Podcast appearances and mentions of Claude Cahun

“Objets en question” Archéologie, ethnologie, avant-gardeau musée du quai Branly – Jacques Chirac, Parisdu 11 février au 22 juin 2025PODCAST – Entretien avec :Alexandre Farnoux, Professeur d'archéologie et d'histoire de l'art grec à Sorbonne Université,Polina Kosmadaki, Conservatrice d'art moderne et contemporain et Conservatrice en chef du Département des Peintures au musée Benaki d'Athènes,Philippe Peltier, Conservateur général du patrimoine, ancien responsable de l'Unité patrimoniale Océanie-Insulinde au musée du quai Branly – Jacques Chirac,et Effie Rentzou, Professeure de littérature française à Princeton University, commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 10 février 2025, durée 24'03,© FranceFineArt.Communiqué de presse CommissariatAlexandre Farnoux, Professeur d'archéologie et d'histoire de l'art grec à Sorbonne UniversitéPolina Kosmadaki, Conservatrice d'art moderne et contemporain et Conservatrice en chef du Département des Peintures au musée Benaki d'AthènesPhilippe Peltier, Conservateur général du patrimoine, ancien responsable de l'Unité patrimoniale Océanie-Insulinde au musée du quai Branly – Jacques ChiracEffie Rentzou, Professeure de littérature française à Princeton UniversityLe commissariat de l'exposition a été conçu en partenariat scientifique avec le musée Benaki d'Athènes et l'École française d'Athènes. Avec le soutien de la Fondation Marc Ladreit de Lacharrière.Qu'est-ce qu'un objet d'art ? Qu'en dire ? Comment le présenter ? Objets en question présente le dialogue fertile et dynamique entre recherche scientifique et art d'avant-garde autour de ces questions pendant la période de l'entre-deux guerres en France.En présentant des oeuvres d'art, des notes, des croquis, des publications, l'exposition évoque cette approche expérimentale et rend compte des croisements entre archéologie, ethnologie, anthropologie et pratique artistique, en mettant l'accent sur le surréalisme.À partir des années 1930, plusieurs revues liées aux avant-gardes artistiques sont les supports d'une nouvelle dynamique. Cahiers d'art (1926-1965), Minotaure (1933-1939) et Documents (1929-1930) en particulier, créent un décloisonnement sans précédent des disciplines en mettant en dialogue des reproductions photographiques d'oeuvres antiques, modernes et extraeuropéennes. Galeries, musées, collections accompagnent ce mouvement. Cette mise en regard inédite soustrait oeuvres et objets à l'autorité de l'histoire de l'art classique, tout en en faisant naître des nouveaux sens.Parmi les collaborateurs et intervenants de ces revues, Pablo Picasso, Georges Henri et Thérèse Rivière, André Breton, Michel Leiris, Charles Ratton, Joan Miró, Brassaï, Claude Cahun ou encore Georges Bataille, aux côtés d'archéologues, d'ethnologues et de conservateurs de musées ou galeristes, partagent une curiosité commune pour l'art appartenant à un passé lointain, l'art non-occidental, mais aussi pour l'art populaire et l'art du quotidien. Leur approche expérimentale donne naissance à une nouvelle perception des objets, des lieux, des époques. Ils interrogent le concept même de musée en posant ces questions fondamentales : Qu'est-ce que l'objet ? Qu'est-ce que l'art ?Composée de quatre sections thématiques, conçues comme des constellations où oeuvres et archives manuscrites dessinent une figure et produisent du sens, l'exposition crée des interactions, parfois dissonantes, entre univers et cultures différents. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Join us for a thought-provoking conversation with Amber Massie-Blomfield, author of Acts of Resistance: The Power of Art to Create a Better World. This conversation, recorded in store, dives into the profound role art plays in times of crisis. Amber shares stories of artists who defied oppressive regimes, like Claude Cahun's surrealist resistance in Nazi-occupied Jersey and Susan Sontag's production of Waiting for Godot during the siege of Sarajevo. We explore how art inspires activism, questions societal norms, and fosters collective resilience. From daring theatrical productions to sunflower-lined streets, Amber reveals art's transformative potential to unite and inspire. Whether you're an artist, activist, or curious thinker, this episode challenges the notion that art is “just” entertainment and posits it as a force for meaningful change.Buy Acts of Resistance: https://www.shakespeareandcompany.com/books/acts-of-resistance*Amber Massie-Blomfield's first book, Twenty Theatres to See Before You Die, was published by Penned in the Margins in May 2018, and received the Society of Authors' Michael Meyer Award. Formerly executive director of internationally renowned theatre company Complicité, she has also worked as an arts producer with companies including Camden People's Theatre, Barbican, Actors Touring Company, tiata fahodzi, and English PEN. She lives in Brixton. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Due to the recent fires in Los Angeles, we are experiencing some delays with our scheduled programing. Thankfully, the Alarmist Team is safe, but we have been impacted by the Eaton Fire. We appreciate your patience during this time and look forward to being alarmed together. For updates, follow us on instagram @thealarmistpodcast or subscribe to our Patreon. Our hearts are with everyone in our beloved city, especially those who lost everything. Stay safe and as always, stay alarmed. On this week's Aftermath REWIND, Rebecca speaks with Jennifer L. Shaw - Professor Emeritus of Art History at Sonoma State University. Author of Exist Otherwise: The Life and Work of Claude Cahun, Professor Shaw sheds more light on the uniquely rebellious progressive art Claude and Marcel were producing in the surrealist community at the time and reminds us of the ongoing gender bias in the art world. Afterward, Producer Clayton Early and Fact Checker Chris Smith stop by to revisit the verdict. We have merch!Join our Discord!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on Twitter @alarmistThe Support this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

Due to the recent fires in Los Angeles, we are experiencing some delays with our scheduled programing. Thankfully, the Alarmist Team is safe, but we have been impacted by the Eaton Fire. We appreciate your patience during this time and look forward to being alarmed together. For updates, follow us on instagram @thealarmistpodcast or subscribe to our Patreon. Our hearts are with everyone in our beloved city, especially those who lost everything. Stay safe and as always, stay alarmed. On this week's REWIND, The Alarmist (Rebecca Delgado Smith) welcomes the hilarious Paula Poundstone to discuss the lives and deaths of queer artists, writers and Nazi resisters Claude Cahun and Marcel Moore. They're joined by Fact Checker Chris Smith and Producer Clayton Early. Is this the episode where You Know Who finally ends up in The Alarmist Jail where they belong? Tune in and find out!We have merch!Join our Discord!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on Twitter @alarmistThe Support this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

Lee Harrington http://www.PassionAndSoul.com joins Luxa https://linktr.ee/LuxaStrata to discuss ritual, psychonautic exploration, body magic, and more! Lee also shares about his personal magical practice, and his Patron deity, Bear. During a break, enjoy a stroll through history as we honor Claud Cahun, Marcel Moore, and the Soldier with No Name. Luxa also shares listener mail and an update about The Green Mushroom Project https://greenmushroomproject.com/ and Void House- creating a consent forward magical space for conducting group work both in person and online, investigating the magical and alchemical properties of consent and providing consent education to magically inclined people. This episode also includes a track from TheTomO'Bedlam. Much Love! Thanks for listening to the Lux Occult Podcast! Support the show by helping Luxa buy books and curtail other costs, as well as taking a bibliomancy break by giving on Patreon: https://www.patreon.com/luxoccult . Or, Buy Me a Coffee.com is an option for a one time donation: https://www.buymeacoffee.com/luxoccultpod?new=1  We would love to hear from you! Please send your thoughts, questions, suggestions or arcane revelations to luxoccultpod@gmail.com or message on Instagram @luxoccultpod https://www.instagram.com/luxoccultpod/ Lee Harrington's  work: Join Lee's Patreon: https://www.patreon.com/passionandsoul Visit Lee's Website: http://www.PassionAndSoul.com Upcoming events and newsletter: http://www.PassionAndSoul.com/events TheTomO'Bedlam: Soundcloud: https://on.soundcloud.com/qrwer  Bandcamp: https://thetomobedlam.bandcamp.com/ Check out The Consent Academy https://www.consent.academy/ The Green Mushroom Project https://greenmushroomproject.com/ Find Luxa's work published in Serpents of Circe: A Manual to Magical Resilience edited by Laura Tempest Zakroff and Ron Padrón https://revelore.press/product/serpents-of-circe-a-manual-to-magical-resilience/ Weird Web Radio Episode 101- Luxa Strata- Consent, Chaos Magic, Experiments and The Self https://open.spotify.com/episode/4t431wA9D1uNnM2SAUa2ci?si=rDyF_nAUR3qOYJ5LWhcB5A Sex and Sigil Magic 101 w/ Luxa Strata and Damian Agony, Kinkschool 2024 (November 23rd, 2024) Use code LUXA10 to get 10% off tickets! https://www.kinkschool.ca/ Curious about steel mace flow? Check out Fourth Dimension Fitness: https://www.fourthdimensionfitness.com/ Companion Episodes of Lux Occult: 70. Spinoza and the Sexy Dangers of Pantheism, Transdivinity & Agdistis w/ Rocket https://podcasters.spotify.com/pod/show/luxa-strata/episodes/70--Spinoza-and-the-Sexy-Dangers-of-Pantheism--Transdivinity--Agdistis-w-Rocket-e2bnjsi 86. Learning the Language of Lenormand w/ Erika Robinson https://podcasters.spotify.com/pod/show/luxa-strata/episodes/86--Learning-the-Language-of-Lenormand-w-Erika-Robinson-e2mvsb4 88. Autonomy, Egregores, Magic & More w/ The Consent Academy https://podcasters.spotify.com/pod/show/luxa-strata/episodes/88--Autonomy--Egregores--Magic--More-w-The-Consent-Academy-e2o0rp8 48. The 5 Pillars of Consent w/ Zach Budd & Odin and Inclusive Heathenry w/ Lonnie Scott https://podcasters.spotify.com/pod/show/luxa-strata/episodes/48--The-5-Pillars-of-Consent-w-Zach-Budd--Odin-and-Inclusive-Heathenry-w-Lonnie-Scott-e1m0qbr 77. The Fixed Gaze w/ Aidan Wachter https://podcasters.spotify.com/pod/show/luxa-strata/episodes/77--The-Fixed-Gaze-w-Aidan-Wachter-e2gfb42 85. Demons, Playing Cards & Wreck This Deck w/ Becky Annison & Secrets of Greek Mysticism w/ George Lizos https://podcasters.spotify.com/pod/show/luxa-strata/episodes/85--Demons--Playing-Cards--Wreck-This-Deck-w-Becky-Annison--Secrets-of-Greek-Mysticism-w-George-Lizos-e2mds6s

On this week's episode of This is Not a Poem, host Elliot K.B. was joined by WRP's Yannick Champion-Osselin to discuss Jewish poet and photographer Claude Cahun and their poem Prisonnier du verbe.  They discuss the poem's liberation from traditional poetic form, as well as the text's multitude of binaries and art as political in the historical context of resistance against German occupation.

