episode in series - https://open.spotify.com/episode/3GoxWpKkkdZQE9pvvrGSNt HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

durée : 02:03:11 - Les Matins de France Culture - par : Bérengère Bonte - Ce matin à 7h38, Bérengère Bonte reçoit à l'occasion du sommet de l'OTAN à Ankara, le directeur du Centre des Études de Sécurité de l'IFRI, Elie Tenenbaum, rejoint à 8h20 par Aurélien Denizeau, docteur en science politique et relations internationales, spécialiste de la Turquie. - équipe : Félicie Faugère, Mathilde Thon-Fourcade, Victoria Géraut-Velmont, Inès Bouffartigue Sebastia, Rodi Eken, Anouk Seveno, Salomé Erbs, Romain Rincon Hernandez - invités : Élie Tenenbaum Directeur du Centre des Études de Sécurité de l'IFRI, Aurélien Denizeau Chercheur associé au Programme Turquie et Moyen-Orient de l'Ifri (Institut Français des Relations Internationales), Sarah Daoud Docteure en sciences politiques associée au CERI de Sciences-Po et au CEDEJ du Caire., Mathilde Potier Violoniste, Pierre Liscia-Beaurenaut Violoniste, Madeleine Douçot Violoncelliste, Jean-Baptiste Souchon Altiste Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:13:43 - Les Matins de France Culture - par : Bérengère Bonte - Lundi 6 juillet, le Hamas a annoncé la dissolution de ses instances dirigeantes à Gaza. Le comité technocratique palestinien, créé lors du plan de paix de Donald Trump, se dit prêt à prendre le relais. Après vingt ans de pouvoir, quel avenir se dessine pour le Hamas et pour Gaza ? - équipe : Félicie Faugère, Anouk Seveno, Salomé Erbs - invités : Sarah Daoud Docteure en sciences politiques associée au CERI de Sciences-Po et au CEDEJ du Caire. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:13:43 - Les Enjeux - par : Bérengère Bonte - Lundi 6 juillet, le Hamas a annoncé la dissolution de ses instances dirigeantes à Gaza. Le comité technocratique palestinien, créé lors du plan de paix de Donald Trump, se dit prêt à prendre le relais. Après vingt ans de pouvoir, quel avenir se dessine pour le Hamas et pour Gaza ? - équipe : Félicie Faugère, Anouk Seveno, Salomé Erbs - invités : Sarah Daoud Docteure en sciences politiques associée au CERI de Sciences-Po et au CEDEJ du Caire. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Imagine setting fire to half your art budget before lunchtime. Seven hot air balloons grounded in a field. Fourteen speakers. The Birmingham Symphony Orchestra waiting to be paid. And a city council expecting you to reach a hundred thousand people by the end of the week. That is the kind of corner Luke Jerram has found himself in. And it is also the corner that produced Play Me, I'm Yours - pianos in the street for anyone to play. Two thousand of them. Seventy cities. Welcome to Extraordinary Creatives. I'm Ceri Hand. Follow the show so episodes like this land in your feed every week. Luke Jerram is the artist behind Museum of the Moon, Gaia, Helios, Park and Slide, Sky Orchestra, and Glass Microbiology. His work has been seen by tens of millions of people. Close to a thousand exhibitions across forty countries. Pieces held in over eighty permanent collections, including the Metropolitan Museum of Art in New York, the Rijksmuseum in Amsterdam, and the Wellcome Collection in London. And he has built all of this from a studio in Bristol, with a team around him, without gallery representation. In this conversation you will hear how he funds projects nobody has made before, why he turned down Red Bull and Coca-Cola, and what he calls stamina of dissatisfaction - the last five percent that lifts a piece from good enough to worthy of people's attention. I hope you find this as inspiring as I did. KEY TAKEAWAYS Most artists make a piece, show it once, and move on. Luke lives with a piece across a hundred installations and refines it. That last 5% of refinement makes the work land, turns it into something enduring that funds the next project and the next. Being an artist is a marathon, not a sprint. A diverse practice takes longer to build. But that willingness to keep reinventing yourself creates adaptability. Don´t underestimate your ability to solve problems and learn from failure. It´s up to us to decide on the rules we play by. BEST MOMENTS “I like creating artworks that leave space for other people to be creative.” “If you knew you had to be rejected 100 times before you were a millionaire, you'd be really excited to get your first rejection, wouldn't you?” “There's no such thing as luck. You've got to be ready … when the phone call comes … make it easy for them to say yes.” For the text version of the topics, we cover each week in the Beat the Block Shorty episodes, straight to your inbox, head to http://cerihand.com/subscribe. RESOURCES https://www.lukejerram.com https://www.instagram.com/lukejerramartist HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

