Podcasts about chiharu shiota

Le Grand Palais, à Paris, a frappé fort pour sa réouverture le 11 décembre 2024, après des années de travaux. Chiharu Shiota est la première artiste à inaugurer le bâtiment rénové avec son exposition The Soul Trembles. Célèbre pour ses installations monumentales de fils de laine entrelacés, cette Japonaise, vedette de l'art contemporain, invite le public à plonger dans son univers poétique et spectaculaire. The Soul Trembles, exposition de Chiharu Shiota, jusqu'au 19 mars au Grand Palais de Paris.

Le Grand Palais, à Paris, a frappé fort pour sa réouverture le 11 décembre 2024, après des années de travaux. Chiharu Shiota est la première artiste à inaugurer le bâtiment rénové avec son exposition The Soul Trembles. Célèbre pour ses installations monumentales de fils de laine entrelacés, cette Japonaise, vedette de l'art contemporain, invite le public à plonger dans son univers poétique et spectaculaire. The Soul Trembles, exposition de Chiharu Shiota, jusqu'au 19 mars au Grand Palais de Paris.

À la Fondation Cartier pour l'art contemporain,  première grande rétrospective européenne de l'œuvre d'Olga de Amaral, avec près de 90 pièces textiles datant des années 1960 à aujourd'hui est au Grand Palais en avant-première de la réouverture de lʹensemble de ses galeries en juin 2025, exposition consacrée à lʹœuvre poétique et sensible de lʹartiste japonaise Chiharu Shiota mondialement reconnue pour ses installations monumentales faites de fils de laine entrelacés. Par Florence Grivel. Paris, Fondation Cartier, Olga de Amaral, jusquʹau 16 mars Paris, Grand-Palais, Chiharu Shiota The Soul Trembles jusquʹau 19 mars 2025

durée : 00:47:15 - La 20e heure - par : Eva Bester - Président du Grand Palais, dont la monumentale nef a enchanté les spectateurs des JO de Paris 2024 et accueille en ce moment une exposition de Chiharu Shiota, Didier Fusillier a gardé des défilés de géants dans son Nord natal un goût pour le grand. Et l'émerveillement de l'enfant qu'il était.

durée : 00:20:44 - L'invité de 8h20 - Aujourd'hui à 8h20, grand entretien avec Didier Fusillier, président de la Réunion des musées nationaux et du Grand Palais. Avant la réouverture de l'ensemble de ses galeries en juin, le Grand Palais présente une exposition consacrée à l'artiste japonaise Chiharu Shiota jusqu'au 19 mars 2025.

durée : 03:00:34 - Le 6/9 du week-end - par : Ali Baddou, Marion L'hour, Benjamin Dussy, Mathilde Khlat, Elodie Royer - Aujourd'hui dans le 6/9, nous recevons d'abord à 7h50 le professeur au Collège de France William Marx et à 8h20, Didier Fusillier, président de la Réunion des musées nationaux et du Grand Palais qui présente une exposition consacrée à l'artiste japonaise Chiharu Shiota jusqu'au 19 mars 2025... - réalisé par : Marie MéRIER

Azkuna Zentroa ha presentado ya su programación para 2024-2025, destacando exposiciones de artistas como Ixone Sadaba, Chiharu Shiota y Marisa González. El centro cultural acoge una edición más una amplia oferta en artes vivas, literatura y cine con motivo de su decimoquinto aniversario 

Chiharu Shiota: The Extended Line, 2023 – 2024 / Templon at Art Basel 2024 Unlimited, Basel (Switzerland), June 13, 2024. ...

¿Quién dijo que la alta cultura es patrimonio exclusivo de las ciudades? ¿Cómo pueden las artes revitalizar, proyectar hacia el mundo y repensar un territorio eminentemente rural? Por primera vez en su historia, el Parlamento Europeo y el Consejo de la Unión conceden el título de Capital de la Cultura a un conjunto de pueblos y pequeñas ciudades: 23 municipios austríacos pertenecientes al distrito montañoso de Salzkammergut. La responsable de la iniciativa, Elisabeth Schweeger, nos ayuda a entender su importancia para esta región de paisaje alpino, con altas montañas tapizadas de bosques, decenas de lagos, ríos y poblaciones sobradas de encanto. La sal siempre ha sido fuente de riqueza por estos contornos; todavía hay minas en explotación y algunas son visitables. La de Hallstatt, por ejemplo, es la más antigua del mundo. No muy lejos, en Altaussee, su intrincada red de galerías guarda el recuerdo del expolio y ocultación de obras de arte en tiempos de Hitler, una sórdida historia que a punto estuvo de acabar en la destrucción de todo el patrimonio al final de la guerra. Los nazis vieron frustrado su intento gracias a la perspicacia y el valor de los mineros locales. Dana Rausch, mediadora del museo Lentos de Linz, y Harald Pernkopf, responsable de comunicación de Salzwelten, nos ayudan a reconstruir este rocambolesco “Viaje de los cuadros”, título de uno de los principales proyectos expositivos de este 2024. El oro blanco –algo rojizo en este caso por la presencia de otros minerales– sigue latiendo en el corazón de estas colinas que recorremos en compañía de la guía de turismo Noelia Torres de Glasser. Nuestra ruta comienza en la escueta ciudad de Gmunden, asomada al imponente lago Traunsee y al macizo de Traunstein. Aquí no solo han vivido del cloruro sódico y la pesca; la elaboración de cerámica tiene siglos de tradición y su principal exponente es la fábrica Gmundner Keramik, que sigue produciendo diseños como su apreciado flameado verde. Eva Mistlberger, trabajadora de la empresa, nos muestra la exposición vinculada a la Capitalidad Europea de la Cultura que acoge en sus instalaciones: "Moss People", una propuesta del artista finlandés Kim Simonsson basada en unos desconcertantes personajes infantiles de musgo. Acudimos a otros espacios de arte del entorno como la sala Blaue Butter, donde conocemos a la gestora cultural Friederike Reiter; o un antiguo aserradero convertido en sede de "Acta liquida", un proyecto de Heidi Zednik y Elza Grimm que habla del lago, el cambio climático y la memoria. A bordo del Regional Express del Salzkammergut llegamos a nuestra siguiente parada, el pueblo de Ebensee, tristemente famoso por un campo de concentración. El director de su memorial, Wolfgang Quatember, y la jefa de artes visuales de la capitalidad cultural, Simone Barlian, nos animan a asomarnos a su gran túnel. En su interior, la artista japonesa Chiharu Shiota ha suspendido largos vestidos femeninos en una densa y gigantesca estructura de hilos rojos que invita a reflexionar sobre nuestro lugar en el mundo. Continuamos viaje en la ciudad de Bad Ischl, elegida por la familia imperial como destino de vacaciones tras experimentar las propiedades medicinales de sus aguas salobres. También es el lugar donde el emperador Francisco José se comprometió en tiempo récord con su futura esposa, Isabel de Baviera, alias Sissi. En nuestra visita a la Villa Imperial conocemos a uno de sus tataranietos, Maximilian Habsburg-Lothringen. Seguidamente volvemos al tren para alcanzar la estación de Bad Aussee, pintoresca localidad que descubrimos de la mano de Sarah Schwarzlmüller, de su oficina de turismo, y Sieglinde Köberl, directora del museo Kammerhof.Escuchar audio