Hva har huleboere, renessansen og 1900-tallet til felles? Jo, selvfølgelig skeive folk! Lobbyen snakker om noe de kan bittelitt (men ikke så veldig mye), om, nemlig skeiv kunsthistorie. Bea, Elwyn og Melinda reiser gjennom tiden fra urtidens hulemalerier til nåtidens Marvel og all kunst som befinner seg i mellom, og tolker alt med deres skeive briller.

“Regarde !”150 ans de livres de photographies pour les enfantsà la Maison de la Photographie Robert Doisneau, Gentillydu 1er mars au 31 mai 2024Interview de Laurence Le Guen, autrice du livre « 150 ans de photolittérature pour les enfants » publié aux éditions MeMo et commissaire de l'exposition,par Anne-Frédérique Fer, à Gentilly, le 26 février 2024, durée 25'07,© FranceFineArt.https://francefineart.com/2024/02/29/3519_regarde_maison-de-la-photographie-robert-doisneau/Communiqué de presseCommissariat : Laurence Le Guen, autrice d'une thèse sur les ouvrages photographiques pour enfants, chercheuse associée au laboratoire du Cellam à l'université Rennes 2, membre de l'Afreloce et professeure de lettres.L'exposition est composée de prêts issus de collections publiques (Fonds patrimonial Heure Joyeuse – Médiathèque Françoise Sagan) et de prêts issus de collections particulières Née au XIXème siècle, la photographie investit très tôt le livre, afin de pouvoir être diffusée efficacement au plus grand nombre. Loin de réserver ce canal de diffusion aux adultes, les photographes voient là une possibilité de conquérir un nouveau public : les enfants. Collaborant avec des écrivains, ils s'essaient avec entrain à la création d'ouvrages pour la jeunesse, et font preuve d'une très grande inventivité pour créer autour de leurs images des fictions, des livres d'apprentissage ou des albums novateurs.Ces créations dites photolittéraires sont le reflet de leur époque, témoignent de la variété des courants pédagogiques, esthétiques et politiques, mais aussi des avancées techniques qui accompagnent le développement de la photographie.Longtemps la photographie fut la mal aimée des livres pour enfants. Aujourd'hui encore, la photographie reste marginale en littérature jeunesse et le livre photo-illustré souffre toujours d'un manque de reconnaissance. Pourtant, depuis quelques années, on redécouvre l'importance et la variété de cette abondante production. On se rend compte que bon nombre de grands photographes ont contribué activement à son histoire : Ansel Adams, Laure Albin-Guillot, Claude Cahun, Edward Curtis, Dominique Darbois, Robert Doisneau, Hannah Höch, Frank Horvat, André Kertész, François Kollar, Ergy Landau, Jacques-Henri Lartigue, Thérèse Le Prat, Duane Michals, Annette Messager, Sarah Moon, Marc Riboud, Alexander Rodtchenko, Cindy Sherman, Emmanuel Sougez, Edward Steichen, William Wegman, pour lesquels ces livres font pleinement partie de leurs oeuvres.Bien plus, des titres signés des maîtres de la photographie sont réédités et figurent désormais dans les rayonnages des bibliothèques enfantines. Ainsi, les assemblages d'objets hétéroclites de la photographe surréaliste Claude Cahun (1894-1954) pour le Coeur de Pic sont de nouveau accessibles. La fourrure des oursons de la photographe animalière Ylla (1911-1955) est plus soyeuse que jamais. Et les jeunes lecteurs peuvent désormais admirer la profondeur du noir et blanc des images du photographe japonais Eiköh Hosoe (né en 1933) dans Taka-Chan et moi.La Maison de la Photographie Robert Doisneau invite aujourd'hui le public à redécouvrir l'histoire de cette production rarement présentée au public par les institutions.[...]Laurence Le Guen, Commissaire de l'exposition Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Selfies, turistfotografier och snapshots. Fotokonstens framgångssaga tycks bygga på människans lättja och behov av kravlöshet. Pontus Kyander funderar på vad som syns i bilderna vi tar i flykten. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad 2022-04-11.Cogito ergo sum hävdade filosofen Descartes. Jag tänker, alltså är jag. Så kan bara den säga som inte har ett eget Instagramkonto och aldrig rört en selfiepinne. Numera tycks det existentiella tvivlet ha flyttat bort från tanken som medvetandeakt. Istället handlar det om att synas för andra: du finns, för du är sedd. Och inte bara du själv, utan också ditt vinglas i motljus vid Medelhavet, eller ditt härliga smørrebrød på lunchrestaurangen i Köpenhamn. Det blir så fint på bild, och det är så lätt. Låter det banalt? Som en ”fotografins olidliga lätthet” – för att travestera enboktitel av Milan Kundera – när mönstret upprepas om och om på sociala medier?Det var inte så länge sedan som varje fotograf var tvungen att tänka en gång extra före det avgörande trycket på utlösaren. Ännu på 90-talet var det fysisk film i de flesta kameror. Varje film rymde som mest 36 futtiga bildrutor. Åter hemma låg överraskningarna på lut i filmens stålkapsel. Ibland hade allt hakat upp sig på någon teknisk fadäs, bilderna var kanske suddiga, felexponerade eller filmen helt blank.Ännu värre var det i fotografins barndom. Fotograferna hade stora stativ och bälgkameror som drogs ut som dragspel för att få rätt exponering och skärpa, och de fotograferade på dyra glasplåtar, en bild i taget. Fotografen under ett svart dok kunde bara någorlunda se om bilden var skarp, och att exponeringens längd blev rätt byggde lika mycket på skicklighet som på en from förhoppning. Lätt var det inte, men fotografins olidliga lätthet har ändå en förhistoria.Jag bläddrar i en bok om finlandssvenska resenärers fotografier med titeln Med kamera och koffert. Resefotografier före massturismen (SLS, 2021). Jag fascineras av hur kameran snart blir ett förmöget för att inte säga aristokratiskt tidsfördriv, men också en syssla med kvinnliga förtecken. De finlandssvenska adelsfruarna och -fröknarna fotograferar från sina vintervistelser i Sydfrankrike, den nygifta baronessan släpar med sig stativ och bälgkamera på inspektionen av sina plantager i Indonesien. Vindsvepta står damerna på stranden under kamerans fladdrande dok, i Indonesien står inte bara plantagepersonalen och tar emot, cheferna i vitt linne, arbetarna i bakgrunden med mörka grövre kläder. Där står även en hel blåsorkester. Bilden är suddig och glasplåten har spruckit. Här öppnar sig en värld av motsägelser: ett klassamhälle där aristokratin ännu har företräde och ett resande präglat av kolonialismens ekonomi och perspektiv på världen; men också ett område, fotografin, där kvinnans gradvisa emancipation blir synlig.Historiens första selfie togs förmodligen av amerikanen Robert Cornelius 1839. Det tog 15 minuter att exponera ett blekt porträtt av en man med besvärad blick och rufsigt hår. Fransmannen Hippolyte Bayard tog året efter en bild på sig själv som drunknad. Bilden var en hämnd för att landsmannen Daguerre fått erkännande och pension för fotografins uppfinnande, men inte han själv. Bayard var med full rätt arg, och därför säkert omedveten om att han just uppfunnit en fotografisk genre.Själviscensättningen är en genre där kvinnliga fotografer excellerat. Claude Cahun laborerade med könsgränserna på 1930-talet, och i vår närtid blev Cindy Shermans bilder krönet på genren. Hennes filmstillbilder till filmer som aldrig existerat blev ett genombrott, och hon fortsatte med en lång rad iscensättningar av sig själv i olika roller, alltid med en kritisk udd. För några år sedan började hon visa groteskt manipulerade selfies på Instagram. Men hennes selfies varvas med konsertbilder, jul med barnbarnet och reklam för egna och andras projekt. Medieplattformen blir inte bara föremål för kritik, men också en helt konventionell plattform för självlansering. Var går gränsen mellan att å ena sidan kritisera ett medium, och att å den andra sidan bli en influencer – och därmed slukas av mediet?Långt från stjärnfotografernas glamour tog barnsköterskan Vivian Maier mer än 150 000 fotografier och filmer under sina promenader på Chicagos South Side från 1950-talet och framåt. Först efter hennes död upptäcktes fotoskatten. Många av dem är självporträtt i speglar, kromade billyktor och i butiksfönster. I dessa lågmälda iscensättningar öppnas inga glipor till den egna personen. Maier väljer att vara skuggan i bilderna, fotografen som höll i kameran, men inte mycket mer. Det är varken självutlämning eller förställning, utan ett spel med små variationer i gestaltningen av den egna personan, men en oändlig variation i leken med reflektioner i en ordinär stadsmiljö.Vivianne Maiers bilder är ögonblicksbilder, möjliggjorda av fotografins tekniska utveckling. Med filmtillverkaren Kodaks Instamatic-kameror blev ”snapshots” en realitet. Kameran saknade andra reglage än utlösaren, och filmen var packad i en sluten kassett som man bara stoppade in i kameran utan några tekniska krusiduller. Upplev ”a Kodak moment” sa reklamen för det världsdominerande företaget. Kodak gick under, men snapshotet består.Ett snapshot ska vara fångat i flykten och behöver inte ha perfekt komposition eller skärpa. Fransmannen Jacques-Henri Lartigue var en föregångare med sina champagnelätta bilder av överklassens utflykter i Boulognerskogen utanför Paris eller badande på Rivieran under det lättsamma 1920-talet. Liksom Vivian Maier var Lartigue en ivrig amatör som inte såg sig som fotokonstnär – han levde i vanföreställningen att måleriet var hans rätta uttryck. Kanske är det ur den hållningen som lättheten kommer. Det fanns inget krav på att publicera, att avslöja något missförhållande eller att tänja på förväntningarna. Lättheten är en ogenomtränglig hinna i Lartigues fotografier. Det är världen sådan den borde vara: konfliktfri, enkel och rolig. Är det lögn? Delvis, för alla bilder formas av fotografens intention. Och vem påstod att fotografier alls är sanna?Konstnärsduon Fischli & Weiss ägnade många år åt att ta snapshots från sina resor. I boken Sichtbare Welt (König, 2000) – Den synliga världen – ordnas tusentals fotografier med något slags systematik efter hur de vagt liknar varandra. Bild går över i bild, det är djurparker och flygplatser, motorvägar och solnedgångar, soluppgångar och vyer från flygplansfönster. Ingen bild är så värst speciell, de är alla likgiltigt registrerande. Upprepningen blir besvärjelse, och just kring det lätta formas ett tomrum som inte låter sig fångas i ord.Fotografins lätthet behöver inte vara olidlig. Dess lätthet kan skava på ett sätt som är undflyende och gäckande. Det är som ornamentiken på gamla hus och föremål, en upprepning med en liten variation. När ornamentet görs för hand blir varje del lite olik, men det är helhetens mönster som spelar roll. Ögonblicksbildernas upprepning är ett ornament som löper varv efter varv i oändlighet. Nu ser jag något nytt i dina bilder av vinglasen i motljus. En undflyende lätthet, ett ornament. Kanske är det konst.Pontus Kyander, konstkritiker och konstkurator