With many people looking to remote work to increase and replace income. I am joined by Ceri @remoteworkwithceri to talk about the hidden scam and how remote work can help you in today economy.Join my community - https://calmmoneycommunity.com/Each week, the podcast will focus on:one signal worth unpackingone calm conversationand one small adjustment to considerSome episodes will be anchored to the news. Others will focus on behaviour or seasonal pressures.The format stays the same.The podcast mirrors the thinking in the weekly newsletterIt often sets up conversations inside the communityBut it's designed to be useful on its ownYou don't need to listen to every episode.You don't need to take notes.If one idea helps you think more clearly about your money, it's done its job.Submit your question - https://forms.gle/RHLjdE9BuU92ersr6

Artists — if you take commissions, here's the number that should frighten you. Scope drift, the polite, gradual expansion of a commission beyond what you agreed, eats twenty to thirty per cent of the original fee in unpaid work on most commissions I see. That isn't a margin problem. That's your profit. Gone. On every job. And it isn't because you did bad work. It's because nobody taught you how to manage what happens after the deposit lands. This episode is part six of a nine-part series on commissions — how to prepare for them, respond to them, deliver them, and stop them burning you out. If you haven't followed the podcast yet, hit follow so you don't miss an episode. Today we cover three stages. Managing the making - which is where most commissions go wrong, and almost never for the reason artists think. Delivery and the story of the work — the bit that quietly funds the next commission if you do it right. And the legacy package — the stage almost every artist skips, and the single most commercially valuable thing you can build into your practice. KEY TAKEAWAYS Once the deposit lands, you're managing 2 things: the work and the client's psychology. Build in named updates and review points so they feel heard, without turning the project into an open invitation for endless tweaks. Treat the legacy package as your quiet sales engine. A simple bundle—certificate, process images, care instructions, and a short narrative, turns a buyer into a custodian. Custodians come back, commission again, and quietly introduce you to your next three clients. Ceri´s tried and tested but simple 11‑stage process means you stop rebuilding your practice from scratch for every enquiry. Instead, you run each commission through the same calm, repeatable structure. BEST MOMENTS “Scope drift … eats 20 to 30 per cent of the original fee in unpaid work on most commissions I see. That isn't a margin problem. That's your profit. Gone.” "Saying no to a commission that doesn't pass the filters is not lost income, it's preserved capacity." You can get a text version of today's episode plus new practical guidance every week if you subscribe to my Beat The Block newsletter – Access it here - https://cerihand.com/subscribe/ EPISODE RESOURCES First episode of 9-part series - https://podcasts.apple.com/us/podcast/designing-the-way-you-want-to-work-the-mindset/id1709105337?i=1000769915059 PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

