Podcasts about danish arts foundation

From Frederiksberg outside of Copenhagen, Funen-born Danish artist KIRSTEN JUSTESEN talks about the iconic 1970 exhibition Damebilleder (Women's Images) and about her year-long residence in New York in 2006 with the support of the Danish Arts Foundation. Trained in classical sculpture, Kirsten describes her use of her own body in her art and about the female gaze, and shares her mixed feelings towards being called a pioneer in the feminist art movement.Kirsten selects a work by Melchoir Lorck from the SMK collection.https://open.smk.dk/en/artwork/image/KKS1966-13(Photograph Source: Kirsten Justesen)----------We invite you to subscribe to Danish Originals for weekly episodes. You can also find us at:website: https://danishoriginals.com/email: info@danishoriginals.com----------And we invite you to donate to the American Friends of Statens Museum for Kunst and become a patron: https://donorbox.org/american-friends-of-statens-museum-for-kunst

Did you know you can release emotional tension by stretching your hips? Join our conversation with Xenia Xamanek sharing with us some of their unreleased music and influences such as Victor Jara. Bridging sounds from their Honduran and Danish heritage, Xamanek brings to life a new sound that enchants you with songs like "Embrujada" ('Bewitched'). We discuss the role of politics in music production as both a restriction and a driving force. Xamanek continues to nurture new sounds, exploring more and more their Latin American influences, combining popular sounds of reggaeton and cumbia with neoperreo to embody the complex emotional spaces within. Bringing to life seemingly contradictory feelings and ideas, Xamanek weaves them into a sonic conversation that won't let you sit still. Xenia Xamanek would like to dedicate Victor Jara's "Canción De Cuna Para Un Niño Vago" to the Children of Gaza. Hosts: Macon Holt & Ivna Franic Guest: Xenia Xamanek Jingle: Simin Stine Ramezanali Passive Aggressive Conversations is a collaboration between The Lake Radio and Passive Aggressive. It is supported by Tuborg Fondet, Augustinus Foundation, The Danish Arts Foundation and KODA. TRACKLIST: Xenia Xamanek – Riqueza Chuquimamani-Condori DJ E – Breathing Xenia Xamenek & Emil Palm – En Secreto Victor Jara – Canción De Cuna Para Un Niño Vago Xenia Xamanek – Embrujada (New Version)

In this episode, we get to know the world of composer, musician, producer and vocalist Holger Hartvig, also known as Spellcaster as well as Anybard, and Anybardinthegrass. Hartvig shares with us some of their inspirations including Robert Ashley, Cornelius Cardew, and the soundtrack of the video game Heroes of Might and Magic III. They open up about their process for creating characters for their storytelling, playing with fictional narratives in their music and discuss their use of roleplaying and game systems as tools for composing, imagining characters' stories, and their performances. These games and systems have allowed Hartvig to design their own musical frameworks and create fragmented soundscapes tied together with their vocals and narration. Through this experimentation, Hartvig's music evokes a sense of fantasy and brings audiences deeper into the world of their characters. Check out this episode if you are interested in hearing more on their recent libretto, their album Memo, and exciting news on new projects. Hosts: Macon Holt & Ivna Franic Guest: Holger Hartvig aka. Spellcaster Jingle: Simin Stine Ramezanali Passive Aggressive Conversations is a collaboration between The Lake Radio and Passive Aggressive. It is supported by Tuborg Fondet, Augustinus Foundation, The Danish Arts Foundation and KODA. TRACKLIST: Spellcaster - Muted Singers music from Heroes of Might and Magic III Robert Ashley - Characters Cornelius Cardew - Hammer of the working class

In this episode, we are delighted to talk with Danish singer, songwriter and producer, Aria Leth Schütze. Having graduated from the Music Conservatory, their music counts with captivating vocals which guide your journey through their sensorial soundscape. Inspired by the likes of FKA Twigs and DJ Lostboi, Aria's work takes you into a deep emotional space with no rights or wrongs, only processes. Their recent album "Limerence" is an example of this, where heartbreak and its healings become a stepping stone with an intensity that is almost too hard to leave behind. As a collaborative album, it embodies Aria's ideas on co-creation and reworking music. During the episode, you will get to listen in on some of their previously released work as well as new singles where the artist reworks the boundaries of collaboration and inspiration. Hosts: Macon Holt & Ivna Franic Guest: Alto Aria Jingle: Simin Stine Ramezanali Passive Aggressive Conversations is a collaboration between The Lake Radio and Passive Aggressive. It is supported by Tuborg Fondet, Augustinus Foundation, The Danish Arts Foundation and KODA.

This episode's guest, Dalin Waldo, brings an energetic first conversation to this podcast series where ey shares the processes behind some of eir recent performances and projects. As a performance artist, interface and instrument builder, synth-magician, composer and cinematographer, Dalin's work is dynamic and sees no boundaries when it comes to the tools ey use in eir artistic expressions. Interested in bringing life back to the interfaces used in music creation, Dalin inspires an active engagement with the machines surrounding our art by bringing new meanings to them. Through a multiplicity of elements and mediums, Dalin embodies what it means to deconstruct the way we see ourselves, our instruments and each other. Hosts: Macon Holt & Ivna Franic Guest: Dalin Waldo Jingle: Simin Stine Ramezanali Passive Aggressive Conversations is a collaboration between The Lake Radio and Passive Aggressive. It is supported by Tuborg Fondet, Augustinus Foundation, The Danish Arts Foundation and KODA.