Nonbinary lesbian artists who took on the Nazis. Yes, today we actually show respect. With Mandy, Caelan and HootsFollow Respect the Dead on Twitter or Instagram and sign up on our Patreon Here!See all photos at: https://caelanconrad.squarespace.com/respectthedead/47

Charlie och Alexander pratar om konstnärerna Marcel Moore och Claude Cahun som gjorde motstånd mot den tyska invasionen under andra världskriget. I avsnittet lyfts konstnärernas livshistoria, deras konstnärskap samt hur de genom spirituella medel bekämpade nazisterna. Hosted on Acast. See acast.com/privacy for more information.

Two eccentric French artists, Claude Cahun and Marcel Moore, risk their lives to perform an extraordinary act of resistance on the island of Jersey. Helena Bonham Carter shines a light on extraordinary stories from World War Two. Join her for incredible tales of deception, acts of resistance and courage.A BBC Studios Podcast production for BBC Radio 4 and BBC Sounds. Producer: Clem Hitchcock Executive Producer: Paul Smith Written by Alex von Tunzelmann

“Nour Fog” Bulle du MondeCéramique contemporaineLe Bicolore – Maison du Danemark, Parisdu 12 mai au 23 juillet 2023Interview de Catherine Lefebvre, conseillère culturelle et de presse à l'Ambassade Royale de Danemark à Paris, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 10 mai 2023, durée 16'37,© FranceFineArt.https://francefineart.com/2023/05/11/3439_nour-fog_maison-du-danemark/Communiqué de presseCommissaire de l'exposition :Catherine Lefebvre, commissaire d'expositions, auteure et rédactrice.Catherine Lefebvre a également été directrice de musée. Elle mène actuellement des projets d'art contemporain au Danemark et à l'étranger, préside le conseil d'administration de la Fondation dano-suédoise pour la culture et travaille comme cheffe de projet pour Art Music Denmark. Catherine Lefebvre est nommée Conseillère culturelle et de presse à l'Ambassade Royale de Danemark à Paris à partir du 15 mars 2023.« C'est lorsque la vie est la plus fragile que nous sommes au plus près de nos sensations et nos émotions. Ma source d'inspiration est là. » Nour FogDiplômé.e de l'Académie des beaux-arts d'Aarhus (Det Jyske Kunstakademi) en 2016, Nour Fog aborde la céramique à travers une recherche sculpturale s'appuyant sur les thématiques de genre et la sensualité. Le son, les installations et les performances prennent partie intégrante dans son oeuvre.Nour Fog (né.e en 1981 au Danemark) s'est fait connaître ces dernières années sur la scène danoise et internationale. Iel a dédié et créé une série d'oeuvres spécialement pour Le Bicolore qui offre au public parisien l'opportunité de découvrir et de rencontrer cet.te artiste reconnu.e et extrêmement original.e. C'est la première fois que Nour Fog expose en France.La genèse de Bulle du MondeLe lien à la France et l'image de Paris intéressent Nour Fog, mais non l'image idéalisée de papier glacé. C'est dans la matérialité, les matières et les références que l'artiste puise à Paris une part de l'énergie qui nourrit l'exposition. Louise Bourgeois est l'un des grands modèles de Nour Fog et une source d'inspiration majeure. Les oeuvres sculpturales de Louise Bourgeois, son talent à représenter le violent et l'intime, en particulier, sont des éléments que Nour Fog tend à intégrer à sa propre pratique. Iel est par ailleurs sensible au langage plastique sobre et corporel de Jean Arp ainsi qu'au jeu et aux recherches de Claude Cahun sur le corps, le genre et l'identité. Nourries de ces nombreuses références françaises, les oeuvres de Nour Fog visent en même temps à renouveler le champ des possibles du médium de la céramique à travers des expérimentations sur le format, la construction, l'assemblage de matières et l'installation.Bulle du Monde : des bulles formées dans l'élément liquide ; la vie naissant dans l'élément liquide. De nouvelles bulles illustrant la vie, l'élément liquide le plus magnifique, celui donnant la vie, neuf mois dans le liquide amniotique. Cette exposition en solo s'articule autour de l'enfant prématuré ainsi que des nouveau-nés et enfants nécessitant des soins particuliers, explique Nour Fog.[.. ] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

New Guest Expert! On this week's Aftermath, Rebecca speaks with Jennifer L. Shaw - Professor Emeritus of Art History at Sonoma State University. Author of Exist Otherwise: The Life and Work of Claude Cahun, Professor Shaw sheds more light on the uniquely rebellious progressive art Claude and Marcel were producing in the surrealist community at the time and reminds us of the ongoing gender bias in the art world. Afterward, Producer Clayton Early and Fact Checker Chris Smith stop by to revisit the verdict. We have merch!Join our Discord!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on Twitter @alarmistThe Support this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

“Surréalisme au féminin ?” au Musée de Montmartre – Jardins Renoir, Parisdu 31 mars au 10 septembre 2023Interview de Alix Agret et Dominique Païni, commissaires de l'exposition,par Anne-Frédérique Fer, à Paris, le 28 mars 2023, durée 34'12.© FranceFineArt.https://francefineart.com/2023/03/30/3412_surrealisme-au-feminin_musee-de-montmartre/Communiqué de presseCommissariat général :Alix Agret, historienne de l'artDominique Païni, commissaire indépendantCommissaire associée :Saskia Ooms, responsable de la conservation du Musée de Montmartre Jardins RenoirLe Musée de Montmartre propose une exposition qui explore les degrés et les différentes formes d'adhésion de femmes artistes et poètes, au mouvement surréaliste. Cinquante d'entre elles sont représentées dans le parcours, avec près de 150 oeuvres exposées.Mouvement provocateur et dynamique, le surréalisme déclenche au 20ème siècle un renouvellement esthétique et des bouleversements éthiques. Les hommes ne sont pas les seuls à avoir rendu vivants ce courant et ses transgressions : de nombreuses femmes en furent des actrices majeures mais néanmoins mésestimées par les musées et minorées par le marché de l'art. Ainsi, l'exposition a pour ambition de présenter des artistes majeures telles que Claude Cahun, Toyen, Dora Maar, Lee Miller, Meret Oppenheim et Leonora Carrington mais également de mettre en lumière d'autres personnalités moins connues comme Marion Adnams, Ithell Colquhoun, Grace Pailthorpe, Jane Graverol, Suzanne Van Damme, Rita Kernn-Larsenn, Franciska Clausen ou encore Josette Exandier et Yahne Le Toumelin.Le surréalisme offrit à celles-ci un cadre d'expression et de créativité qui n'eut sans doute pas d'équivalent dans les autres mouvements d'avant-garde. Pourtant, c'est souvent en s'appropriant et en étendant des thèmes initiés par les « leaders » du mouvement qu'elles exprimèrent leur liberté. C'est aussi en se dégageant de ce qui devint parfois une doxa surréaliste qu'elles s'affirmèrent. « Tout contre » le surréalisme, c'est ainsi que l'on pourrait définir leurs positions diversifiées et complexes à l'égard du mouvement.Des années trente aux années soixante-dix, le « surréalisme féminin » forme des constellations éphémères, au gré de ralliements au mouvement souvent temporaires mais aussi d'amitiés qui se nouent hors de ce cadre. L'imaginaire de ces artistes n'est pas aligné sur celui des figures masculines du groupe. Leurs pratiques, fréquemment interdisciplinaires – picturales, photographiques, sculpturales, cinématographiques, littéraires… – expriment leur volonté d'échappées belles au-delà des normes hétérosexuelles et des frontières géographiques.C'est une cartographie d'un mouvement éclaté et mondialisé que l'exposition esquisse en évoquant les artistes des foyers belge, mexicain, britannique, américain, praguois et français du surréalisme qu'elles ont enrichis, passant parfois de l'un à l'autre.En révélant les travaux d'une cinquantaine d'artistes, plasticiennes, photographes et poètes du monde entier, cette exposition invite à réfléchir non seulement à l'ambivalente position des femmes dans le surréalisme, mais aussi à la capacité d'un des courants majeurs du 20ème siècle d'intégrer du féminin en son sein.Le point d'interrogation du titre dit le suspens qui sous-tend cette exposition, conçue comme une hypothèse plutôt que comme une démonstration. Elle propose un inventaire non exhaustif, et pour une part subjectif, qui tente de cerner ce qui serait la part féminine du surréalisme. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Who's to blame for the Deaths of Claude Cahun & Marcel Moore?This week, The Alarmist (Rebecca Delgado Smith) welcomes the hilarious Paula Poundstone to discuss the lives and deaths of queer artists, writers and Nazi resisters Claude Cahun and Marcel Moore. They're joined by Fact Checker Chris Smith and Producer Clayton Early. Is this the episode where You Know Who finally ends up in The Alarmist Jail where they belong? Tune in and find out!We have merch!Join our Discord!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on Twitter @alarmistThe Support this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

Claude Cahun and Marcel Moore were two artists who fell in love at first sight, years before they became them stepsisters! They played with photography to create strange, surrealist works ahead of their time. But when the Nazis occupied their island of Jersey, they developed a resistance effort so creative, Germany thought an entire network of spies was operating right under their noses! Little did they know it was just two middle-aged lesbians causing them so much trouble.See omnystudio.com/listener for privacy information.