The art that stays with you isn't the art that pleases you. It's the art that names the thing stuck at the back of your throat — the one you couldn't quite say out loud — and then makes it real. That's Lucia Pietroiusti. Curator of the Golden Lion-winning Sun & Sea, Head of Research & Emergence at the new Hartwig Museum in Amsterdam and Curator of The 2027 Autostrada Biennale. In this conversation, we get into why the works that last speak to the body before the mind, and what it really takes to hold space for art that risks making people uncomfortable. We talk about ideas behaving like people, about institutions learning to hold a piece of an artist's life rather than commissioning a piece of their work, and about being tethered and free at the same time. I hope you enjoy this conversation as much as I did. KEY TAKEAWAYS The artworks that stay with us often bypass explanation. They reach "something stuck at the back of your throat" before the intellect catches up, reminding us that feeling can be a form of knowledge. Meaning isn't delivered by the artist and received by the audience. It emerges in the space between them. The work offers coordinates, not conclusions - people find their own way through. Art creates meaning, connection, and transformation in ways that go beyond language. The most powerful art isn't the art that explains the world. It creates the conditions for people to feel, experience, and discover something they couldn't quite access before. Trust intuition, trust audiences, trust long-term relationships, and trust that meaningful work often emerges from uncertainty rather than certainty. BEST MOMENTS "An artwork that stands the test of time is one that speaks not to your mind, but to something that's stuck at the back of your throat. And in a sense allows you to release that." “There´s the sort of belly register - the heart, the body register, then there's the brain register, all of it working together…you're not over-emphasizing that it has to be understood intellectually first.” “Ideas behave like people - they need rooms to move through, and time to become whatever they are going to become.” EPISODE RESOURCES https://www.instagram.com/luciapietroiusti_/ https://luciapietroiusti.earth/ PODCAST HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ **** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ **** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

durée : 00:58:37 - Concordance des temps - par : Jean-Noël Jeanneney - Exploit maritime sans précédent, le voyage de Magellan continue de nourrir les imaginaires. Romain Bertrand renouvelle le récit de cette épopée en prêtant attention à tous les acteurs de la rencontre. - équipe : Vincent Abouchar, Jeanne Guérout - invités : Romain Bertrand Directeur de recherche au Centre de recherches internationales (CERI), spécialiste de l'histoire connectée. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

This episode is part of a nine-part series on commissions. How to prepare for them, respond to them, deliver them, and, crucially, how to stop them burning you out. If you haven't followed the podcast yet, hit follow so you don't miss an episode. Today, episode 5 of 9 - If you only listen to one, I would ask that it be this one. Because I am going to tell you about the single biggest shift most artists can make in how they run commissions. It changes the economics. It changes the relationship. It changes how the client sees you. And it is still, astonishingly, the thing nearly every artist is not yet doing. It is called paid concept development. So, last week's episode. The enquiry filter told you this client was serious. The chemistry call confirmed they were a good fit. The alignment document came back confirmed, with minor amendments. The client is now saying, brilliant, love it, let's go. This is where most artists collapse. They work for free. Sometimes 5 hours. Sometimes 10. Sometimes, on larger commissions, 30 or 40 hours of unpaid concept work before a single £ is on the table. This is the shape of how artists lose weeks of unpaid labour every year. And most do not realise it is happening, because the work feels like normal commission behaviour. But it isn't. It is something an industry has normalised that is quietly killing its own practitioners. There is another way. KEY TAKEAWAYS Every industry where bespoke work is produced charges for concept work -architects, designers etc. It simply means the client is paying upfront for your thinking: visuals, materials, research, concept rationale, scale considerations. They keep that work whether or not they proceed. Paid concept development filters out the clients who were never going to commission anyway - before you've spent hours working for them. Once your proposal is accepted, move to a second, separate production agreement: final fee, a 50% deposit with a 30/20% payment schedule, named dates, fabrication details, and written responsibilities. No ambiguity, no loose ends. BEST MOMENTS "It's something an industry has normalised that is quietly killing its own practitioners." "You're not asking for something unusual, you're matching professional standards." "The 50% deposit is not optional. If a client pushes back on the deposit, that's information.” HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com ** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative. This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