In this episode, literary translator Paul Russell Garrett talks about his experience translating plays and books from Danish. He discusses his interest in drama, and how he fell in love with the Danish language. Paul also throws light on the Association of Danish English Literary Translators (DELT). He highlights the importance of the Danish Arts Foundation in supporting language and literature. He shares about his mentorship at the National Centre for Writing and his later role as a mentor. The conversation covers his work on books like 'Ukulele Jam', 'Hugo Chavez's biography', 'Vivian' and 'Companions'. Paul also discusses his experience working with publisher - Fitzcarraldo edtions..(00:09) Introduction to Paul Russell Garrett(01:39) Paul's Journey into Translation(04:14) Paul's Experience in Translating Plays(07:40) Paul's Experience in Translating Novels(08:20) Promoting Danish Literature in Translation(10:10) Paul's Mentoring Experience(13:33) Paul's Translated Works(21:07) Paul's Current Projects(25:13) Discussion on the Novel 'Companions'(29:45) Reading from 'Companions'Paul is a literary translator from Danish and Norwegian, with drama holding a particular interest for him. He has translated a dozen plays and heads the translation mentoring programme at Foreign Affairs theatre company in London. He has also translated a score of books, most recently Michael Strunge's punk poetry collection, Speed of Life. In 2020, his translation of Christina Hesselholdt's Vivian was longlisted for The Warwick Prize for Women in Translation. Paul is the current chair of DELT (the association of Danish-English Literary Translators) and is a founding member of the translator collective, The Starling Bureau.To buy 'Vivian' - https://rb.gy/eavyugTo buy 'Companions' - https://rb.gy/pstvun* For your Valuable feedback on this Episode - Please click the below linkhttps://bit.ly/epfedbckHarshaneeyam on Spotify App –http://bit.ly/harshaneeyam Harshaneeyam on Apple App –http://apple.co/3qmhis5 *Contact us - harshaneeyam@gmail.com ***Disclaimer: The views and opinions expressed by Interviewees in interviews conducted by Harshaneeyam Podcast are those of the Interviewees and do not necessarily reflect the official policy or position of Harshaneeyam Podcast. Any content provided by Interviewees is of their opinion and is not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrpChartable - https://chartable.com/privacy

Adam Jeppesen is an art photographer and visual artist who first rose to international prominence with his groundbreaking 2008 series Wake, which resulted in a book of the same title being published by Steidl and subsequently nominated for a string of prestigious awards. Noted for his bold experimentation with form and materiality and exploring universal themes relating to the scientific, religious and philosophical, Adam's work has been exhibited worldwide and is present in the permanent collections of the Denver Art Museum (USA), the Danish Arts Foundation and the National Public Art Council of Sweden.Explore more of Adam's work at:www.adamjeppesen.com

Meet GNOM, the forthcoming solo project of Anders Bach, and hear how an ethereally ambient album developed into a noisy and extreme musical expression shaped by tragedy. Confronting grief, his approach to making music went from intellectual and subtle to musically clear and deeply personal. His album “Bitumenic” releases June 9th. To begin with, the first sketches for the album were spiritual and abstract. By first adding physical drums, he connected to a feral instinct and a melodic emotionality. He worked with Fire-Toolz aka. Angel Marcloid, further driving the album in a direction resonating with Anders' explosive emotional proces. It became an album that emphasizes and embraces the pleasure part of "guilty pleasure", expressing joy in the face of fear or even death. Produced by Louise Tandrup Esbensen Supported by The Danish Arts Foundation and The Augustinus Foundation TRACKLIST: GNOM - This Strain Of The Self (feat. Fire-Toolz) GNOM - Unreleased sketch GNOM - Unreleased sketch GNOM - Unreleased sketch GNOM - Coagulate GNOM - Hark Hark! The Lark Does Liquesce Fire-Toolz - It is Happening Again (Thank You, Council Of Saturn!) GNOM - This Strain Of The Self (feat. Fire-Toolz) GNOM - O Is For Obedience GNOM - Coagulate GNOM - Sister: Let Hel Hold What She Has GNOM - The Bile GNOM - Entry Plug, The Vessel Of The Heart GNOM - Foot (feat. Seiðr)