Ricklefs, Svenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Silvia Mazzucchelli"Oltre lo specchio"Calude Cahun e la pulsione fotograficaJohan & Lev Editorehttps://www.johanandlevi.com/Claude Cahun (1894-1954) è un'artista, fotografa e scrittrice vissuta nella Francia della prima metà del Novecento, in pieno fervore surrealista. Al centro della sua ricerca artistica e letteraria vi sono i temi dell'identità, del superamento dei confini di genere e delle proprie origini ebraiche in un contesto sociale fortemente antisemita. Nei suoi scatti radicali ed enigmatici ritrae se stessa e gli altri sfidando ogni convenzione sociale e sessuale.Questo volume introduce al lettore italiano la figura di Claude Cahun e la sua tensione allo scardinamento dei riferimenti culturali e sociali. Silvia Mazzucchelli racconta le sue origini ebraiche, intellettuali e alto-borghesi e il suo percorso di negazione e distruzione del nome di famiglia, abbandonato per ricostruire una nuova identità artistica. Significativo in questo processo è il rapporto omosessuale con Suzanne Malherbe (in arte Marcel Moore), compagna e collaboratrice che scatta molti dei suoi ritratti e autoritratti, nei quali, attraverso il travestimento, Cahun compie continue cancellazioni e reinvenzioni di sé.Silvia MazzucchelliSi è formata in Culture moderne comparate e in Teoria e analisi del testo presso l'Università di Bergamo. Ha collaborato con Il Manifesto e con le riviste Nuova Prosa, Alfabeta2, Elephant & Castle, PsicoArt, CoSMO e Doppiozero, dove si occupa della sezione dedicata alla fotografia. Nel 2018 ha fondato insieme al fotografo Enrico Bedolo il progetto curatoriale “double space”. Sulla fotografa e scrittrice Claude Cahun ha pubblicato anche Claude Cahun e Suzanne Malherbe. L'immaginario di un sodalizio (2012) e ha curato e introdotto la traduzione italiana del suo Les Paris sont ouverts (2018).IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

Í þættinum er fjallað um franska fjöllistamanninn Claude Cahun, sem ögraði viðteknum kynjahlutverkum og stóð í andspyrnu gegn Þjóðverjum á Ermarsundseyjunni Jersey í seinni heimsstyrjöld.

Í þættinum er fjallað um franska fjöllistamanninn Claude Cahun, sem ögraði viðteknum kynjahlutverkum og stóð í andspyrnu gegn Þjóðverjum á Ermarsundseyjunni Jersey í seinni heimsstyrjöld.

Í þættinum er fjallað um franska fjöllistamanninn Claude Cahun, sem ögraði viðteknum kynjahlutverkum og stóð í andspyrnu gegn Þjóðverjum á Ermarsundseyjunni Jersey í seinni heimsstyrjöld.

Met muzikant LUWTEN, artiestennaam van Tessa Douwstra, bespreken Heske ten Cate en Yuki Kho een stoel. En niet zomaar een stoel, maar de Ombra Tokyo uit 1954 van Charlotte Perriand.  En als cultuurtips gaan er shout outs naar:  ‘Onder de huid', de tentoonstelling van Claude Cahun in de Kunsthal. Eames: The Architect and the Painter, een documentaire over het echtpaar Eames.  Muzikant Pitou, daar moet je gewoon alles van luisteren. Volg @naaktopeenkleedje op insta voor meer tips en meer vrxuwelijke kunstenaars!

In deze aflevering interviewt Marieke van Ekeren illustrator Loes Faber over haar debuut graphic novel 'Ik ben mijn muze'. Daarin verweeft Faber de levens van acht vrouwelijke kunstenaars en hun werk. Claude Cahun, Frida Kahlo en Charley Toorop hebben een hoofdstuk gekregen. Het gesprek gaat de keuze voor deze kunstenaars en het maakproces. Ook gaat het over de positie van vrouwen in kunst, toen en nu.

Op de tentoonstelling Cruising By in het MACS roept Aline Bouvy een genderfluïde wereld op. Die genderfluïde wereld was er ook al in het verleden, ontdekt Elise Dupré op een tentoonstelling van de surrealistische kunstenaar Claude Cahun in de Kunsthal in Rotterdam. Christophe Vekeman trekt naar ‘De eeuwige jachtvelden' met de gelijknamige roman van wijlen Nanne Tepper.

Hannah Gadsby, the Emmy-winning stand-up comedian and writer, talks to John Wilson about the most significant influences and experiences that have shaped her comic career. Born and raised in Tasmania, she first came to prominence in Australia after winning a national competition in 2006. But it was her explosive show Nanette which made her an international comedy star when it was filmed by Netflix in 2018. It was candid and confessional, tackling subjects including homophobia, sexual violence and trauma. Hannah talks about how she felt like an ‘odd child' growing up in Tasmania, and how she used comedy to negotiate social situations. She discusses her fascination with art history, a subject she studies at university, and which she explores to comic effect in many of her shows. Hannah chooses the French-American artist Louise Bourgeois, who died in 2010 aged 98, as a major influence on her performances which candidly draw on personal issues. She cites the French surrealist performance artist Claude Cahun as another inspirational figure. Hannah also talks about her recent autism diagnosis as a major turning point in her life and career, and why her autism became one of the key subjects of her 2019 show Douglas. Producer: Edwina Pitman

Selfies, turistfotografier och snapshots. Fotokonstens framgångssaga tycks bygga på människans lättja och behov av kravlöshet. Pontus Kyander funderar på vad som syns i bilderna vi tar i flykten. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Cogito ergo sum hävdade filosofen Descartes. Jag tänker, alltså är jag. Så kan bara den säga som inte har ett eget Instagramkonto och aldrig rört en selfiepinne. Numera tycks det existentiella tvivlet ha flyttat bort från tanken som medvetandeakt. Istället handlar det om att synas för andra: du finns, för du är sedd. Och inte bara du själv, utan också ditt vinglas i motljus vid Medelhavet, eller ditt härliga smørrebrød på lunchrestaurangen i Köpenhamn. Det blir så fint på bild, och det är så lätt. Låter det banalt? Som en fotografins olidliga lätthet för att travestera enboktitel av Milan Kundera när mönstret upprepas om och om på sociala medier?Det var inte så länge sedan som varje fotograf var tvungen att tänka en gång extra före det avgörande trycket på utlösaren. Ännu på 90-talet var det fysisk film i de flesta kameror. Varje film rymde som mest 36 futtiga bildrutor. Åter hemma låg överraskningarna på lut i filmens stålkapsel. Ibland hade allt hakat upp sig på någon teknisk fadäs, bilderna var kanske suddiga, felexponerade eller filmen helt blank.Ännu värre var det i fotografins barndom. Fotograferna hade stora stativ och bälgkameror som drogs ut som dragspel för att få rätt exponering och skärpa, och de fotograferade på dyra glasplåtar, en bild i taget. Fotografen under ett svart dok kunde bara någorlunda se om bilden var skarp, och att exponeringens längd blev rätt byggde lika mycket på skicklighet som på en from förhoppning. Lätt var det inte, men fotografins olidliga lätthet har ändå en förhistoria.Jag bläddrar i en bok om finlandssvenska resenärers fotografier med titeln Med kamera och koffert. Resefotografier före massturismen (SLS, 2021). Jag fascineras av hur kameran snart blir ett förmöget för att inte säga aristokratiskt tidsfördriv, men också en syssla med kvinnliga förtecken. De finlandssvenska adelsfruarna och -fröknarna fotograferar från sina vintervistelser i Sydfrankrike, den nygifta baronessan släpar med sig stativ och bälgkamera på inspektionen av sina plantager i Indonesien. Vindsvepta står damerna på stranden under kamerans fladdrande dok, i Indonesien står inte bara plantagepersonalen och tar emot, cheferna i vitt linne, arbetarna i bakgrunden med mörka grövre kläder. Där står även en hel blåsorkester. Bilden är suddig och glasplåten har spruckit. Här öppnar sig en värld av motsägelser: ett klassamhälle där aristokratin ännu har företräde och ett resande präglat av kolonialismens ekonomi och perspektiv på världen; men också ett område, fotografin, där kvinnans gradvisa emancipation blir synlig.Historiens första selfie togs förmodligen av amerikanen Robert Cornelius 1839. Det tog 15 minuter att exponera ett blekt porträtt av en man med besvärad blick och rufsigt hår. Fransmannen Hippolyte Bayard tog året efter en bild på sig själv som drunknad. Bilden var en hämnd för att landsmannen Daguerre fått erkännande och pension för fotografins uppfinnande, men inte han själv. Bayard var med full rätt arg, och därför säkert omedveten om att han just uppfunnit en fotografisk genre.Själviscensättningen är en genre där kvinnliga fotografer excellerat. Claude Cahun laborerade med könsgränserna på 1930-talet, och i vår närtid blev Cindy Shermans bilder krönet på genren. Hennes filmstillbilder till filmer som aldrig existerat blev ett genombrott, och hon fortsatte med en lång rad iscensättningar av sig själv i olika roller, alltid med en kritisk udd. För några år sedan började hon visa groteskt manipulerade selfies på Instagram. Men hennes selfies varvas med konsertbilder, jul med barnbarnet och reklam för egna och andras projekt. Medieplattformen blir inte bara föremål för kritik, men också en helt konventionell plattform för självlansering. Var går gränsen mellan att å ena sidan kritisera ett medium, och att å den andra sidan bli en influencer och därmed slukas av mediet?Långt från stjärnfotografernas glamour tog barnsköterskan Vivian Maier mer än 150 000 fotografier och filmer under sina promenader på Chicagos South Side från 1950-talet och framåt. Först efter hennes död upptäcktes fotoskatten. Många av dem är självporträtt i speglar, kromade billyktor och i butiksfönster. I dessa lågmälda iscensättningar öppnas inga glipor till den egna personen. Maier väljer att vara skuggan i bilderna, fotografen som höll i kameran, men inte mycket mer. Det är varken självutlämning eller förställning, utan ett spel med små variationer i gestaltningen av den egna personan, men en oändlig variation i leken med reflektioner i en ordinär stadsmiljö.Vivianne Maiers bilder är ögonblicksbilder, möjliggjorda av fotografins tekniska utveckling. Med filmtillverkaren Kodaks Instamatic-kameror blev snapshots en realitet. Kameran saknade andra reglage än utlösaren, och filmen var packad i en sluten kassett som man bara stoppade in i kameran utan några tekniska krusiduller. Upplev a Kodak moment sa reklamen för det världsdominerande företaget. Kodak gick under, men snapshotet består.Ett snapshot ska vara fångat i flykten och behöver inte ha perfekt komposition eller skärpa. Fransmannen Jacques-Henri Lartigue var en föregångare med sina champagnelätta bilder av överklassens utflykter i Boulognerskogen utanför Paris eller badande på Rivieran under det lättsamma 1920-talet. Liksom Vivian Maier var Lartigue en ivrig amatör som inte såg sig som fotokonstnär han levde i vanföreställningen att måleriet var hans rätta uttryck. Kanske är det ur den hållningen som lättheten kommer. Det fanns inget krav på att publicera, att avslöja något missförhållande eller att tänja på förväntningarna. Lättheten är en ogenomtränglig hinna i Lartigues fotografier. Det är världen sådan den borde vara: konfliktfri, enkel och rolig. Är det lögn? Delvis, för alla bilder formas av fotografens intention. Och vem påstod att fotografier alls är sanna?Konstnärsduon Fischli & Weiss ägnade många år åt att ta snapshots från sina resor. I boken Sichtbare Welt (König, 2000) Den synliga världen ordnas tusentals fotografier med något slags systematik efter hur de vagt liknar varandra. Bild går över i bild, det är djurparker och flygplatser, motorvägar och solnedgångar, soluppgångar och vyer från flygplansfönster. Ingen bild är så värst speciell, de är alla likgiltigt registrerande. Upprepningen blir besvärjelse, och just kring det lätta formas ett tomrum som inte låter sig fångas i ord.Fotografins lätthet behöver inte vara olidlig. Dess lätthet kan skava på ett sätt som är undflyende och gäckande. Det är som ornamentiken på gamla hus och föremål, en upprepning med en liten variation. När ornamentet görs för hand blir varje del lite olik, men det är helhetens mönster som spelar roll. Ögonblicksbildernas upprepning är ett ornament som löper varv efter varv i oändlighet. Nu ser jag något nytt i dina bilder av vinglasen i motljus. En undflyende lätthet, ett ornament. Kanske är det konst.Pontus Kyander, konstkritiker och konstkurator