Vor 100 Jahren starb Franz Kafka und hinterliess unvollendete Romane und einige Erzählungen. Er gilt als literarischer Prophet, der die Katastrophe des 20. Jahrhunderts vorhersah. Kafka ist der meistgelesene Autor deutscher Sprache. Und fasziniert bis heute. Warum? Kafka im Heute Kafka starb vor 100 Jahren und ist dennoch der meistgelesene Autor deutscher Sprache. Warum nur? Auf TikTok wird Kafka wie ein Popstar verehrt. BookToker geben sich berührt von seinen zeitlosen Texten. Auch die schweizerisch-rumänische Schriftstellerin Dana Grigorcea lässt sich von Kafkas Texten durch ihr Leben begleiten und empfindet sie als tröstend in Zeiten wie diesen. Und auch die 4. Klasse einer Kantonsschule in Zürich findet, dass Kafkas Texte gesellschaftliche Missstände thematisieren, die erstaunlich aktuell sind. Kafka im Comic Der österreichische Comic-Zeicher Nicolas Mahler veröffentlicht bereits den zweiten Kafka-Comic. «Kafka Komplett» heisst das schmale Büchlein und ist weit von Vollständigkeit entfernt. Vielmehr gelingt es Mahler in reduzierten Pinselstrichen Frank Kafka treffend zu zeichnen: ein oft verzweifelter, zerbrechlicher und gleichzeitig präzis denkender Mensch. Der aber durchaus Humor hatte. Kafka in der Kunst Kafkas Themen haben den Schriftsteller überlebt: Verzweiflung, unheimliche und klaustrophobische Verhältnisse, Machtmissbrauch oder Scham. In der Münchner Villa Stuck greift eine grosse Kunstausstellung diese Themen auf und führt sie weiter ins Heute. Die Comic-Umsetzungen der Kafka-Romane von Robert Crumb sind hier genauso vertreten wie grossformatige Fotos über die Einsamkeit von Teresa Hubbard und Alexander Birchler oder ein raumgreifendes Spinnennetz aus Wollfäden der japanischen Künstlerin Chiharu Shiota, dass das Mysteriöse und Magische in Kafkas Werk einfängt. Kafka in der Musik Die Kafka Band aus Prag ist vielleicht die einzige Rockband, die Texte eines Weltliteraten in musikalischer Umsetzung auf die Bühne bringt. Schriftsteller Jaroslav Rudiš und Comiczeichner und Sänger Jaromir 99 inszenieren aktuell zusammen mit gestandenen tschechischen Musikern «Der Process». Nach «Das Schloss» und «Amerika» widmet sich die Kafka Band nun dem dritten Romanfragment Franz Kafkas. Und Sänger Jaroslav Rudiš sucht Kafka bei jedem Auftritt im Publikum, denn er würde noch so gerne das eine oder andere Glas Bier mit ihm trinken.

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

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011. From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011. From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011.From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

Have you ever walked through an epic entanglement of red cotton thread, by the artist Chiharu Shiota? The Japanese installation and performance artist takes Daniel through The Soul Trembles, an exhibition highlighting 25 years of her practice. Including the time she undertook a nude workshop with Marina Abramovic, mistaking her for the textile sculptor Magdalena Abakanowitcz. Plus, Daniel speaks with performance artist Wura-Natasha Ogunji, who came to Sydney to lead a public endurance performance in which a group of women haul water kegs through the streets. It was first performed in Lagos, Nigeria in 2011. From the sky, to the moon and the neon of electric globes, light is art's most essential element. Tate UK has a huge collection of works that speak to the evolution of light, from natural source to fluorescent tubes. More than 70 of them are on show at the Australian Centre for the Moving Image (ACMI).