Au Soudan, il y a un risque imminent « d'atrocités de masse », à El-Obeid, affirme le département d'État américain dans un communiqué publié dans la soirée du 22 juin. El-Obeid, c'est la capitale de la région du Kordofan du Nord. Elle est assiégée par les rebelles des Forces de soutien rapide, les FSR. Et la grande crainte du secrétaire général de l'ONU, Antonio Guterres, c'est que « les horreurs d'El-Facher, en octobre dernier, se répètent à El-Obeid ». Que faut-il redouter précisément ? Roland Marchal est chercheur à Sciences Po Paris et au CERI. Il répond aux questions de Christophe Boisbouvier.  RFI : l'ONU affirme qu'une concentration récente de troupes de la rébellion des Forces de Soutien Rapide laisse craindre une offensive imminente sur El-Obeid. Est-ce que vous avez les mêmes informations ? Roland Marchal : Oui, on le sait effectivement. Les observateurs soudanais, depuis pratiquement une semaine, mentionnent l 'arrivée au nord d'El-Obeid de troupes qui viennent soit de la frontière libyenne, soit du Darfour et qui constituent aujourd'hui une masse, disons, combattante, pour attaquer la capitale du Kordofan du Nord. Et pourquoi visent-ils cette ville de quelque un million d'habitants de El Obeid ?  Parce qu'El-Obeid est la capitale historique du Kordofan, avant de devenir celle du Kordofan du Nord, et surtout le dernier grand verrou stratégique qui ouvrirait la route vers Khartoum, mais aussi vers la province du Nil Blanc, donc plus au sud de la capitale soudanaise, ce qui permettrait aux Forces de Soutien Rapide, si elles réussissaient, de reprendre pied dans les régions agricoles les plus riches du pays et peut être, à terme, de faire la jonction avec les troupes qui se battent dans la province du Nil Bleu. Ce qui, évidemment, constituerait une défaite stratégique importante pour les forces armées régulières et le gouvernement qui, aujourd'hui, est à Khartoum. Le secrétaire général de l'ONU, Antonio Guterres, déclare : « Nous ne devons pas permettre que les horreurs d'El-Fasher se répètent à El-Obeid » ? Alors, compte tenu de l'histoire de cette guerre, on peut évidemment craindre beaucoup. Cependant, un analyste doit quand même rappeler que la perception d'El-Obeid par les Forces de Soutien Rapide est quand même très différente de celle d'El-Fasher. El-Fasher était la capitale du groupe Zaghawa, qui a fourni l'essentiel des combattants aux forces conjointes alliées, des forces régulières qui se sont battues avec détermination dans tout le Darfour contre les Forces de Soutien Rapide, et qui se battent aujourd'hui également au Kordofan, et qui constituent sans doute l'un des alliés militaires les plus importants des forces armées régulières. Donc, l'identification d'El-Fasher comme la capitale de nos ennemis les plus jurés ne fonctionne pas pour El-Obeid. On peut imaginer, mais en étant optimiste ou très optimiste même, que du coup, les violences contre les populations civiles ne seront pas de la même intensité. Ceci dit, depuis ces dernières semaines, on voit les Forces de Soutien Rapide multiplier les frappes sur des infrastructures d'El-Obeid, des infrastructures civiles qui visiblement visent à terroriser la population et à l'inciter à fuir la capitale du Kordofan du Nord pour rejoindre Khartoum ou quelque autre endroit, de façon à ce qu'El-Obeid soit plus facile à prendre. En février dernier, une mission d'enquête de l'ONU a fait état d'actes de génocide commis en octobre dernier par les Forces de Soutien Rapide à El-Fasher. Est ce que cette accusation très grave peut dissuader le général Hemedti de commettre de nouvelles atrocités ? Écoutez, je ne crois pas que les atrocités qui ont été commises à El-Fasher, et autour d'El-Fasher, étaient au sens plein ordonnées par le général Hemedti. Lui a des ambitions politiques nationales dont on peut penser ce qu'on veut par ailleurs, mais il sait très bien que la communauté internationale intègre tout à fait ces violences dans son passif et que ces actes de génocide constitueront demain une difficulté très grande dans son approche de la communauté internationale. Donc, lui, certainement a été plus prudent, plus réservé. Le problème, c'est évidemment sa capacité de contrôler ses propres troupes, alors qu'à El-Fasher, c'était vraiment une vengeance historique contre le groupe Zaghawa. Vendredi dernier, l'envoyé spécial d'Antonio Guterres au Soudan a appelé au téléphone le général Hemedti pour lui demander d'éviter toute action qui pourrait aggraver la situation humanitaire. Est-ce que vous savez ce qu'a répondu le chef des Forces de Soutien Rapide ? Le général Hemedti a été, comme il sait l'être, quelqu'un de très responsable, à l'écoute des demandes de la communauté internationale. Il a évidemment souscrit à toutes ses demandes. Il a annoncé que ses troupes organiseraient et autoriseraient la sortie des civils de la capitale du Kordofan du Nord. Et que ces civils seraient protégés, qu'il n'y aurait pas de violence systématique contre ceux-ci. Mais si vous voulez, encore une fois, depuis le début de la guerre, le général Hemedti a multiplié les assurances sur le bon comportement de ses troupes. Et sauf à penser qu'il est un menteur irréductible, on peut imaginer qu'il a été, à certains moments, de bonne foi et qu'il a été trompé par ses propres troupes. Samedi dernier, le Conseil de sécurité de l'ONU a appelé, je cite, « tous les membres de l'ONU à s'abstenir de toute ingérence dans les affaires intérieures du Soudan ». Mais donc, les alliés des Émirats arabes unis que sont les Américains et les Français n'arrivent pas à être entendus par les Emiratis ? Je crois qu'ils sont entendus. Mais les Emiratis ont la volonté, en tous les cas, de changer sans doute la nature du pouvoir aujourd'hui au Soudan, ce qui les rend extrêmement réticents.