Gal's Guide Library is the place to be in March, hence why this episode is late however it's a great one. Our hope for this episode is it will inspire you to create your own expressive artwork, change your name, or reinvigorate your hate for Nazi's. Learn all about the gender non-conforming surrealist that is Claude Cahun! Oh and how Leah almost killed Leonard DiCaprio. More info at galsguide.org

This week, Sam and Ali celebrate Women's History Month by telling the stories of three badasses from Art History. Who is going to build the temple designed by Hilma af Klint? How did Claude Cahun and Marcel Moore single handedly lead a resistance campaign against Nazi occupiers? And why don't women ever thinking they're doing enough? We hope you listen and join the discussion, sorry if you cry during this one. 

Claude Cahun est un artiste activiste, Marcel Moore est à la fois illustrateur, graphiste et photographe. Ces deux hommes sont en réalité deux femmes, Lucy Schwob et Suzanne Malherbe, artistes homosexuelles juives d'avant-garde qui combattront le nazisme dans la vie comme dans l'art. « L'amour à l'oeuvre » est un podcast co-produit par Initial Studio et Bonne Compagnie, adapté de la collection documentaire audiovisuelle éponyme, co-produite par Bonne Compagnie et Arte France, sur une idée originale de Stéphanie Colaux et François Landesman. L'épisode « Claude Cahun et Marcel Moore » a été écrit et réalisé par Stéphanie Colaux. Bonne écoute ! Pour découvrir nos autres podcasts, suivez Initial Studio sur Instagram et Facebook. Crédits du podcast Production exécutive du podcast : Initial Studio Production éditoriale : Sarah Koskievic Montage : Victor Benhamou et Camille Legras Musique : Arnaud Denzler Illustration : Initial Studio Avec la voix de Célia Rosich

Did you miss our LIVE bonus show on Fireside, the interactive storytelling platform? Don't worry— you can catch the replay on Fireside, or enjoy the bonus audio here. In this conversation from early January, I spoke with professor Jeffrey H. Jackson to discuss his latest book, Paper Bullets, about the incredible artists Claude Cahun and Marcel Moore--two women who risked their lives to defy the Nazis. It's an awesome real-life tale of using subversive tactics to disrupt Hitler's crew--and you're not going to want to miss it. I hope you enjoy listening in as much as I enjoyed recording this ep. Want to join in on the fun next time? Join Fireside now and follow me for invites to each live recording, We've got some further Fireside releases this month and Fireside recordings— so stay tuned to our social media to find out more. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Twitter / Instagram / Facebook / Fireside BUY PAPER BULLETS HERE SPONSORS: Indeed: Listeners get a free $75 credit to upgrade your job post Kiwi Co: Get 50% off your first month plus FREE shipping on ANY crate line with promo code ARTCURIOUS Mint Mobile: Get your new wireless plan for just $15 a month, and get the plan shipped to your door for FREE Sundance Now: Try Sundance Now free for 30 days with promo code ARTCURIOUS Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

“Alberto Giacometti – André Breton“Amitiés Surréalistesà l'Institut Giacometti, Parisdu 19 janvier au 10 avril 2022Interview de Serena Bucalo-Mussely, conservatrice à la Fondation Giacometti et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 17 janvier 2022, durée 24'36.© FranceFineArt.Communiqué de presseCommissaires :Serena Bucalo-Mussely, conservatrice, Fondation Giacometti,en collaboration avec Constance Krebs, directrice éditoriale, Association Atelier André BretonL'Institut Giacometti, en collaboration avec l'Association Atelier André Breton et le Centre Pompidou, Musée national d'art moderne, présente une exposition inédite « Alberto Giacometti – André Breton, amitiés surréalistes » du 19 janvier au 10 avril 2022.L'adhésion d'Alberto Giacometti au surréalisme dure à peine cinq ans (1930 – 1935) pendant lesquels ses recherches autour de l'érotisme, du jeu et de l'onirisme le distinguent comme l'un des artistes les plus innovants du mouvement. Il noue alors des liens forts avec ses compagnons artistes et intellectuels qu'il poursuivra bien après avoir pris ses distances avec le groupe.Fruit de recherches dans les archives personnelles de Giacometti et celles de Breton, cette exposition associe à une sélection d'œuvres surréalistes du sculpteur, un ensemble de chefs-d'œuvre prêtés exceptionnellement par le Centre Pompidou, le Musée d'art moderne de Paris (MAM), le Musée National Picasso-Paris, le Musée des Beaux-Arts de Bruxelles et le Moderna Museet de Stockholm, ainsi que par des collections privées. L'amitié forte entre Giacometti et Breton y est mise en lumière tout comme ses relations avec les artistes et intellectuels surréalistes dont il est le plus proche. Hans Arp, Victor Brauner, Claude Cahun, Leonora Carrington, Salvador Dalí, Max Ernst, André Masson, Joan Miró, Meret Oppenheim, Pablo Picasso, Yves Tanguy, mais aussi René Crevel, Lise Deharme, Paul Éluard, Georges Hugnet, Jacqueline Lamba, Tristan Tzara sont ainsi représentés.Pour accompagner l'exposition, un catalogue est co-édité par la Fondation Giacometti, Paris et FAGE édition, Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Did you miss our LIVE bonus show on Fireside, the interactive storytelling platform? Don't worry— you can catch the replay on Fireside, or enjoy the bonus audio here. In this conversation from early December, I spoke with Laura Morelli, a USA Today bestselling author and art historian who writes amazing historical novels involving the art world. We discussed her background in art history, how she writes and structures her novels, and get into some of the nitty gritty on her latest book, The Stolen Lady, a book about the Mona Lisa that takes place in both the Italian Renaissance and in france during WWII. It is not only a fascinating and engrossing read, but the conversation with Laura herself was absolutely lovely, too--and I hope you enjoy listening in.  Want to join in on the fun next time? Join Fireside now and follow me for invites to each live recording, where you can participate in the audience and ask questions live! And who knows? Maybe we'll even throw a trivia contest every now and again. The next one is coming up on January 12 at 2 PM eastern, when I'll be speaking with author Jeffrey H. Jackson to discuss his latest book, Paper Bullets, about the incredible artists Claude Cahun and Marcel Moore--two women who risked their lives to defy the Nazis. It's an awesome real-life tale of using subversive tactics to disrupt Hitler's crew--and you're not going to want to miss it. Please SUBSCRIBE and REVIEW our show on Apple Podcasts and FOLLOW on Spotify Twitter / Instagram / Facebook / Fireside Don't forget to show your support for our show by purchasing ArtCurious swag from TeePublic! SPONSORS: HoMedics: receive a FREE PORTABLE PHONE SANITIZER when you buy $100 or more in massage products NYU Tisch Pro/Online: Register for spring 2022 film-making and screenwriting courses online with NYU's Tisch Pro online Want to advertise/sponsor our show? We have partnered with AdvertiseCast to handle our advertising/sponsorship requests. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started. https://www.advertisecast.com/ArtCuriousPodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Claude Cahun (1894-1954) lived their life challenging gender and questioning identity. They  refused to be defined–or confined–to the societal norms for women in the early 20th century.History classes can get a bad wrap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Sundus Hassan, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, and Ale Tejada. Special thanks to Shira Atkins.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter

In this episode, Anne Marie talks to Jeffrey H. Jackson, historian and author of the book Paper Bullets which captures the riveting and courageous story of Lucy Schwob and Suzanne Malherbe, two gender norm-defying artists better known as Claude Cahun and Marcel Moore, who undertook a dangerous years-long anti-propaganda campaign, which used art to demoralize the Nazis. Paper Bullets was named a 2020 Stonewall Honor Book in Nonfiction and Best Book of 2020 by Booklist, as well as longlisted for the Carnegie Medal For Excellence in Nonfiction.Jeffrey H. Jackson website: https://jeffreyhjackson.com/aboutRhodes website: https://www.rhodes.edu/bio/jeffrey-jacksonTwitter: @JeffreyHJacksonFacebook: https://www.facebook.com/Paris-Under-Water-143128271359Paper Bullets: book trailer: https://www.youtube.com/watch?v=6HLjNSzvakwBuy the book: https://www.novelmemphis.com/book/9781616209162Support Armchair Historians:Patreon: https://www.patreon.com/armchairhistoriansKo-fi: https://ko-fi.com/belgiumrabbitproductionsSupport the show (https://www.patreon.com/armchairhistorians)

Episode 1637: With 520553 views on Monday, 25 October 2021 our article of the day is Claude Cahun.