A new exhibition showcasing the works of internationally renowned Japanese artist Chiharu Shiota opens at Brisbane's Gallery of Modern Art. The Berlin-based artist is renowned for her large-scale room sized webs of red and black thread that explore themes of memories, anxiety, dreams and silence.

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. Welcome back.    I remember years ago, even eight, nine years ago, I bought an artist jewel, and people just didn't understand why you would buy a jewel from an artist. In fact, I was listening to a panel once, and somebody said they wouldn't buy an artist jewel by Man Ray because it wasn't what he was known for. That really surprised me, because I think I would want a piece like that because it's so unusual. What changed?   Elisabetta: I think people are more knowledgeable now. They study more. I'm talking about art, not about jewelry. Even young collectors who want to start a collection, they are eager to learn more about the artist and the works. I think they are acquiring a stronger sensibility in work that is art. Can jewelry be art? Yes, if it's done by an artist. Also, when people see an art piece from an artist and they see a jewel from the same artist, they see the connection. The dialogue is the same; there is a continuity.   Before, people were probably seeing it as a decorative piece rather than a pure art piece. The traveling exhibition really helped because it went to New York, it went to Miami, it went to Venice, it went to Paris at the Museum of Decorative Arts, I think Brussels. It went everywhere, and she is still working on it. She wants to bring it to Brazil and a main city in Italy like Milan or Rome. She's working on it. So, people are seeing art as jewelry, and they understand that it's not decorative, but it's an art piece. It's collectable, and it is precious not because it's a jewel, but because it is an intimate aspect of an artist.    An artist, especially in the past, they didn't do it for a commercial purpose. They did it for themselves, for their friends, for their lovers. It was only later that, for example, Picasso had François Hugo, who was doing his gold plates. He asked Picasso if he could do those big plates reduced as small medallions to wear. That was a goldsmith who actually started the collaboration with the medallions with Picasso, GianCarlo Montebello in Milan. In the seventies, they started inviting artists like Man Ray, GianCarlo Montebello, Niki de Saint Phalle, Lucio Fontana to do jewelry as a commercial business, basically.   Then, apart from people seeing artist jewelry in museums, they also see us: galleries showing in the best fairs around the world, in New York, in Maastricht, in London or in Paris, the Basel Design Fair in Miami, and also auctions. At the auctions, the prices are crazy. I can't buy at an auction. If I look at something that I would love to buy, I'm there, but I already know that I can't reach that price, because it goes five times more than the estimated price.   Sharon: The Picasso medallion was at auction. I don't know what it went for before. I don't even know if it sold, but when Bonhams had its modernist jewelry auction recently, that was the centerpiece, that Picasso medallion.   Elisabetta: Yes, even Claude Lalanne, for example, was at a recent auction in Paris, and the prices—the estimate was 3,000-5,000 euros, and it sold for 70,000 euros. I have two Lalannes, thank god. These pieces, they grow in value; we all know that. For example, recently I collaborated with Carlos Cruz-Diez, one of the most important Venezuelan kinetic artists. He passed away a few years ago at the age of 91, so he had a great life. He was an amazing artist. He was a beautiful man, and we did a necklace together and a bracelet. With him, we split the editions. He took a certain amount of necklaces and a certain amount of bracelets. Mine sold out, and I had one left in another color, gold. I had a client coming to see the pieces, and I was surprised at the increase in price. When I asked him, “Can you update me on the price?” the new price was 40% higher. I never say this to my clients because I don't like it. You buy it because you love it, not because you want to make an investment, but it's obvious that's an investment because, after two years' time, it's 40% higher.   Sharon: Somebody once said that people buy jewels done by artists because the painting, the artwork itself, may be unaffordable, but this way they can buy something that's relatively affordable. Do you find that true? Do you find that people say, “I love this artist. I want a piece of his or hers”?   Elisabetta: First of all, my collectors are art collectors, so those who buy my jewelry are mainly art collectors or lovers of jewelry. Most of them, they buy the jewel because they have the art piece but they can't carry it with them around the world, whereas the jewel, yes, they can, and they love it. Of course, if I say it's $30,000, for them, it's nothing compared to how much they paid for the art piece by the artist. Art collectors, they understand the value of the piece. Even if there is no diamond, no precious stones, they know it costs that amount of money because it's made by that artist.    Sharon: Was opening your own gallery something you wanted to do for a long time?   Elisabetta: No, not at all. I started this business as a passion. I wasn't really thinking to become a gallerist or a dealer. I just wanted to do something I really loved, that I always wanted to do. Even better, because I linked jewelry with art. I'm continuing to work one-to-one with visual artists. It's something I love, to talk to artists. I'm a curator as well because I choose the artists that I love, as a painter, as a sculptor. I choose the artist with whom I would like to collaborate. I see an art piece; I don't see a jewel at all. I love what they create, and it happened like this spontaneously.   Sharon: You've mentioned there's resistance from the artists. Is it because they're surprised that somebody would ask them to do that? Do they feel like, “I don't do jewels; I do paintings”? What's their resistance?   Elisabetta: I must say I've only had a few turn-downs, artists that say, “No, I'm not interested. It's not what I do.” They don't see it as their language, so they say, “I'm not doing it.” This past year there were ones that said “no is no,” but there were two or three others who said “not now.” I understood in time that “not now” means they are too busy creating art works and going to museums, as I said before, and that they need to have a quieter moment to do this. It's really very challenging for them.    Imagine an artist who creates big sculptures. They work with their hands, with arms opened up. They also have to think about wearability. How can I translate that sculpture into something very small, in the same language? How can I translate the strength of a big sculpture into a miniature? It's difficult. It's even frightening, but I am good at reassuring them that once they come up with an idea, with a sketch, with a prototype, I'm good at helping to transform it into something wearable.    Sharon: What's the process? They say, “O.K., now's the time,” they sketch something and bring it to you and say, “What do you think?”    Elisabetta: Once they agree, I ask them to create a sketch or a protype, something. I need to start with their design. They give me the design which, thank god, I always like it. It would be difficult to tell them I don't like it. Every time I pray it's something nice, and thank god, it was always nice.    Then I bring the design to my goldsmith, who is in Rome, and I start the production, meaning I start a protype. We do casts and samples in silver, and once I'm happy with my goldsmith, once we get close to the design the artist has given me, I show the first model of the prototype to the artist. Then we make changes. It's back-and-forth communication and changing until the artist is 100% happy. Then we can start making the piece in gold or in silver. It depends on the artist, if he wants to do it in silver or in gold.    It's all up to the artist whether we make a small edition or a unique piece or a bigger edition. The maximum I work with is an edition of 12. I have a few where I have an edition of 20, but that's because they're made in silver and it's easier. Still, even if it's an edition of 20, there are limits depending on how big it is. I also have unique pieces. In any case, even if it's a limited edition, it's always handmade at the end. There isn't a stamp, a mass production. It's always the hand of the goldsmith who needs to modify it. They are the same within an edition, but not exactly the same. We keep the beauty of it as well.   Sharon: I don't mean to put you on the spot, but it's a question that nobody can answer definitively: what's the difference between art jewelry and jewelry by artists? For instance, when I think of art jewelry, art jewelry can be made of gold or silver, but it can also be made of wood and plastic and feathers. What is the difference between somebody saying, “I do art jewelry” as opposed to, “I'm an artist”? What's the difference?   