Meet composer and clarinetist Carolyn Goodwin, founder of Copenhagen Clarinet Choir, and hear her musical origin story in both words and sounds. She originally studied classical saxophone and played new compositions. Later in life, she discovered improvised music. She talks about her methods of composing for improvisation, such as defining simple ideas as musical spaces to move through and explore in sequence, like the life of a newly hatched bird growing from whisper songs to singing in flight. Improvisation, to Carolyn, is about listening, working with subtle textures, nuances, and overtones, discovering the limit of what her instrument can do, and also discovering the power to take whatever is encountered in the musical space and sending it new directions. Produced by Mei Bao Supported by The Danish Arts Foundation and The Augustinus Foundation TRACKLIST: Copenhagen Clarinet Choir - Organism Clang Sayne - Curse You Mocking Moon Copenhagen Clarinet Choir - Flocking, Part 1 Copenhagen Clarinet Choir - Flocking, Part 2 Copenhagen Clarinet Choir - Hive Mind Copenhagen Clarinet Choir - Water Piece

Meet Copenhagen-based musician and producer Debbie Sings. She talks about how her musical project is a learning process through copying and sampling, trial and error, creating a chaotic output of different inspirations, contrasts and extremes. Learning how to make music with a computer freed and empowered her to do whatever she wanted, creating a universe that both she and her audience can escape into from reality for a while. Not unlike the traditional 50s pop that inspires her like a broken romantic picture of sweet melancholy, her music expresses a happy mood even as the lyrics contain deeper and darker emotions. Produced by Louise Tandrup Esbensen and Mei Bao Supported by The Danish Arts Foundation and The Augustinus Foundation TRACKLIST: Debbie Sings: Satanizer Debbie Sings: WhOOsh SOPHIE: Lemonade Debbie Sings: Godspeed Bernadette Caroll: Care a Little Debbie Sings: No Title (Performed at Vegas Livesession) Debbie Sings: F My Tears Away Debbie Sings and Jens Aagaard: Kæmpe mix 266

Meet Copenhagen-based rapper CHIEF who began freestyling as a young teenager. After jumping into her musical career, as she puts it, "it's hard to crawl back into your shy space." She talks about how politics is at the core of her music, just as it was when hip-hop began in the 80s but also about how emotional vulnerability is coming to the fore. Produced by Mei Bao Supported by The Danish Arts Foundation and The Augustinus Foundation TRACKLIST: Gutter Intelligence FUCK THA POLICE Princepel Rebel Would U Wait ft. Olivia Lincoln Project Baby

Meet Peachlyfe, the moniker of Petra Skibsted. The Lake Radio talks to them in Berlin about how the city became a place to both develop their musical practice and to explore queer identity. They talk about immersing themself in club music, leaving a life of jazz and live bands behind in Copenhagen, about working alone and never finishing tracks, and about how electronic music can create spaces for experimenting with gender and sexuality. Produced by Mei Bao Supported by The Danish Arts Foundation and The Augustinus Foundation TRACKLIST: Against All Reason pt. 2 Against All Reason pt. 1 Hot Boi Cry Boi Fly Boi

Meet the Copenhagen-based artist and composer Jura, and dive into her debut album 'Formality Jerne-Site' (2022). Jura unfolds some of her songs and talks about composing duets for friendships and time traveling with music. Listen and discover how music can be a break from the logics that we normally navigate the world with. Produced by Louise Tandrup Esbensen & Mei Bao Supported by The Danish Arts Foundation and The Augustinus Foundation TRACKLIST: Amephrey and Ontario Someone's Lifework Same Late Age (dIcK bIfFeReNcE) Grand Jury Staller Amephrey and Ontario

Silas Inoue was born in 1981 and graduated from the Royal Danish Academy of Fine Arts, Copenhagen, Denmark in 2010. He currently lives and works in Copenhagen. Inoue's work has been widely exhibited internationally; recent exhibitions include; Barbe á Papa, Musée d'art contemporain de Bordeaux, Bordeux, France; Night Bloom Central, Ulterior Gallery, New York, NY (2022, solo); Minimalism-Maximalism-Mechanissmmm, Art Sonje Center, Seoul, South Korea and Kunsthal Aarhus, Aarhus, Denmark (2022); Naturen Taler #1, Sorø Kunstmuseum, Sorø, Denmark (2021); eat & becʘ̃me, Augustiana Kunsthal, Augustiana, Denmark (2020, solo); and Altering, Lothringer 13, Munich, Germany (2019). Many notable collections include his artwork, such as: Danish Arts Foundation, Bornholm Art Museum, Noma, and Horsens Kunstmuseum, where his first museum solo exhibition is scheduled to open in 2023. Silas Inoue Future Friture-Turritopsis Dohrnii, 2022 Sugar, silicon and cooking oil in acrylic aquarium on concrete plinth 42 1/8 x 13 x 13 in (107 x 33 x 33 cm) Photo Credit: Jason Mandella Courtesy of Ulterior Gallery, New York Silas Inoue Infrastructure, 2022 Acrylic cover, wood, silicon, plastic, mold, and bronze respiratory system 25 1/4 x 26 x 9 1/4 in (64.1 x 66 x 23.5 cm) Photo Credit: Jason Mandella Courtesy of Ulterior Gallery, New York Silas Inoue Mesh, 2022 Graphite and watercolor on paper 35 x 37 5/8 in (88.9 x 95.6 cm) 41 x 44 x 2 1/2 in (104.1 x 111.8 x 6.4 cm) Framed Photo Credit: Jason Mandella Courtesy of Ulterior Gallery, New York