Il 25 ottobre 1894 nasce a Nantes, in Francia, Claude Cahun - con Alessandra Mauro

Russell and Robert meet art critic Louisa Buck to discuss the history and scandals of Cork Street Galleries in London. For this special Frieze London episode, we also celebrate two outdoor site-specific installations as part of its contemporary programme. We explore the evolution of exhibitions on Cork Street between 1925-2021, starting with the Mayor Gallery. We discuss the Surrealists, Peggy Guggenheim, Max Ernst, Claude Cahun, Sheila Legge, Dali's Lobster telephone, Méret Oppenheim's fur tea cup and much, much more!We recommend visiting Gina Fischli's Ravenous and Predatory (2021), the first artist commissioned for the Cork Street Banners public art commission. Cork Street also has its first AR exhibition Electronic Hydra Prelude, curated by Daniel Birnbaum which features AR works by Julie Curtiss, Koo Jeong A and Precious Okoyomon. Plus a new work by Tomás Saraceno is also on view.Visit http://CorkStGalleries.com to discover more about this history of Cork Street as well as current exhibitions! Follow Louisa Buck on her new Instagram @Louisa.Buck.1For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

For photos and full show notes, go to allthroughalens.com   On this episode we will be chatting it up with Kalie Frisky, we'll explore collaborations through  the somewhat recently re-discovered work by Claude Cahun and Marcel Moore – two French Surrealists in love! Also Tiffin's fit with film will drop a new hit, there's the answering machine, and we'll have a little bit of fun with inspirational quotes. Kalie Frisky Kalie Frisky is a color film photographer from New York. On this episode, we're focusing a bit on collaboration, and since Kalie does just that, we thought we'd have a little talk with her. @kaliefrisky on IG Web: www.kaliefrisky.com Here's a few of her shots:   Claude Cahun & Marcel Moore Claude Cahun was born October 25, 1894 as Lucy Schwob. Though raised in a wealthy and artistic family, her childhood was plagued by misfortune and abuse. Her mother was institutionalized with a mental illness, her father wished, for her own suffering's sake, that she had  never been born. She was sadistically bullied in school, and was prejudiced against because she was Jewish.  It was in this state, at the age of 15, that she met Marcel Moore, born two years before Claude, as Suzanne Malherbe. There was immediate attraction, and then love, and they would spend the rest of their lives together.  But first, they split for schooling – Lucy attained a literature and philosophy degree, while Suzanne attended a school of drawing and design. This education would form the foundation for all their artistic pursuits – apart, and in collaboration. And this collaboration is why we're talking about Claude Cahun and Marcel Moore.  In this piece, we reference a bunch of their photos. Here they are:   And here are some of Marcel's photomontages and illustrations: Books we suggest: Don't Kiss Me: The Art of Claude Cahun & Marcel Moore edited by Louise Downie Exist Otherwise: The Life and Works of Claude Cahun by Jennifer L. Shaw   Zine Reviews! We reviewed two zines! Eric took on My Only Homeland; An Unfoldable Zine by Jessica Fuentes. You can (and should) get it here. Vania covered NSEW zine. Not only does it feature Vania, it's got Jason Biehner, Kaleb Starr, and Sonja Langford. You can get it here. PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING Music by Last Regiment of Syncopated Drummers Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kits Tiffen: IG All Through a Lens: IG, Website, Patreon, Spotify Playlists  

“Chefs-d'œuvre photographiques du MoMA“La collection Thomas Waltherau Jeu de Paume, Parisdu 14 septembre 2021 au 13 février 2022Interview de Quentin Bajac, directeur du Jeu de Paume et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 13 septembre 2021, durée 11'34.© FranceFineArt.CommissariatSarah Meister, ex-conservatrice, département de la photographie, The Museum of Modern Art, New York,Quentin Bajac, directeur du Jeu de Paume,assistés de Jane Pierce, chargée de recherche à la Carl Jacobs Foundation, département de la photographie, The Museum of Modern Art, New YorkEn 2001 et en 2017, le Museum of Modern Art de New York faisait l'acquisition de plus de 350 photographies provenant du collectionneur Thomas Walther. Cet ensemble, qui constitue aujourd'hui un des piliers de la collection moderne du MoMA, est présenté pour la première fois en France, dans une exposition rassemblant environ 230 images.Comprenant des oeuvres iconiques de la première moitié du XXe siècle, l'ensemble permet d'écrire une histoire des avant-gardes photographiques européennes et américaines. À travers les oeuvres d'une centaine de photographes, de Berenice Abbott à Karl Blossfeldt, de Claude Cahun à El Lissitzky, d'Edward Weston à André Kertész, entre chefs-d'oeuvre et images moins connues, la collection retrace l'histoire de l'invention de la modernité en photographie. Mêlant les genres et les approches (architecture et vues urbaines, portraits et nus, reportages, photomontages et expérimentations…), l'exposition explore les réseaux artistiques de l'Entre-deux-guerres, du Bauhaus au Paris surréaliste, en passant par Moscou et New York.Par sa radicale invention visuelle, l'ensemble rend enfin parfaitement compte de l'esprit d'utopie de ceux qui voulaient changer les images pour changer le monde et fait pleinement comprendre les propos du photographe et théoricien Lazlo Moholy-Nagy qui, il y a maintenant un siècle, affirmait que « l'analphabète du futur ne sera pas l'illettré mais l'ignorant en matière de photographie ». Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Com vozes de Marília Gabriela, Adriana Couto, Sara Bentes e André Trigueiro, o audioguia inclusivo da 34ª Bienal passa por 20 obras de arte e objetos que compõem a mostra. Ao seguir o percurso proposto – desde os objetos do Museu Nacional, no térreo, até a obra Two Choirs [Dois coros], de Ana Adamović, no final do terceiro pavimento – você será guiado por todos os andares do pavilhão. Cada uma das faixas apresenta histórias relacionadas às obras, comenta processos das e dos artistas e descreve as peças. Como é um audioguia inclusivo, na plataforma do Musea, ele também está disponível em Língua Brasileira de Sinais (Libras). O projeto é uma correalização da Fundação Bienal de São Paulo com o Goethe-Institut, com consultoria de acessibilidade pela Mais Diferenças; desenho de som e trilha sonora por Fernando Cespedes; e distribuição pelo Musea.

Die französische Fotografin und Autorin Claude Cahun (1894-1954) war Meisterin der Selbstinszenierung und Maskerade. Ihr Lebensprojekt: Die Auflösung festgeleg-ter Kategorien, die Erforschung von Differenz und die Lust am Spiel mit dem eigenen Ich.

durée : 00:31:50 - Une histoire particulière, un récit documentaire en deux parties - par : Lila Boses - Pendant 4 ans, Claude Cahun et Marcel Moore, sous le masque du "soldat sans nom", ont mené la Gestapo par le bout du nez. Mais en juillet 1944, la mascarade s'arrête brutalement : les deux femmes sont dénoncées, arrêtées et condamnées à mort. - réalisation : Véronique Lamendour

durée : 00:28:39 - Une histoire particulière, un récit documentaire en deux parties - par : Lila Boses - Pendant 4 ans, Claude Cahun et Marcel Moore, sous le masque du "soldat sans nom", ont mené la Gestapo par le bout du nez. Mais en juillet 1944, la mascarade s'arrête brutalement : les deux femmes sont dénoncées, arrêtées et condamnées à mort. - réalisation : Véronique Lamendour

durée : 00:28:37 - Une histoire particulière, un récit documentaire en deux parties - par : Lila Boses - En 1940, sur l'île de Jersey, deux artistes, Claude Cahun et Marcel Moore entrent en résistance. À deux, elles vont devenir "le soldat sans nom", cauchemar de la Gestapo. - réalisation : Véronique Lamendour

durée : 00:28:37 - Une histoire particulière, un récit documentaire en deux parties - par : Lila Boses - En 1940, sur l'île de Jersey, deux artistes, Claude Cahun et Marcel Moore entrent en résistance. À deux, elles vont devenir "le soldat sans nom", cauchemar de la Gestapo. - réalisation : Véronique Lamendour

Today we take a trip to France. Discussing the Surrealist writer and photographer Claude Cahun and the chaotic life of opera singer Julie d'Aubigny better known as La Maupin. Enjoy!

This week Keegan, Cassi and Christina talk about bad weddings and sketchy sleepovers, play FMK with Banksy, Salvadore Dali and Van Gogh, rage about a guy that wants to change everything about his date, cheer for a nice Mike who checked his friend, and laugh about a date that violates curfew. Cassi wraps it up with a Tainted Love story of Claude Cahun. Got a story to share? Go to http://www.myworstdatepodcast.com to share with us! Follow us on Instagram @myworstdatepodcast Follow us on Stereo @mwd_xina @mwd_keegan @mwd_cassi Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we explore the life of avant garde artist and writer Claude Cahun (nee Lucie Schwob).  As a part of the Paris art scene in the 1920s, she used art to question established gender roles, while hanging out with the likes of Dali, Miro, Lacan, and other big names of the Paris intelligentsia. Until 1940, when she and her partner were living on Jersey, and led a two-woman resistance against the Nazi occupation.  music by V►LH►LL vlhll.bandcamp.com

Amidst the danger of Nazi-occupied Island of Jersey in the British Channel, two French women, Lucy Schwob and Suzanne Malherbe, drew on their skills as Parisian avant-garde artists to write and distribute “paper bullets”—wicked insults against Hitler, calls to rebel, and subversive fictional dialogues designed to demoralize Nazi troops. History professor Jeffrey Jackson joined us with the history of the audacious anti-Nazi campaign undertaken by this unlikely pair. In this presentation, Jackson drew on his book Paper Bullets: Two Artists Who Risked Their Lives to Defy the Nazis to weave a timeline of Lucy and Suzanne’s resistance. Better remembered today by their artist names, Claude Cahun and Marcel Moore, he explored how their actions were even more courageous because of who they were: lesbian partners known for cross-dressing and creating the kind of gender-bending work that the Nazis would come to call “degenerate art.” They also had communist affiliations in Paris, where they attended political rallies with Surrealists. He shared how they were betrayed in 1944, tried, and sentenced to death, ultimately surviving and continuing their fight even in jail by spreading a message of hope to other prisoners. Jackson invites us to a compelling story that has not been told before, about the galvanizing power of art, and of resistance. Jeffrey H. Jackson is Professor of History at Rhodes College in Memphis, Tennessee. An expert on European history and culture, he is the author of Paris Under Water: How the City of Light Survived the Great Flood of 1910 and Making Jazz French: Music and Modern Life in Interwar Paris. He has appeared in documentary films and helped develop “Harlem in Montmartre: A Paris Jazz Story” for PBS’s Great Performances. Buy the Book: https://www.thirdplacebooks.com/book/9781616209162  Presented by Town Hall Seattle. To make a donation or become a member click here. 