The Huddle by SBV - Ceri Mobley, The Team

Amartey Golding makes chainmail sculptures that are seductive, threatening, funny, and deeply unsettling all at once. And in this conversation, he explains why discomfort might be one of the most important tools an artist has. Raised between London, Ghana, Rastafarian culture, council estates, and rural England, Amartey speaks with rare honesty about growing up between identities and how that tension became the emotional engine of his work. In this conversation, you'll hear how he learned to trust discomfort as part of his creative language, why audience feedback became essential to sharpening his voice, and how he creates installations that work not just intellectually, but viscerally — through sound, light, atmosphere, scale, and the body itself. We talk about the emotional labour behind ambitious projects, the crash that can come after making large-scale work, and why sustainability, family life, and building a nourishing environment now matter as much to him as artistic ambition. But perhaps most importantly, this episode offers a powerful lesson in how to develop your own artistic voice: not by trying to become someone else, but by listening more deeply to the contradictions, histories, and instincts already living inside you. This one is rich, layered, funny, tender, and deeply human. I can't wait for you to hear it. KEY TAKEAWAYS Belonging is not always about finding where we fit, but about reshaping inherited stories until they can accommodate more of who we are. Sometimes our work becomes a way of making room for identities that existing symbols struggle to contain. There are moments in a creative life when continuing to succeed at one thing becomes a barrier to discovering another. Growth often asks us to leave behind what is proven, visible and commercially rewarded. We romanticise the artist who creates through suffering. But, when people have enough security to be curious, playful, and fully present, they gain access to forms of imagination that survival alone cannot sustain. BEST MOMENTS “Extraordinary work rarely comes from pretending to have everything figured out. It comes from staying in relationship with the complexity. Staying curious enough to keep listening to your own voice as it shifts and evolves.” “For me, it's all about the visceral... it's all about the belly, making stuff from the belly.” EPISODE RESOURCES http://amarteygolding.com/ https://www.instagram.com/amarteygolding HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