What you'll learn in this episode: Why art jewelry is a way to reflect current times How Annette is trying to create an art jewelry gallery in Copenhagen Why people often don't understand art jewelry, even in cultures with a tradition of goldsmithing, art and design Why Americans are more willing to wear large statement pieces About Annette Dam Annette Dam is educated from the Oslo National Academy of the Arts in Norway in 1999 and has since worked conceptually and exhibition-oriented. Annette Dam's works have been exhibited at exhibitions in Denmark as well as internationally. In 2015 she was selected for the World Craft Council's European Prize for Applied Arts in Belgium. Annette Dam received the prestigious Skt. Loye award from the Kjøbenhavns Guldsmedelaug. Additional Resources: Website Instagram Klimt02 Photos available on TheJewelryJourney.com Transcript: For Danish artist-jeweler Annette Dam, the appeal of art jewelry lies in the challenge of making it. How do you turn an idea or feeling into a wearable piece of art? That's the question she asks before starting any piece. She joined the Jewelry Journey Podcast to talk about her upcoming exhibitions and projects; how people from different cultures approach art jewelry; and why she wants to help the Danish art jewelry scene thrive. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today my guest is artist-jeweler Annette Dam, speaking to us from Denmark. Welcome back.    You used the word concrete, which is exactly the word I used when I was making notes. I thought, “Oh my god, that's a real challenge.” You say that what you're doing is a little bit like a riddle. You're trying to make something concrete that you're visualizing in your mind, but you want to make it real. That must be very difficult.   Annette: It is sometimes, but for me it's also where a lot of my drive is. It's where I get challenged. I get very frustrated and say, “I don't know. How do I do this?” but that is what I think is exciting. I must like it even though I get so frustrated. I think it's very hard sometimes.   For instance, I had an exhibition a while ago called “When Complexity Moved In.” It was about getting older. When you get older and more experienced and more knowledgeable, you're able to see things from many different perspectives. You can see other peoples' reactions and you can see their points. You may not agree, but you can still see their view, and it's not black and white anymore. A lot of friends who are the same age as me have the same feeling. Life doesn't get easier. Even though you may know a lot more, you get more experienced, it seems like it's getting even more complex. All the grey, all the nuances, you get aware of them. How do I translate that feeling into jewelry? That is a real challenge.   Sharon: Yes, it sounds like it. It sounds like a brain twister.   Annette: Yes, it is, but that's where a lot of my energy comes from, this riddle that I have to solve to get it into a material. I make jewelry that, at least in my opinion, is somewhat wearable. Some might disagree. So, there's also a functional side to it, and I want it all to work together. Then you have a lot of ideas, and it's also about subtracting so it doesn't get confusing. That's a lot of elements in that creative process, but that's the one that drives me.   Sharon: That's interesting. I could see how you have to streamline things and say, “O.K., I have a lot of ideas, but they can't all go into this one piece.”   Annette: No.   Sharon: I was intrigued by your—I'm looking for the name of it, the silversmithing program.   Annette: Yeah.   Sharon: Tell us about that.   Annette: I can say that whenever I start a new project, I always want to learn something new, not only in terms of investigating an issue, but also technical skills when I want to investigate a material. I want to challenge myself a little bit in that department as well. There's always a part of me trying out new thinking, being a beginner at something within the project.    In this case, it has a title called “Trespassing.” It's about gender. It's about the balance between femininity and masculinity and power structures and stuff like that. It's things we talk about these days. It's also a way for me to educate myself within this area. I have two children, two daughters that are 18 and 20. They live in this, but I have to more actively educate myself in these gender themes. It's very interesting.    I started out doing these neckpieces that are a balance between a necktie and a traditional pearl necklace. It's a long process where I also have to deselect something to make it clearer. Where is the balance? How long should the tie be compared to the necklace before it's a necklace and not a tie? What does it really say? Does it say what I want it to say? That was a small beginning of it, but I had the chance to go to this very experienced, very good silversmith Carsten From Andersen. It was also something I got a grant for through the Danish Arts Foundation. I hadn't done a lot of silversmithing, and that's a hard technique. I had a little bit of teaching of it in school in Norway, but it has to be in your body in a way to actually do it. So, he's teaching me. I'm starting out doing these—are they called puff sleeves? Like the one Sleeping Beauty was wearing. It's clothes and a shoulder piece.   Sharon: In silver?   Annette: It's in silver, yeah. I'm a big silver fan. It also has references to and elements of the parade uniforms the military wears. It's morphing into a different plane with the balance between something innocent and very feminine and something very powerful and demonstrating military power. How can I make an interesting balance between that? I'm also making—what is it called? Like a jock strap.   Sharon: Yeah, a jock strap.   Annette: Combining that with a garter belt. It's a way for me to explore. So, I'm doing this project and learning this new technique. Part of the project will be shown at a small gallery Portabel, owned by Camilla Luin, in Norway in September. The first step in that project will be shown there and then we'll see where it goes.    Sharon: How long is this silversmithing program?   Annette: It's just him and I deciding. When I think I've done enough and when I'm finished with what we talked about. We're still not there, but it's really interesting.   Sharon: It sounds like it.   Annette: He's a great guy and he's so good at it. I'm so impressed.   Sharon: I can give you a lot of credit for wanting to embark on something like that. I like it when people explain things to me, when someone takes me on a tour of an art gallery and I say, “Oh yeah, now I see it, O.K.” I saw your neckpiece with the pearls and the tie. I saw it online, and now that you've explained it, I go, “Oh yeah, I get it. That's really interesting.”   Annette: Yeah, it combined those very traditional, classical, masculine, feminine accessories, and then combining them and seeing how it works out.   Sharon: That's really interesting. You say you like to exhibit things. Why is that? Why are exhibitions important to you?   Annette: I don't know. I think the pieces that I do, they relate to a topic, and it feels like I have this conversation doing it. I have conversations with myself, maybe with colleagues, family. But then to see it through someone else's eyes when the audience comes, those discussions are really valuable to me. I gain a lot from them, so I like to exhibit. I like to make bigger pieces. I know they are not production work, where I will not sell 10 of them, or thousands of them, but I still like to do them. I like to have this conversation between myself and the audience and the gallerist and whoever is there. It's very giving for me.    Sharon: You mentioned the question marks in people not exactly understanding when you say artist-jeweler. Did they understand it more in Norway or is it just in general?   Annette: A little bit more, actually. Yeah, they do. They have an art tradition. It's a recent culture for doing craft in general. In my opinion, it's more valued there. They appreciate it more. It was a good place to study. They didn't question me as much.    Sharon: They didn't say, “What are you talking about?”   Annette: I get questioned a lot in Denmark, but not necessarily other places.   Sharon: Interesting.   Annette: Isn't it?   Sharon: Yes. I know that at one point you lived in the States, in California, I think. Did you do your crafts—   Annette: No, my husband is from California. I have never lived there.    Sharon: O.K. I was wondering if you were doing art jewelry. Have you tried exhibiting here?   Annette: No, I'm represented by Charon Kransen, among others.   Sharon: By whom? Oh, Charon Kransen.   Annette: I've been traveling a lot doing exhibitions in the States, but I never worked there or lived there. I find that the American audience, they are braver in a way. They appreciate some of my bigger works that I would never sell in Denmark. As you know, there are a lot of collectors in the U.S. We don't have collectors in Denmark yet. We're working on it, but they're just braver in wearing extravagant jewelry in the US. They don't mind having those conversations. I think if they wear a big piece that has a lot to say, they know they're going to be questioned and they will have a conversation. I don't know if the Danes don't really want that, but the Americans, they don't mind it. They like it, right?   Sharon: That's interesting, because I know the pieces you have online, and from what I've seen, I don't consider your pieces really big. They're not small, but they're not huge. It's not like wearing a pectoral.    Annette: I totally agree. My jewelry is not that out there. They're not that weird, but that's a way to come for Danish wares.   Sharon: Do you see the market growing there for art jewelry?   Annette: No.   Sharon: No?   Annette: No, but I see it growing in other places, in other countries.   Sharon: In Scandinavia?   Annette: Throughout the world in general it's growing. I'm very pleased, but not in Denmark.   Sharon: Interesting. I'm surprised to hear that.   Annette We have a long tradition of making jewelry, so it concerns that we don't have an education for art jewelery at a higher level anymore. If you want to be educated within art jewelry, you have to go abroad nowadays.    Sharon: What happened to the school?   Annette: It got closed down. They kind of made a school at this art academy, but they exchanged it for accessories, and that's not art jewelry. They kind of diminished that specific field within the accessory thing.   Sharon: It seems like there's a market in Canada. You're working on a project, the Nordic Bridges, in your exhibit in Toronto. Tell us about that.   Annette: Yeah, I was very pleased to get invited to this exhibition called Animal, Vegetable, Mineral. I was invited by Melanie Egan. She's a curator at the Harbourfront Centre in Toronto. In the year 2022, there's this project called the Nordic Bridges, which is a collaboration between the Nordic countries and Canada. The Harbourfront Centre is leading this project. There are exhibitions, venues with literature, film, dance, performance, gastronomy as well, all taking place at different places in Canada. It's a huge project. This is a part of it, this jewelry exhibition where there's one artist from each of the Nordic countries and I think six from Canada. I like the title.    Sharon: What does it mean?   Annette: It's a guessing game. I don't know. Do you have it in the U.S., a guessing game where the first question, at least in Canada, is animal, vegetable or mineral? In Denmark, it would be—how do I translate it? Is it living in the water, on earth or is it flying? You have to guess an animal in Denmark, but in Canada, I guess it's a little bit different. But this is the game, and that's the ...