Elisabetta: The difference, very obviously, is that art jewelry is made by someone who does only that, and artist jewelry is a jewel made by a visual artist, a painter or a sculptor that has nothing to do with jewelry. It's a classic experiment. It's more traditional in a way. I've never an artist-jeweler bring an experiment or feathers. It's not the material; it's the intrinsic thing, the complexity of the material, combining the classic with precious materials. It's too advanced for an artist to do that, I think.   Sharon: That's interesting. If they're not doing jewelry, if their métier is painting or sculpture, to come and say, “I want to make something that has plastic and gold or plastic and wood,” that is—   Elisabetta: And you can see the difference. Just yesterday I sold a piece to a well-known American collector. I didn't know about her. She sent me an article about her collection. She has a contemporary jewelry collection. I call it contemporary jewelry, quite impressive, but it's very different from an artist jeweler. I don't know; It's a feel. It is a little bit colder to me.   Sharon: Cold contemporary. There's so much beautiful contemporary jewelry, but it's done for the beauty of the jewelry in a sense.    Elisabetta: Yeah, I see artist jewelry being more sculptural, more two-dimensional.   Sharon: Do you see this as a growing field? Are more galleries coming online with this?   Elisabetta: There aren't many galleries. There are five in the world. It may happen that a person wakes up in the morning and says, “O.K., I'm going to collaborate with an artist,” and they do three projects with different artists and then they disappear. There are only five proper galleries who have a program, who show at fairs, who are around, but the interest is for sure on collectors.    I would be happy for more galleries to open. The more there are, the better the word is spread. It's important. We need quality, not quantity, so if they open, they should do it in a nice way. It would be a shame to work with an artist and create something that is not properly made.   Sharon: Do you ever have artists come to you and say, “I'd like to do some jewelry”?   Elisabetta: Not visual artists.   Sharon: No?   Elisabetta: Not sculptors and painters. Jewelers? Yes, many, because I have two sections in my gallery. One is what I specialize in, which is artist jewelry. A few years ago, I opened up the gallery with jewelers who have a very strong sculptural approach when they create jewelry. For me, both of them are artists. Even if you're not a painter and a sculptor, you're indeed an artist as well, because you're creating something. So, a few years ago—I don't remember if it was before Covid—I launched this section, which is called EC Lab.   Sharon: I'm sorry; what is it called?   Elisabetta: EC Lab.   Sharon: EC Lab, O.K.   Elisabetta: You know about it.   Sharon: I've seen it. I didn't realize what it was. I've seen it on your website, yes.    Elisabetta: There are great artists there. There's Ute Decker; there's Joy BC; there's Gigi Mariani; Leonid Dementiev; John Moore. They are artists to me. Some of them actually create small sculptures. That is what they do for a living. It's not painting, it's not traditional sculpture, but their approach is sculptural and so unique that, for me, I don't see the difference between artist jewelry and contemporary jewelry, if you want to call it that. It's quite successful, and I enjoy seeing these artists within the context of artist jewelry and identifying them as artists.    Sharon: Interesting combination. I could see why that would work out, and that it's popular because it's not retail. You're not going to walk into a mall and find them.   Elisabetta: No. Actually, most are by appointment. Not everyone can come and ring the bell and come upstairs. You need to make an appointment because it's exclusive here, and I protect them. They're like my little children.   Sharon: So you have to do it by appointment. It's not like somebody walks in off the street.   Elisabetta: The gallery is always open, but I want people to make an effort to make an appointment.   Sharon: Is that the way it's always been?   Elisabetta: Yes.   Sharon: That's interesting. Elisabetta, thank you so much. I would love to enter your gallery. Thank you so much for joining us today.   Elisabetta: It's been a pleasure.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: The difference between art jewelry and jewelry by artists Why more collectors and jewelry enthusiasts are starting to appreciate artist jewelry How Elisabetta helps visual artists bring their first pieces of jewelry to life Why artist jewelry is a smart investment About Elisabetta Cipriani Elisabetta Cipriani invites world leading contemporary artists to create aesthetically innovative and socially relevant wearable art projects. Since the opening of her namesake gallery in 2009, Elisabetta's pioneering vision has redefined the boundaries between jewelry and fine art, capturing the imaginations of artists and collectors across the globe. The gallery has collaborated with over 50 critically acclaimed painters and sculptors, including Ai Weiwei, Chiharu Shiota, Giulio Paolini, Ilya & Emilia Kabakov, Carlos Cruz-Diez, Enrico Castellani, Erwin Wurm, Giorgio Vigna, Jannis Kounellis, Rebecca Horn, and Pedro Cabrita Reis, to name a few. The gallery's projects can be found in museums and private collections across the globe, including Musée des Arts Décoratifs, Paris; Museum of Art and Design, New York; World Jewelry Museum, Seoul; and The State Hermitage Museum, St Petersburg. A number of Elisabetta Cipriani's jewelry collaborations are featured in From Picasso to Koons: The Artist as Jeweler, the international touring exhibition of artist jewelry curated by Diane Venet. Elisabetta Cipriani participates in leading art and design fairs, including Design Miami and Design Basel, TEFAF Maastricht, Artissima Turin, MiArt Milan, PAD London, and PAD Monaco. Additional Resources: Instagram Website Photos: Available on TheJewelryJourney.com Transcript: For a long time, jewelry created by visual artists was considered lesser than artwork made in the medium the artist was known for (compare the price of Man Ray jewelry to the price of Man Ray photographs, for example). But in recent years, both jewelry and art collectors have realized the significance of artist jewelry, due in no small part to Elisabetta Cipriani. Through her gallery, Elisabetta Cipriani Wearable Art, Elisabetta collaborates with leading visual artists to create limited edition artist-made jewels. She joined the Jewelry Journey Podcast to talk about what inspired her to combine fine art and jewelry; the process she uses to work with artists; and why jewels by artists should be a part of any jewelry lover's collection. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there.   This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Elisabetta Cipriani, founder and owner of the gallery Elisabetta Cipriani Wearable Art, a gallery of limited-edition jewels created by artists. The gallery has collaborated with more than 50 well-known painters and sculptors since its opening in 2009. We'll hear more about Elisabetta's jewelry journey today. Elisabetta, welcome to the program.    Elisabetta: Hello, Sharon. Thank you for having me.   Sharon: So glad to have you. Tell us about your jewelry journey. Did you study jewelry as a young girl? Did you like glittery things? Tell us about that.   Elisabetta: Basically, I didn't study jewelry when I was in university. I never studied jewelry; I only had a big passion for traditional jewelry. I'm Italian. I come from Rome, and there is this Italian tradition of having beautiful jewelry. Especially in the 80s, women were going out with parures, with the necklaces and bracelets. They were taken out from the safe for special occasions. I have memories of me as a young girl on my mother's bed with her jewelry on the bed, dressing up for various events and weddings. I was touching them and looking at them from the back and the front, and I was trying them on and asking her all the time, “Please, can I have this when I'm older?” I was playing with them while she was selecting the right piece for the right event. For me, when she went out, it was the best moment. It wasn't like playing with a doll. It was like, “Oh my god, beautiful jewelry. I can have a look at them again.” I've always had this passion.    I have a background in jewelry in terms of how to make a jewel. I didn't study the history of jewelry. Of course, now I know about it because I read and studied a little bit. I'm not an expert; I know what I'm talking about, but I never had the occasion to study in depth in university, for example. When I finished school, I wanted to study jewelry, to create jewelry, and my father said, “There's no way you can do that. You need to do a proper degree.” I took a gap year, and I remember that I did an evening course on pearls and diamonds. It was really advanced, and I didn't understand much of it, but I ended up doing history of arts, which is now all connected.   