This episode is part of a nine-part series on commissions. How to prepare for them, respond to them, deliver them, and, crucially, how to stop them burning you out. If you haven't followed the podcast yet, hit follow so you don't miss an episode. Today, episode four of nine. And this is where the series shifts gears. For the last three episodes, we have been doing the preparation work. The mindset. The five signatures of under-pricing. The commission ecosystem. Today, an enquiry has arrived. This is the moment most artists get wrong because this is the moment their nervous system takes over. When an enquiry lands in your inbox. And before you've finished reading it, your stomach has tightened, your brain is already drafting a reply, and somewhere in the next three sentences you're going to offer availability, ideas, enthusiasm, and a half-committed yes – all before you know you are a good fit. And the principle is this. Before you reply with anything, you filter. How, is what today´s episode is about. KEY TAKEAWAYS Ceri´s short enquiry form is a low-friction sieve: it quietly filters out tire-kickers, and a serious client will fill it in within 10 minutes. The right questions reveal what they actually want, how committed they are, whether they really get your work, and whether their budget and timeline are realistic. After the enquiry form, you move into a chemistry call – 30 minutes - to ask important questions and spot red flags. Then, produce an alignment document to further test understanding. If the client confirms the alignment document, you move forward; if they come back with big changes, it's a sign you weren't fully aligned on the call – it's far better to catch that now than 3 months into making. BEST MOMENTS “Stage one of responding to any inquiry is the initial filter, low friction, high signal, a sieve, not a conversation.” “If those signals are weak, you slow things down, you don't ghost them, but you don't rescue them, you reply politely with more questions,” “The alignment document - a short-written document that confirms in writing what you heard, not a proposal, not a quote, an alignment document.” For a text version of today's teaching, plus new practical guidance every week, you can subscribe to Beat the Block at http://cerihand.com/subscribe EPISODE RESOURCES First episode of this 9-part series - https://podcasts.apple.com/gb/podcast/designing-the-way-you-want-to-work-the-mindset/id1709105337?i=1000769915059 HOST BIO With over 35 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She has sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. ** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Ready to transform your art career? Join today! https://cerihand.com/membership/ ** Unlock Your Artworld Network Self Study Course Our self-study video course, "Unlock Your Artworld Network," offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. https://cerihand.com/courses/unlock_your_artworld_network/ ** Book a Discovery Call Today To schedule a personalised 1-2-1 coaching session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com This Podcast has been brought to you by Disruptive Media. https://disruptivemedia.co.uk/

durée : 00:58:27 - Cultures monde - par : Julie Gacon, Mélanie Chalandon - Le 30 mars 2026, le parlement israélien votait une loi instaurant la peine de mort pour les auteurs d'actes terroristes meurtriers, visant de fait uniquement les Palestiniens. Un texte discriminatoire qui constitue une rupture historique et s'inscrit dans l'érosion de l'État de droit en Israël. - réalisation : Margot Page, Fanny Richez, Sacha Mattei, Barthélémy Gaillard, Pénélope Le Mauguen - invités : Samy Cohen Politiste, directeur de recherche émérite au CERI de Sciences Po, spécialiste de la société israélienne, Nitzan Perelman-Becker Docteure en sociologie politique à l'Université Paris Cité, spécialiste de la droite israélienne et co-fondatrice du site Yaani, Stéphanie Latte Abdallah Historienne et anthropologue du politique, directrice de recherche au CNRS Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Episode 171 - Ceri Higgins used her experience caring for her father to champion unpaid carers' rights in Wales as part of the Welsh Government Cross-Party Group on Dementia.Disclaimer: Please note that all information and content on the UK Health Radio Network, all its radio broadcasts and podcasts are provided by the authors, producers, presenters and companies themselves and is only intended as additional information to your general knowledge. As a service to our listeners/readers our programs/content are for general information and entertainment only.  The UK Health Radio Network does not recommend, endorse, or object to the views, products or topics expressed or discussed by show hosts or their guests, authors and interviewees.  We suggest you always consult with your own professional – personal, medical, financial or legal advisor. So please do not delay or disregard any professional – personal, medical, financial or legal advice received due to something you have heard or read on the UK Health Radio Network.