In the podcast Emmett Scanlon talks to James Albert Martin and Eibhlín Ní Chathasaigh, who together with Anne Dorthe Vester and Maria Bruun are Soil Lab. In September 2021, Soil Lab unveiled their installation on a vacant lot in Chicago as part of the Chicago Architecture Biennial. In the podcast the pair discuss the project from the initial idea which, after an open call from the Danish Arts Foundation, was to make a housing for a ceramic kiln on the site, and all the way through to the opening. They share the obvious logistic challenges of making a project like this from Denmark and Ireland and in America, especially during a pandemic. However, challenging as it was, it is clear the team remain enthused, emboldened and engaged with and by the work and all that unfolded day by day across the project, and in particular how the project was enriched by the participation of residents and others who live and work adjacent to the site. James begins by telling us about the Chicago Architecture Biennial and from their pair talk directly and honestly about what happened, what they learned, and a little about what might be next. More about the project here: https://www.instagram.com/soillabnorthlawndale ABOUT SOIL LAB The Soil Lab project team is made up of three architects, James Albert Martin, Eibhlín Ní Chathasaigh, and Anne Dorthe Vester, and one designer, Maria Bruun, working across different scales, materials, and disciplines. James, Eibhlín, and Anne Dorthe studied together at the Aarhus School of Architecture in Denmark and have since collaborated on several projects. James and Eibhlín are based in Dublin, where they have both worked for internationally renowned architecture firms. Maria and Anne Dorthe are based in Copenhagen, where they founded the studio MBADV in 2013. Their practice with MBADV is at the intersection of architecture, design, and fine art. The project team comes together around a belief in making as a collaborative act: making moments, and making spaces and places for people to gather, to celebrate, and to treasure space. Eibhlín Ní Chathasaigh graduated from the Aarhus School of Architecture, Denmark, in 2011. Since graduating she has worked for Atelier Peter Zumthor in Switzerland and Grafton Architects in Dublin, Ireland. In 2018, Eibhlín joined James and Anne Dorte in participating in the REFORM Design Biennale with their collaboration Woven Construct, constructed in the garden of Munkeruphus Center of Contemporary Art, in Zealand, Denmark. Eibhlín believes imagination is the central strength of architecture and is interested in the social act of architecture and design as a collaborative conversation. It is with great pleasure that, together with the people of North Lawndale and the Soil Lab team, she embarks on transforming a vacant lot in West Chicago into a new public space. James Albert Martin is a registered architect with the Royal Institute of the Architects of Ireland and Grade 3 Accredited in Architectural Conservation. He has taught at The Aarhus School of Architecture and at University College Dublin where he is currently a Design Fellow. James is interested in the act of making, and his work is informed by this collaborative act. James holds a MA from The Aarhus School of Architecture and has also undertaken courses in joinery at Capellagården - a school for craft and design. Since graduating he has worked with international studios; Sou Fujimoto Architects, Herzog & de Meuron, and Grafton Architects. In 2018, James, Eibhlín, and Anne Dorte participated in REFORM Design Biennale with their collaboration Woven Construct, a seat, a screen, space, which they constructed in the garden of Munkeruphus, north of Copenhagen.