This week we talk about taking your queers out on a walk and why its good for them, and the incredible surrealist artists Claude Cahun and Marcel Moore.

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com.

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Fury Archives: Female Citizenship, Human Rights, and the International Avant-Gardes (Columbia UP 2020), Jill Richards radically rewrites our understanding of first-wave feminism by demonstrating its proximity to international avant-garde movements including surrealism, Dada, and futurism. Using case studies including the movement for a proletarian birth strike, the anti-Nazi pranks of Claude Cahun, and the theatre of Ina Cesaire, Richards shows that our understanding of early 20th-century women activists as stodgy and conservative is woefully inadequate. While some among the turn of the century feminist movement saw suffrage as the primary goal, others dreamed of revolution, decolonization, and a world where art was life and life was art. Richards also shows how these forgotten feminisms sharply depart from the liberal understandings of human rights taking shape alongside them. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We're gonna make it through this fall, y'all. To inspire us to keep up the good fight, this episode kicks off a short series of shows about combatting fascism from a trans perspective. First up, from History is Gay, a Nazi-fighter from a century ago. (Note: this episode is slightly abridged for time.) ------------ Original show notes: Claude Cahun's name might not be well known, but their work as an artist has been hugely influential in the lives of many Western pop culture icons (David Bowie, for example). But the line between life and art wasn't always so clear for Claude Cahun and their life partner Marcel Moore. Whether it was fucking with gender norms in self portraiture or fucking with Nazis during World War II, Claude never did things in a straightforward manner. We'll say it again, "Nazi punks, f*ck off!" Now with surrealism! Longer notes and some extremely classic trans images here. -------------- The Transcripts podcast is a project of the Tretter Transgender Oral History Project at the University of Minnesota Libraries. We're funded by the TAWANI Foundation
 and the Minnesota Humanities Innovation Lab.

This week on The Porch: Erin Pustarfi (Art History, MA) joins us to discuss the history of Claude Cahun and the expression of identity through fashion.

Wir nehmen die Sammlung des Museum Folkwang aus einer LGBTQ-Perspektive in den Blick und diskutieren künstlerische Positionen, die sich auf unterschiedliche Weise mit Gender, Sexualität und queeren Lebensweisen und Selbstverortungen auseinandersetzen.

Happy freaking PRIDE month, everyone! In this week's episode we talk about some history of Pride and the development of Queer Theory. We look at how Queer Theory impacts Art History and museum culture. We also talk about Queer artists, Gluck, Claude Cahun, and Nick and Jake. Click HERE to purchase the marimba solo piece written by our brother-in-law, and the man responsible for all of Artpop Talk's music, Josh Turner. Every cent of the purchase will be donated to Black Visions Collective, a Minnesota-based nonprofit organization dedicated to true racial equality at every level of society.

This week the ladies are manically marveling about some amazing members of the LGBTQ+ community! First, Emily covers Edith 'Edie' Windsor who went from hiding her relationship with her wife Thea to fighting for same-sex couples to be legally recognized. Then, Kelley covers Claude Cahun and Marcel Moore who, when they weren't creating art and defying gender norms, were fighting Nazis! Listen now!** Mornings with u by Barradeen | https://soundcloud.com/barradeenMusic promoted by https://www.free-stock-music.comCreative Commons Attribution-ShareAlike 3.0 Unportedhttps://creativecommons.org/licenses/by-sa/3.0/deed.en_US Support the show (https://www.patreon.com/winingaboutherstory/overview)

Recorded as a special programme to celebrate Resonance 104.4fm's 18th birthday, Suite (212) founder and host Juliet Jacques reads two texts written in response to 20th century art. The first is a short story inspired by Dutch artist Bas Jan Ader (1942-75) entitled 'I'm too sad to tell you about I'm Too Sad to Tell You' (2008). The second is a longer text about writer/artist Claude Cahun (1894-1954) called 'Sertraline Surrealism' (2016).

Meet Claude Cahun, a prisoner of the binary culture of early 20th century France, this gender non-conforming photographer emerged from her culture a hero to queer art and a fighter of fascism. Forgotten among the names of talented surrealists no more.

Annemieke Bosman spreekt Nina Folkersma, conservator van de Moesman tentoonstelling in het Centraal Museum. Ontdek hoe eigentijds de surrealisten zijn in De tranen van Eros: Moesman, surrealisme en de seksen. In deze tentoonstelling wordt het werk van de enige officieel erkende Nederlandse surrealist Johannes Moesman (1909-1988) geplaatst in de context van zijn internationale tijdgenoten. Naast Salvador Dalí, René Magritte en Max Ernst is er voor het eerst veel ruimte voor vrouwelijke surrealisten als Claude Cahun, Leonora Carrington en Leonor Fini. Bovendien is er werk te zien van hedendaagse kunstenaars als Sarah Lucas, Gillian Wearing, Paul Kooiker en Viviane Sassen.

The critic and author of the acclaimed memoir Trans discusses the life and work of the radical mid-20th-century surrealist photographer and resistance worker Claude Cahun. 

Historielabbet åkte till Halmstad och såg utställningen på Mjellby Konstmuseum med Claude Cahun. En banbrytande konstnär som diskuterar kön, identitet och aktivism i sina verk. Vi pratar om surrealism, Claudes … Continue reading →

Sommerudsendelserne på Skønlitteratur på P1 er sammensat af tidligere programmer på nye måder. I denne uge har vi valgt to romaner som begge udspringer af virkeligheden. Bag pseudonymet Claude Cahun gemmer sig to franske kvinder; Lucy Schwob og Suzanne Malherbe. Sammen lavede de eksperimenterende fotokunst og levede eksperimenterende queer-liv i Paris' surrealistiske kunstnerkredse i tiden op til Anden Verdenskrig. Det var disse fotografier, hvor Lucy poserer i alskens udklædning og leger med begrebet 'identitet', som vækkede forfatteren Kristina Stoltz' interesse for kunstnerparret, og i romanen 'Cahun' skildrer hun de to kvinders samliv, deres happening-agtige modstandskamp mod nazisterne og den dødsdom, som de lykkeligvis undgår. I Christina Hesselholdts roman 'Virginia is for lovers' er det et drabeligt dobbeltmord som vakte inspirationen. Ægteparret Derek og Nancy Haysom bliver fundet myrdet i deres hjem, og datteren Elizabeth og hendes kæreste Jens Söring bliver dømt for mordene, selv om de begge hævder, at den anden gjorde det. I et litterært formsprog, der tager udgangspunkt i den dokumentariske virkelighed, skriver Christina Hesselholdt om sagen som den ses af paparazzifotograf Mr. Up Front. Hvad skete der i familien i perioden op til mordet? (Redigeret genudsendelse).

Dernier épisode de notre série de podcasts consacrés aux Bretonnes d'exception avec ce portrait de la peintre et plasticienne d'origine nantaise Claude Cahun, liée au mouvement surréaliste et...

Merle Thejls taler med forfatter Kristina Stoltz om hendes nye roman Cahun. For mange er begreber som queer og intetkønnet, relativt nyebegreber, men i virkeligheden er det ikke noget der er opstået fornyeligt. Hvis man kigger små hundrede år tilbage kan man støde på den franske kunstner Claude Cahun, som på mange måder også dengang udfordrede bøde køns- og seksualitetsbegrebet. Og det er netop det, det skal handle om i dag, for hvordan kan det være at en person der levede for 100 år siden, på mange måder kæmpede med de samme ting som vi gør i dag, og hvorfor er Cahun den dag i dagstadig så interessant?

Kristina Stoltz nye roman tager udgangspunkt i den franske kunstner Claude Cahun, som blev kendt for fotografier, hvor hun leger med kønsroller. Romanen handler om kærlighed, seksualitet og kønsroller, og bygger på Claude Cahuns kunst og liv. Kristina Stoltz er gæst hos Anne Glad. Anbefalinger i denne episode: Kristina Stoltz, Cahun. Djuna Barnes, Nattens skove. Morten Pape, Planen. Julian Barnes, Når noget slutter Vært: Anne Glad.

Engang i 80'erne faldt en fransk kunsthistoriker helt tilfældigt over nogle mærkelige fotografier i en aktivitetshandel. Kunstneren bag fotografierne var den ukendte Claude Cahun, et pseudonym der viste sig at dække over to kvinder; Lucy Schwob og hendes kæreste Suzanne Malherbe. Sammen lavede de eksperimenterende kunst og levede eksperimenterende queer-liv i Paris' surrealistiske kunstnerkredse. Det var disse fotografier, hvor Lucy poserer i alskens udklædning og leger med begrebet 'identitet', som vækkede forfatteren Kristina Stoltz' interesse for kunstnerparret, og i romanen 'Cahun' skildrer hun de to kvinders samliv, deres happening-agtige modstandskamp mod nazisterne og den dødsdom, som de lykkeligvis undgår. I øvrigt ser Skønlitteratur på P1 nærmere på tendenser i aktuel østrigsk litteratur. Værter: Klaus Rothstein og Nanna Mogensen.

Kjærleik, kjønnsidentitet og frigjering: Det er ikkje små tema Rupert Thomson tek opp i sin nyaste roman Never anyone but you, som er ei fiksjonalisert framstilling av liva til dei franske surrealistane Claude Cahun og Marcel Moore under den tyske okkupasjonen. Både som livspartnarar og som kunstnarar utfordra dei to førestillingane om kva kvinner, kunst og kjærleik kan vere. Thomson møter Mona B. Riise til ein samtale om liv, skrift og sjølvframstilling.