After university, I worked in a museum of contemporary art in Rome called MACRO. It's a state museum for contemporary art in Rome. I worked there for three years as co-curator. I had the best experience of my life because I met the most important artists the museum was inviting to have their exhibitions there. How old was I? I was 23 years old, and for me, it was natural to talk to a famous visual artist like Tom Wesselmann, who passed away, or Cecily Brown, Vik Muniz, Tony Cragg. For me, it was natural to have a conversation with them and go to their artists' studio with the director of the museum to select the artworks for the exhibition. I learned how to move in the world of art with the artists. I was really comfortable being with them, but deep in my heart, I always had this love for jewelry. I was wearing jewelry from my mother and grandmother that they were giving to me as gifts. I always kept it as a passion.   I moved to London in 2005, and I worked for an art gallery. I left Rome because I wanted to grow and be independent and learn the art market, how you sell an art piece, rather than being a curator. Then I learned about jewelry by Picasso and Man Ray, and I thought it was an interesting topic to follow and learn about. Then there was Louisa Guinness. I used to work for the husband of Louisa Guinness, Ben Brown. At that time, I think it was two years since she had started her business, and she had one kid after another. She asked me to bring the cabinet of jewelry to the art fairs, so I was bringing this cabinet with Picasso jewelry and Kapoor jewelry. It was 17 years ago. I remember there was an interest in artist jewelry, but not as much as today. I was selling the pieces. People were seeing them more as jewelry back then, sculptures by artists. It's weird how things have changed. The perception is that what you are buying or owning is not a jewel, but it's an art piece you can wear by a visual artist.    I worked for Ben Brown for three years, and then I got married. When I was pregnant, I said, “That's it. I'm not going to continue working for the gallery. I want to work independently. I'm going to open my own business.” I started an artist jewelry gallery. I invited the artists I met at the Museum of Contemporary Art in Rome and asked them to work with me. At the beginning, they were very supportive. Most of them said yes. One didn't say yes, but I'm still in touch and asking him if he would like to do a project with me. I've been waiting 12 years and he hasn't come back to me yet. He didn't say no. They say they are busy with their art works, with their museum shows. An artist needs to be free mentally and needs the time to sit down and work small. You might think it's straightforward for an artist to do a wearable art piece, but it's not something they typically do. My first collaboration was with Tatsuo Miyajima, a Japanese artist. He works with LED. He's a very established sculptor from Japan.   Sharon: What is his name? I'm not familiar with him.    Elisabetta: Tatsuo Miyajima. If you want, I can send you his email.   Sharon: That would be great. So, he's very established. What was his reaction when you talked with him?   Elisabetta: This was in 2009. He was surprised at the time that someone would propose something so unusual. He had never done a jewel, so it was also a challenge for him, and he agreed. He sent me an LED from Japan. Basically, it's a digit with numbers that count from one to nine or nine to one. I have it here. It represents the continuation of life in Buddhism. It's never zero. This LED has been mounted inside a ring with three colors: rose gold, white gold and yellow gold. It's a very complicated ring to put together. When you close the ring, the ring turns on and you see this LED that counts from one to nine. Whoever buys the ring can choose the counting speed, from one second to five minutes, because you decide how long you want your life to move on.    Actually, a museum purchased this piece for the museum collection. The museum is called the Slager Museum in Hertogenbosch. They did a beautiful exhibit called “Private Passion” many, many years ago, and they bought the Miyajima ring and a few other pieces. It was my first museum purchase.   Sharon: How exciting.   Elisabetta: It was very exciting. My first project was with Tatsuo Miyajima, then Atelier Van Lieshout, then Tom Sachs. I only had three pieces, and the museum contacted me to go to Holland and bring this jewelry, these small pieces to show them. I was very pleased with it.   Sharon: Wow! You're just starting your own business.   Elisabetta: When I look back to how I started and with the resources I had, it's incredible what I've done in the past 12 years. I should say to myself more often that I should be proud of myself. Normally I don't say those things. I always move forward, and I never stop and say, “Well done, Elisabetta.” Sometimes I need to stop and say it.   I'm inside my husband's gallery, Sprovieri. We are in Mayfair. When I started in 2009, my husband only had a piece of the gallery. Ten years ago, he expanded and got another space which is linked to this one. When I started, he gave me a shelf from his library. So, I had this shelf and then he said, “O.K., you can take this space.” It was a shelf like this. I think it was light blue or grey blue; I don't remember which color. I put my three little jewels on it. So, I had this shelf with these three jewels, and I remember Diane Venet, the most important artist jewelry collector in the world, coming to visit me to see my new projects. I was young; everything was new. She bought the Miyajima ring and the Atelier Van Lieshout piece. That's how I started from my little shelf.    Then I took a small space from the gallery. In 2019, when I celebrated the 10-year anniversary of my business, I took this space here, which is very nice. It's always inside my husband's gallery, where he sells art. It's very nice, because when people come to see the exhibition of an artist, then they come here and discover the most intimate aspect of an artist, which is a jewel.   Sharon: How did Diane Venet know that you even existed there? Were you advertising? How did she find out about you if you only had three pieces?   Elisabetta: When I was working from Ben Brown and bringing this jewelry to the fairs, I spoke to her a few times. I went to see her exhibitions because I was starting to become passionate about artist jewelry. That's how I learned about artist jewelry. So, I went to her. I think her first exhibition was in—I don't remember the city in France where she first showed her collection, but she brought this exhibition to the MAD in New York. I kept in touch with her, and she came to visit me. After a few years, when she opened her exhibition at the Museum of Arts and Design in New York, she invited me to talk with her and Didier and Marc Vendome in this huge stadium about my projects.    In any case, I continued inviting artists to work exclusively for me worldwide. I had a very successful project with Giuseppe Pennone; he's an artist from the arte povera movement. He created this beautiful necklace called “Feuille,” which means leaf, made in bronze and pure gold. The necklace is basically bronze where it's rolled into a leaf, and the artist's hand is imprinted on the leaf because his work is about the connection between nature and the person and the human. It was a very successful piece, and I brought it to my first fair in Paris.    The fair was in 2011 or 2012. It was my first fair. At the fairs, there's always a prize for the best piece in the fair or the best designer. At that fair, there was a prize for the best piece. I was not even thinking about the prize. For me, I was like, “Oh my god, it's my first fair. How do I do this?” I was panicking. Then all of a sudden, the director of the fair came to my booth and said, “Congratulations, you've won the prize.” I'm like, “Which prize?” I won the prize for the best piece in the fair with the Feuille necklace. The prize was basically that the Museum of Decorative Arts in Paris would purchase the best object of the fair and put it in the collection of the museum.   Sharon: That's a high bar to pass. You surpassed it.    Elisabetta: Exactly. There were dealers there who had 40 years of experience. I had just arrived in their world. That piece sold out in less than six months, which is quite unusual for an artist jewel, especially back then. Now, things are quicker. I remember when I started, I had an inquiry once a month. Now, I've got 10 inquiries a day for prices from people all around the world. I don't know how they know about me because I'm so niche in field. I think this is the power of the virtual world, that people browse online and discover. Maybe it's actually thanks to Diane Venet, because she's bringing her collection around the world and people are even more knowledgeable about the subject matter. They might see pieces that come from me, so maybe it's because they've seen it in Diane's exhibition.