Join us for our second episode of In Conversation with Black Box Projects where we welcome Danish contemporary artist Adam Jeppesen to chat about his Flatlands Camp Project series, his new book Error, Object, Structure and his travels as a wandering artist. Adam Jeppesen is arguably best-known for his Flatlands Camp Project series which was born out of an epic 487-day journey from the north pole to the south across the America’s. The journey was mainly taken on foot, sometimes on bicycle, a little by car … but all of it was solitary. For over ten years Adam mined the content from this series to create seminal works such as X-copy, Folded, Ghost and Scatter. This experience went on to inform and inspire future series of works that reference themes and processes first explored in the Flatlands Camp Project.The images from this journey are of remote, rugged landscapes which are suffused with a sense of tranquility, reflection and contemplation. This series conveys a search for spirituality, but it also addresses the materiality and transience of the photograph as an object. Coincidence, damage and imperfection are essential elements in Adam’s work.Adam Jeppesen, born in 1978 in Kalundborg, Denmark, first gained international recognition with his "Wake" series, which was published in 2008 by Steidl in book format. In 2009, Jeppesen was nominated for both the Deutsche Börse Photography Prize and the KLM Paul Huf Award. His work has been exhibited worldwide and is present in the collection at the Denver Art Museum (USA), the Danish Arts Foundation, the National Public Art Council in Sweden, the National Museum of Photography in Denmark, as well as in numerous private collections. Adam Jeppesen lives and works in Buenos Aires, Argentina. Anna Kirrage began her career at The Fleming Collection before working for The London Original Print Fair. She then spent 6 years as Account Director at the arts consulting agency, Cawdell Douglas, where she managed clients including The Grosvenor House Art & Antiques Fair, the BADA Antiques & Fine Art Fair, TEFAF Maastricht, Masterpiece London, The Fine Art Society, Sims Reed, Pangolin London and Bowman Sculpture. Following this, Anna worked as a freelance consultant and was instrumental in the merger between two consultancies, Muse and Cawdell Douglas to create a new arts agency, Golden Squared Consulting, where she worked as Associate Director for two years before co-founding Black Box Projects.Kathlene Fox-Davies is a photography expert, art-historian and curator, with over 16 years' experience in the art world both in London and New York. Kathlene began her career as a Sales Associate at Michael Hoppen Gallery before moving to Hasted Hunt in New York as Gallery Manager. On her return to London, Kathlene joined Halcyon Gallery in Mayfair as an art consultant. She later joined ATLAS Gallery as Associate Director, introducing and overseeing a programme of contemporary artists. In 2014 Kathlene established her own art consultancy - Fox-Davies Contemporary - where she worked with a select group of clients helping to build and manage their collections. In 2017 Kathlene co-founded Black Box Projects. Kathlene has special interest in community engagement through the gallery and arts programming, transparency in business, a desire to connect clients to the art, artists and art world, as well as providing a more personal collecting experience through the gallery. Kathlene is also a frequent contributor to Monocle Radio as a guest art expert, offering a commentary on the current arts headlines as well as reviews of gallery shows and art fairs, as well as host and producer of IN CONVERSATION with Black Box Projects.Support the show (https://www.patreon.com/blackboxprojects)