Love, gender identity and liberation – the issues addressed in Rupert Thomson’s latest novel Never anyone but you are not inconsiderable. This book is a fictionalised account of the life of French surrealists Claude Cahun and Marcel Moore during the German occupation. Both as life partners and artists, they challenged preconceived ideas of what women, art and love can be. Thomson meets Mona B Riise for a conversation on life, writing and self-representation. In English

Dr Naomi Paxton is a performer and feminist theatre historian who wrote her PhD on the work of the Actresses' Franchise League. She has published two books of Suffrage plays with Methuen Drama, and is currently Knowledge Exchange Fellow at the Royal Central School of Speech and Drama.    Naomi is the curator of Dramatic Progress, an exhibition at the National Theatre, which runs until January 26.   Naomi also performs at comedy, cabaret and variety nights as her character Ada Campe.    Naomi's #feministfaves were Vik Groskop's How to Own the Room, Cicely Hamilton's Marriage as a Trade Elizabeth Robin's Way Stations   Pippa's was Claude Cahun   Beth's was the She's All Fat podcast.    Shows to see at VAULT Festival... Inside Voices (Jan 23 – 27) Juniper and Jules (Jan 23 – 27) Dangerous Lenses (Jan 23 – 27) Lola (Jan 23 – 27)  17 (Jan 23 – 27)  Salaam (Jan 30 – Feb 3) Fatty Fat Fat (Jan 30 – Feb 3) Hear Me Howl (Jan 30 – Feb 3) Succubus (Feb 1)  The LOL Word (Jan 25, Feb 15, Mar 15)  Pecs: King for a Night (Feb 2) Elf Lyons: Love Songs To Guinea Pigs (Feb 13 -15)  Shotgun Carousel: Eat Your Heart Out (Feb 16) Smoke Weed Eat Pussy Every Day (Feb 22-23)  i will still be whole (when you rip me in half) (Feb 27 – 28) Woman! Pilot! Pirate? (Feb 27 - Mar 3) Galvanise (Feb 27 - Mar 3) Brazilian Wax XXL Mar 2 The Family Jewels (Mar 8). Can I Touch Your Hair? (Mar 8 – 9) 10 (Mar 13 – 17). Aaand we have even MORE recommendations for 2019, including touring shows, and productions running throughout the year, which can all be found on our New Year Blog!

Historielabbet med Sofia Landström och Karin Annebäck Teorier: Judith Butler och Cathy J. Cohen Konstnärer: Claude Cahun, Otsuka Takashi och Zanele Muholi   Bild: Zanele Muholi, Faces and Phases, Lerato Dumse, … Continue reading →

As you know, we're not a fan of Nazis. In part two of our (what will very likely be ongoing) series on badass Nazi-fighting queer anti-fascists we discuss the genderqueer, surrealist artist and Nazi resistance fighter Claude Cahun! Teen love to stepsisters to lifelong partners in art and resistance? Lovers literally saving each others lives more than once? Taking a break from sunbathing and walking their cat on a leash in middle age to spread anti-fascist propaganda and lower morale among the invading German forces? Gender is a performance, what? Classic Claude Cahun (and Marcel Moore)! So say it with us again, "Nazi punks, fuck off" this time with surrealism.   Outline0:00 – Introduction2:19 – Content Warnings4:05 – Historical Context: Dreyfus Affair and 'New Women' in France9:13 – Who Were They? Bio Time23:22-28:32 – Fun Segment: Word of the Week1:00:14 – Why Do We Think They're Gay?1:17:51 – Pop Culture Tie In1:19:01 – How Gay Were They?1:24:57 – Closing and Where to Find us Online Find our full list of sources and bonus content at www.historyisgaypodcast.com. Get at us on twitter @historyisgaypod, tumblr at historyisgaypodcast, and subscribe wherever you get your podcasts! Don't forget to rate and review so more folks can see the show!

A French, possibly-nonbinary, definitely-gay Jewish photographer who protested Nazis and fascism. Unfortunately, this isn't the protagonist of the year's hottest action movie; but they are the subject of this episode!  Content Warnings: Discussion of Nazis and the Holocaust Music: "So Far So Good" by Jonathan Coulton

En konstnär som dolde sitt ansikte bakom masker för att hitta sig själv. Konstnären, författaren och antifascisten Claude Cahun tog under sin livstid hundratals självporträtt för att hitta svaret på vem, eller vilka, som gömde sig bakom maskerna. Jaget hos Cahun var något där kön och identitet hela tiden varierade. Kön är ingenting som är givet utan som kan glida, som kan förändras. Som inte bara är kulturellt eller biologiskt utan även något annat och det syns i Cahuns bilder, enligt fotohistorikern Irene Berggren. Vi samtalar med henne och konstvetaren Linda Fagerström samt dragkonstnären Ziggi Källoff om Cahun.

En konstnär som dolde sitt ansikte bakom masker för att hitta sig själv. Konstnären, författaren och antifascisten Claude Cahun tog under sin livstid hundratals självporträtt för att hitta svaret på vem, eller vilka, som gömde sig bakom maskerna. Jaget hos Cahun var något där kön och identitet hela tiden varierade. Kön är ingenting som är givet utan som kan glida, som kan förändras. Som inte bara är kulturellt eller biologiskt utan även något annat och det syns i Cahuns bilder, enligt fotohistorikern Irene Berggren. Vi samtalar med henne och konstvetaren Linda Fagerström samt dragkonstnären Ziggi Källoff om Cahun.

This week, we're in a few different directions and we begin with a discussion around the Smithsonian's newly opened National Museum of African American History and Culture. Specifically, do you feel an obligation to visit places like these - places that are as much a historical record as they are a cultural cautionary tale? Also, a followup to the gear discussion that we started last week. Plus, a terrific email from a listener inspires this week's G+ group assignment. Claude Cahun is our Photographer of the Week.

This week, we’re in a few different directions and we begin with a discussion around the Smithsonian’s newly opened National Museum of African American History and Culture. Specifically, do you feel an obligation to visit places like these - places that are as much a historical record as they are a cultural cautionary tale? Also, a followup to the gear discussion that we started last week. Plus, a terrific email from a listener inspires this week’s G+ group assignment. Claude Cahun is our Photographer of the Week.

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Biography is a genre of largely unexamined power: a literary field that preserves stories of lived lives and, through them, perpetuates notions that there are certain ways lives can be lived. This is particularly true of the lives of women, which are often, in biography, confined to the marriage plot and detailed as events in the lives of men. As Jessa Crispin writes in her new book, The Dead Ladies Project: Exiles, Expats & Ex-Countries (University of Chicago Press, 2015), “The important task is to understand and modify the stories that are holding sway.” The founder and editor of the recently shuttered lit-blog Bookslut, Crispin spent a year and a half traveling abroad. Her genre-bending book, The Dead Ladies Project, is the legacy of that year and it’s a work that goes a long way in modifying the stories we typically tell, not just about women but about human beings- as thinkers, travelers, artists, and individuals. It’s a contemplative, wandering work, which captures the disorientations of travel, the anxiety/ecstasy of being alone, the ways in which we carry our pasts with us, and the integral role stories play in our understanding of our possibilities and the ways in which we live our lives.”What saves you is a new story to tell yourself about how things could be,” Crispin suggests and, as she moves from Berlin, Trieste, Sarajevo, St. Petersburg, contemplating the lives of William James, Nora Barnacle, Rebecca West, and Claude Cahun, she opens up story after story, expanding the narrative possibilities as she goes. Hers is a story which suggests the richness that comes of bouncing our lives off those of others. “It was the dead I wanted to talk to,” she writes, as she sets out on her travels. “I’d always been attracted to the unloosed, the wandering souls who were willing to scrape their lives clean and start again elsewhere. I needed to know how they did it, how they survived.” It’s an account which suggests the hunger for and value of such stories- the stories of lives which, as Carolyn G. Heilbrun put it, enable us to forge new fictions and new narratives for our own. Learn more about your ad choices. Visit megaphone.fm/adchoices

Claude Cahun (1894-1954) var en fransk konstnär som var hundra år före dagens Eurovisionsfestivalvinnare Conchita Wurst med att sätta myror i huvudet på folk genom sin provocerande androgyna stil. Maskulin? Feminin? Det beror på situationen. Neutrum är det enda kön som alltid passar mig, som hon sade. Redan 1913 började Claude Cahun skapa olika former av fotografiska självporträtt genom att plocka isär, och sätta ihop, olika manliga och kvinnliga attribut. Hon var ingen supercelebrity medan hon var verksam, men idag är hon föremål för både olika avhandlingar och utställningar över hela världen. I veckans STIL berättar vi mer om denna konstnär som beskrivits som en blandning mellan artisten Sinead O'Connor and vampyren Nosferatu. Claude Cahun fick ofta höra: ”är det en kvinna klädd som en man, eller är det en man klädd som en kvinna?”. Men det var precis den sortens frågor och förvirring som hon ville skapa, på sitt originella sätt i både text och bild. Men det var faktiskt inte förrän under det sena 1980-talet som man fick upp ögonen för att här var en konstnär som hela sitt liv ägnade sig åt att utforska vad som egentligen utgör vår identitet – och det på ett sätt som var påfallande modernt. Med hjälp av smink och kläder förvandlade hon sig från docksöt kvinna till manhaftig man – och allt däremellan. På ett av de mest kända fotografierna poserar hon i rakat huvud och påminner allra mest om en androgyn alien, omöjlig att placera i tid eller rum. Eller genusbestämma. Sätter man på sig dagens queer-brillor så framstår Claude Cahun som en kristallklar pionjär i genren genom sitt fria flytande över gränser. Hon valde till och med namn med omsorg. Hon föddes nämligen som Lucy Schwob, men bytte 1918 namn till det mer genderbendervänliga ”Claude”, som funkar för både män och kvinnor. Hennes partner (och styvsyster) bytte för övrigt också namn, från Suzanne Malherbe till Marcel Moore. Claude Cahun kopplades ihop med surrealisterna, men var aldrig helt med på de noterna. Hon ogillade att etiketteras, vad det än gällde. Möjligen skulle hon ha godtagit att bli kallad för krigsmotståndare. Hon och Marcel Moore ledde en häpnadsväckande motståndsrörelse under andra världskriget som fick dem dömda till döden. Straffet verkställdes dock inte. I veckans program träffar vi författaren Lena Andersson som – äntligen – får prata om väsentligheter som mode. Dessutom har vi pratat med konstnären Bella Rune som samarbetat med gruppen The Knife vars scenkläder ställs ut på Falkenbergs museum i utställningen Staged Fashion - Designed Identities, som öppnar denna helg. Och så har vi ringt till poeten Eileen Myles i New York. Precis som Claude Cahun har hon ett särskilt förhållande till sina husdjur. Veckans gäst är Irene Berggren, fotohistoriker och curator.