Olivier Varenne is a curator and independent art dealer with over 20 years experience working with leading contemporary artists, sourcing and placing quality artworks on behalf of individual collectors and art institutions, and curating exhibitions for museums and galleries. Olivier has collaborated with established artists including Marina Abramovic, Matthew Barney, Wim Delvoye and Gilbert & George as well as championed emerging contemporary artists like Toby Ziegler, Ryoji Ikeda, Chiharu Shiota and Conrad Shawcross at the start of their career. Olivier is currently Director of Acquisitions and Curator at MONA (Museum of Old and New Art), after having held the position of Director of Exhibitions and Collection for 13 years. Prior to joining the new museum in 2006, Olivier spent his formative years in London working amongst the Gagosian sales team. Olivier Varenne will be at Art Geneve 2021. www.Varenne.art --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Vone Petson nasceu em Porto Nacional, Tocantins, Brasil em 1979. Vive e trabalha em Palmas, Tocantins. É artista visual e exerce a curadoria há 12 anos. Pós-graduado em Museografia e Patrimônio Histórico. Graduado em História e Filosofia. Presta serviços no Sesc no Tocantins como curador, gestão e produção em Artes Visuais. Criador da Casa Visual Galeria e é membro fundador do NUGRATO – Núcleo de Gravura do Tocantins. [Vone Petson was born in Porto Nacional, Tocantins, Brazil, in 1979. He lives and works in Palmas, Tocantins. He's a visual artist and works as a curator for 12 years. He holds a postgraduate degree in Museums and Historical Heritage. He's graduated in History and Philosophy. He works for SESC Tocantins as a curator, manager and producer in Visual Arts. He created the Casa Visual Galeria and is one of the founder members of NUGRATO - Núcleo de Gravura do Tocantinst (Center of Engraving in Tocantins)]. ///imagem selecionada|selected image: Chiharu Shiota, "The key in the hand" ("A chave na mão"), 2015/// [entrevista realizada em 29 de agosto|interview recorded on august 29th] [link para YouTube: https://youtu.be/qp6UllfSlxo]