Dawda Jobarteh is an acclaimed musician and composer from Gambia who plays the West African harp – the kora. Dawda comes from a traditional griot family – a long line of kora players and storytellers, but as a child, the percussion had his heart, so he figured out how to make a small drum out of a tomato can. In the end, his family gave in to his desire to play the drums, so when Dawda originally was invited to Denmark, it was to teach percussion. After moving to Copenhagen, he taught himself to play the more neighbor-friendly instrument of the kora, and now this is his main instrument. In this program he explains how he combines his West African musical background with Danish and international inspirations in his music making as well as in collaborations. How do new roads of listening show up when you change your surroundings? How do you listen with innocent ears? And what is the difference between music from Gambia and music from Mali?With: Dawda Jobarteh. Idea and production: Signe Marie Svennum.The series is made with support from the Danish Arts Foundation.Tracklist:Dawda Jobarteh: I met her by the riverDawda Jobarteh: Jeg gik mig ud en sommerdagDawda Jobarteh: Hello Dawda Jobarteh / Stefan Pasborg Duo: A change has comeDawda Jobarteh: EfoCTM feat. Dawda Jobarteh: SpenderAlhaji Bai Konte: JatoToumani Diabaté: DjelikaSalif Keita: MandjouYoussou N’Dour: BamakoBembeya Jazz National: AlalakéBill Frisell: Boubakar

Tell me about a violent film scene you have watched?Direct Approach is an art project, educational programme and podcast by artist Stine Marie Jacobsen, which uses film as a tool for conversations on violence in film and reality.NYC youths retell from memory a violent film scene they have watched, then choose if they would play either: victim, perpetrator or bystander and explain why.The podcast serves as a practical working guide on how to creatively and sensitively work with the topic violence. Through retelling a film scene, participants can anonymously explore, discuss and reframe their own experience with violence.The Direct Approach podcast is recorded and produced by Ana Patel, script consulted by Elijah Guo, edited by Andrea Huyoff, jingled by Alex Stolze, mastered by Lupo Lubich, spoken by Anonymous, Eloise Dreesen, Jane, Edwin Korsah, Gallo Patel and supported by the Danish Arts Foundation.www.direct-approach.org / www.facebook.com/direct.approach.org

Tell me about a violent film scene you have watched?Direct Approach is an art project, educational programme and podcast by artist Stine Marie Jacobsen, which uses film as a tool for conversations on violence in film and reality. NYC youths retell from memory a violent film scene they have watched, then choose if they would play either: victim, perpetrator or bystander and explain why. The podcast serves as a practical working guide on how to creatively and sensitively work with the topic violence. Through retelling a film scene, participants can anonymously explore, discuss and reframe their own experience with violence.The Direct Approach podcast is recorded and produced by Ana Patel, script consulted by Elijah Guo, edited by Andrea Huyoff, jingled by Alex Stolze, mastered by Lupo Lubich, spoken by Anonymous, Eloise Dreesen, Jane, Edwin Korsah, Gallo Patel and supported by the Danish Arts Foundation.www.direct-approach.org / www.facebook.com/direct.approach.org

Tell me about a violent film scene you have watched?Direct Approach is an art project, educational programme and podcast by artist Stine Marie Jacobsen, which uses film as a tool for conversations on violence in film and reality. NYC youths retell from memory a violent film scene they have watched, then choose if they would play either: victim, perpetrator or bystander and explain why. The podcast serves as a practical working guide on how to creatively and sensitively work with the topic violence. Through retelling a film scene, participants can anonymously explore, discuss and reframe their own experience with violence.The Direct Approach podcast is recorded and produced by Ana Patel, script consulted by Elijah Guo, edited by Andrea Huyoff, jingled by Alex Stolze, mastered by Lupo Lubich, spoken by Anonymous, Eloise Dreesen, Jane, Edwin Korsah, Gallo Patel and supported by the Danish Arts Foundation.www.direct-approach.org / www.facebook.com/direct.approach.org

Tell me about a violent film scene you have watched?Direct Approach is an art project, educational programme and podcast by artist Stine Marie Jacobsen, which uses film as a tool for conversations on violence in film and reality.NYC youths retell from memory a violent film scene they have watched, then choose if they would play either: victim, perpetrator or bystander and explain why.The podcast serves as a practical working guide on how to creatively and sensitively work with the topic violence. Through retelling a film scene, participants can anonymously explore, discuss and reframe their own experience with violence.The Direct Approach podcast is recorded and produced by Ana Patel, script consulted by Elijah Guo, edited by Andrea Huyoff, jingled by Alex Stolze, mastered by Lupo Lubich, spoken by Anonymous, Eloise Dreesen, Jane, Edwin Korsah, Gallo Patel and supported by the Danish Arts Foundation.www.direct-approach.org / www.facebook.com/direct.approach.org

Tell me about a violent film scene you have watched?Direct Approach is an art project, educational programme and podcast by artist Stine Marie Jacobsen, which uses film as a tool for conversations on violence in film and reality. NYC youths retell from memory a violent film scene they have watched, then choose if they would play either: victim, perpetrator or bystander and explain why. The podcast serves as a practical working guide on how to creatively and sensitively work with the topic violence. Through retelling a film scene, participants can anonymously explore, discuss and reframe their own experience with violence.The Direct Approach podcast is recorded and produced by Ana Patel, script consulted by Elijah Guo, edited by Andrea Huyoff, jingled by Alex Stolze, mastered by Lupo Lubich, spoken by Anonymous, Eloise Dreesen, Jane, Edwin Korsah, Gallo Patel and supported by the Danish Arts Foundation.www.direct-approach.org / www.facebook.com/direct.approach.org

Art to the audience – the role of the middle hands in performing art (LIVE - 2018-08-24) – Kristallfoajén, Stora Teatern / Göteborg In the common goal of the sector to bring work to an audience many players are involved. In this panel we will discuss the role of the agent/producer, “the middle hand”, in between the artist, the presenter/curator and the audience. Medverkande: Cecilia Suhaid Gustafsson, Naja Lee Jensen, Aloun Marchal, Line Rousseau och Sanne Wichman. Moderator: Lene Bang Ljudtekniker: Terje Himberg-Larsen Producerat av Kulturakademin i samarbete med Dans och teaterfestivalen, CAMP (Creative Agent Manager Producer). C.A.M.P. organiseras av Lene Bang Henningsen/Lene Bang Org., Line Rousseau/A Propic, Adrien Bussy/Compagnie Flak and Magnus Nordberg/Nordberg Movement. CO-CAMPERS: Betina Rex (DK), Sanne Wichman (NL, Anja Arnquist (SE) PARTNERS: Festival TransAmériques (CA), Göteborgs dans- och teaterfestival (SE), DansBrabant / Theaterfestival Boulevard (NL), Dansehallerne Copenhagen (DK), The Development Platform (DK). Göteborg CAMP 2018 stöttas av: The Nordic Culture Fund, The Danish Arts Foundation, Conseil des arts de Montréal, Quebec, Montreal Camp 2018 was supported by: The Danish Arts Foundation, Conseil des arts de Montréal, Quebec.

Welcome to Secrets of Organ Playing Podcast #55! Helping Reach Your Dreams: http://www.organduo.lt Today's guest is Frederik Magle, a contemporary composer, concert organist and pianist from Denmark. His music has been performed by The London Philharmonic Orchestra, Zürcher Kammerorchester, The Danish National Symphony Orchestra, Danish National Chamber Orchestra, Riga Philharmonic Orchestra, South-Jutland Symphony Orchestra, violinist Nikolaj Znaider and many other ensembles and soloists. Frederik Magle also works with film scores and crossover music/fusion, blending contemporary classical music with other genre such as jazz, rock, electronica, and even hip-hop. On October 25th 2009 the first pipe organ with tonal design by Frederik Magle was inaugurated in Jørlunde church, Denmark. The instrument has 24 stops and 1360 pipes and is built by the organ builders Frobenius on specifications by Frederik Magle, who was hired as consultant by the church council. As a soloist on piano or pipe organ Frederik Magle has played in Saint Peter's Basilica (Rome), Windsor Castle, Luzern Concert Hall, Riga Cathedral, Koncerthuset (Copenhagen Concert Hall), The Danish Radio Concert Hall, and many other places. In 1999 Frederik played at the christening of H.H. Prince Nikolai, and later he was invited to perform a solo organ concert for the Danish Royal Family and Royal Court at Fredensborg Castle. In 2002 his piece »Pact of the Baptism« was given its first performance at the christening of H.H. Prince Felix in Møgeltønder Church. Frederik Magle has also received many grants and prizes in support of his work and achievements as composer and musician, including the Grants of Her Majesty The Queen of Denmark and H.R.H. Prince Henrik, The Grant of H.H. Prince Joachim and H.H. Princess Alexandra, Countess Erna Hamilton's scolarship, Carlsberg's Prize of Ideas, Unibank's Arts Prize, the Arts Award of the Freemasons, and a grant from the Danish Arts Foundation (2014). In this conversation, Frederik shares his insights about bringing the organ alive. Enjoy and share your comments below. ​ And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. Thanks for caring. Related link: http://www.magle.dk