Using place as her canvas, Japanese contemporary artist Chiharu Shiota creates a new visual plane in her monumental installations. She suspends networks of media, from used everyday objects to her signature red and black threads strung across entire spaces, tying individual narratives together. It is as if she is painting in midair. Come, journey with me into her universes of bellowing and dripping colors and lines. .Resources for this episode include: Chiharu Shiota website, writings of Robert Atkins, Wes Kelly, Skye Sherwin, Kate Sierzputowski, Peter Corboy and the interview series Brilliant Ideas. Image credit: Chiharu Shiota website.

Using place as her canvas, Japanese contemporary artist Chiharu Shiota creates a new visual plane in her monumental installations. She suspends networks of media, from used everyday objects to her signature red and black threads strung across entire spaces, tying individual narratives together. It is as if she is painting in midair. Come, journey with me into her universes of bellowing and dripping colors and lines. .Resources for this episode include: Chiharu Shiota website, writings of Robert Atkins, Wes Kelly, Skye Sherwin, Kate Sierzputowski, Peter Corboy and the interview series Brilliant Ideas. Image credit: Chiharu Shiota website.

ART EXPO NEWS : DECROCHAGES BRUXELLOIS, mercredi et vendredi à 9h10 et 12h10. Chronique animée par Julie Gabrielle Chaizemartin, Justine Maurel, Stéphane Dubreil ou Paul Ernst sur l'actualité des expositions et des manifestations culturelles. Cette semaine, Paul nous parle de l'exposition "Shiharu Shiota, Me Somewhere Else" aux musées royaux des beaux-arts de Belgique jusqu'au 9 février 2020.

Confira os destaques do Caderno 2 desta sexta-feira (15/11/19)See omnystudio.com/listener for privacy information.

Com o time completo da redação, Helena Bagnoli, Guilherme Werneck, Almir de Freitas, Paula Carvalho e Andrei Reina, não faltou assunto neste podcast. Olha sobre o que a gente conversou: 1, O livro Pontos de Fuga, segundo volume da trilogia criada por Milton Hatoum (1:24) 2. A exposição Linhas da Vida, de Chiharu Shiota, em cartaz no CCBB de São Paulo ( 9;16) 3. O festival Música Estranha, que acontece em São Paulo de 21 a 24 de novembro (13:48) 4. A peça Mãos Sujas, de Jean Paul Sartre, na montagem de José Fernando Peixoto de Azevedo (24:05) 5. A estreia nos cinemas do doc Bixa Travesty, de Claudia Priscilla e Kiko Goifman, sobre a Linn da Quebrada (31:51) 6. O festival Arte na Usina em Pernambuco (38:30) 7. Uma comparação entre as séries Pico da Neblina, da HBO, e Irmandade, da Netflix (46:00) 8. A estreia do filme Parasita, de Bong - Joon-ho, vencedor da Palma de Ouro em Cannes (56:16) 9. A volta do Momento Bartleby, ou: melhor não (1:03:00)

Hey everyone. I hope everyone is enjoying the end of summer. Things are going well in China. There is a lot to learn about the Chinese bureaucratic system as I try to get things done. There's always a sense of community over individuality, which is interesting in the context of art and creativity and trying to be an individual. I am still trying to find my routine after the first two weeks of classes, but it is becoming more clear how to schedule my time. I have two videos I am currently editing from my time in Berlin. I hope to finish both by the end of the year. Fingers crossed!For today's episode, I get to talk and laugh with Shannon Tamara Lewis. I first met Shannon through the The Berlin Diaspora Society, a group founded by Indrani Ashe. The purpose of the group is to set up studio visits with artists working from a non-European perspective. At the time, Shannon and I were visiting another artist's studio and we hit it off. We exchanged visits and I got to go to Shannon's studio, which happens to be in the same space as Chiharu Shiota, one of my favorite artist. and I had one of the most refreshing conversations with Shannon about the Berlin art scene and really looked forward to being able to record our interactions.Shannon got her BFA from the Ontario College of Art & Design and an MFA at Goldsmiths in London. Shannon’s practice is about demanding a pleasure space that plays with primping and polishing not as an assimilation to the fashion-beauty complex; but a space of satisfying self-care and artistry. Her work hovers between wanting to desperately participate in the trappings of privilege and wanting to tear down the structures that provide them. We talk about all these topics, as well as the ghost of representation, the scrambling of identity, and putting specificity in one's work.Shannon has quite a few shows lined up this fall, so if you are in any of these places, go check them out. Shannon has as a pop up show in London on September 26, an exhibition at the Projektraum in Kunstquartier Bethanien in Berlin on October 3rd, another exhibition at Alice Yard in Trinidad and Tobago on November 13th, a group show at the Les Urbaines Festival in Lausanne, Switzerland on December 6th, and finally, a pop up exhibition at BUTCH Cut in Berlin on January 18th.I'll also add more information in the show notes and on social media as I get more information. In any case, I hope you enjoy our conversation.Photo: Min Wei TingLinks Mentioned:Shannon's WebsiteShannon's InstagramThe Golden Brown GirlsThe Berlin Diaspora SocietyIndrani AsheYinka ShonibareReni Eddo-LodgeLeilah WeinraubAvery F. Gordon - Ghostly MattersAlice Yard ResidencyFirelei BaezJoiri MinayaButch Cut BerlinFollow Seeing Color:Seeing Color WebsiteSubscribe on Apple PodcastsFacebookTwitterInstagram

Thank you for listening to this Lunchtime Talk, produced by the Art Gallery of South Australia. In this live recording, Art Gallery curators Leigh Robb and Russell Kelty introduce the work of contemporary artist Chiharu Shiota in her first Australian public gallery survey. For further information visit www.agsa.sa.gov.au image detail: Chiharu Shiota, 'Absence Embodied', 2018, Art Gallery of South Australia; photo: Saul Steed

Kellie O'Dempsey demonstrates her live performance drawing in studio, creating images to project on the wall, producer Julia Peters and Sidney Nolan's daughter Amelda Langslow on ABC TV documentary Nolan, acclaimed author Nick Earls on his new book about artist Brisbane artist William Robinson, and OzAsia Festival showcases installations by Chiharu Shiota and JeeYoung Lee, and a very unusual funeral by Anida Yoeu Ali.

Kellie O'Dempsey demonstrates her live performance drawing in studio, creating images to project on the wall, producer Julia Peters and Sidney Nolan's daughter Amelda Langslow on ABC TV documentary Nolan, acclaimed author Nick Earls on his new book about artist Brisbane artist William Robinson, and OzAsia Festival showcases installations by Chiharu Shiota and JeeYoung Lee, and a very unusual funeral by Anida Yoeu Ali.

Scrumbly Koldewyn remembers the '60s San Francisco theatre scene; Jenny Gilbert & Shahdiha Bari debate environmentalism and fashion at the V&A and Clare Lilley Director of Programmes at the Yorkshire Sculpture Park looks at the use of thread and textiles in art. Plus drag at The Royal Vauxhall Tavern in London with performers Lavinia Co-op and Rhys Hollis, plus Ben Walters who is researching this history.The environmental impact of fashion over more than 400 years is examined in the first UK exhibition to look at this topic. That's how the V&A is billing its new show Fashioned From Nature. Jenny Gilbert from De Montfort University visits the display and talks to Shahidha Bari about her research into textiles. Fashioned from Nature runs at the Victoria and Albert Museum in London from April 21st to January 27th 2019. The Yorkshire Sculpture Park is displaying Beyond Time an installation in the C18th chapel by Chiharu Shiota until September 2nd.Scrumbly Koldewyn is one of the founding members of the Cockettes, the legendary psychedelic hippie theatre troupe based in San Francisco in the 60s The tenth season of RuPaul's Drag Race has just started to air on Netflix. The Royal Vauxhall Tavern is South London's oldest surviving gay venue and is the UK's first building to be Grade II listed in recognition of its importance to LGBTQ community history. Producer: Debbie Kilbride

Back from a Deep Dive in Savannah, Joe and Matthew reflect on their visit and their conversation with curator Rachel Reese. Stops at The SCAD Museum of Art and the Jepson Center – part of the Telfair Museums – are included. Exhibitions by Jose Parla, Carlos Cruz-Diez, and Chiharu Shiota, are discussed. The day’s audio […] The post . . . But, That’s Savannah | Episode 18 appeared first on Brain Fuzz.