Podcasts about Design museum

In this episode of The afikra Podcast, we're joined by renowned journalist Mona Chalabi who discusses her latest animated series "#1 Happy Family USA" with comedian Ramy Youssef, her unique data-driven and illustrated approach to journalism, and the use of humor as an effective communication tool. The conversation delves into Chalabi's upbringing, her views on authority and respect in journalism, the importance of lived experiences in storytelling, and the ethical complexities of representing marginalized voices. We also explore the challenges of the journalism industry, the impact of social media, and the significance of platforming diverse perspectives in media.00:00 Introduction 03:18 Childhood Interests and Ambitions04:53 No to Fan Culture 07:47 Data Journalism and Human Stories12:15 Challenges in Journalism and Representation16:39 Economic Crisis in Journalism21:27 Growing Up During the Iraq Invasion23:12 The Role of Journalists in Shaping Consent24:35 The Challenges and Resilience of Protest Movements26:41 The Importance of Local Reporting29:12 Journalistic Integrity and Future Reflections33:16 Balancing Activism and Media Consumption34:33 The Process of Creating and Revising Work39:23 The Debate on Platforming Opposing Views44:46 Final ThoughtsMona Chalabi's work has earned her a Pulitzer Prize, a fellowship at the British Science Association, and an Emmy nomination and recognition from the Royal Statistical Society. In recent years, her art has been exhibited at the Tate, the Brooklyn Museum, the Design Museum, and the House of Illustration. She studied international relations in Paris and Arabic in Jordan. Mona works beside windows, sometimes in her hometown of London but usually in Brooklyn where she is writing a book about the ways we talk about money. It has been optioned by A24 as a documentary series. She is also the executive producer and creative director of an upcoming animated TV show with Ramy Youssef, A24 and Amazon Studios. Her writing and illustrations have been featured in The New York Times, The New Yorker and The Guardian where she is currently the data editor. Her video, audio, and production work has been featured on Netflix, NPR, the BBC, and National Geographic.Connect with Chalabi

For the British architect John Pawson, minimalism isn't just a design philosophy, but a life philosophy—with his 1996 book, Minimum, serving as a defining jumping-off point. Over the course of more than four decades, Pawson has quietly amassed a global following by distilling spaces, objects, and things down to their most essential. With projects ranging from his career-defining Calvin Klein Collection flagship store on Madison Avenue in New York City, completed in 1995, to a remote monastery complex in the Czech Republic he's been building for Cistercian monks of the Trappist order for more than 25 years; from hotels in Los Angeles, Madrid, and Tel Aviv to London's Design Museum; from private homes in Colorado, Greece, Japan, Sweden, and beyond, to a chair and cookware; from lamps and linens to doorknobs, bowls, to even a steak knife, Pawson's tightly focused yet seemingly boundless practice places him in a category all his own.On the episode—our fourth “site-specific” taping of Time Sensitive, recorded at Pawson's country home in the Cotswolds—he discusses the problems he sees with trying to turn minimalism into a movement; his deep-seated belief in restraint, both in life and in architecture; and his humble, highly refined approach to creating sacred spaces.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:[08:06] Tetsuka House (2005)[08:06] “John Pawson's Approach to Making Life Simpler”[08:06] Shiro Kuramata[08:06] Katsura Imperial Villa[08:06] North York Moors[12:41] “Minimum” (1996)[12:41] Sen no Rikyū[17:35] Calvin Klein Collections Store (1995)[17:35] Ian Schrager[17:35] Paul Goldberger[17:35] Cathay Pacific (1998)[20:59] “Elements of Style” (1959) by William Strunk Jr. and E.B. White[20:59] “Plain Space” (2010)[20:59] Raymond Carver[23:08] Bruce Chatwin[23:08] “Wabi”[23:08] Chatwin Apartment (1982)[26:26] Deyan Sudjic[28:12] Ryōan-ji[31:11] “John Pawson: Making Life Simpler” (2023)[30:16] Neuendorf House (1989)[30:16] Tilty Barn (1995)[37:19] Claudio Silvestrin[37:51] Philip Johnson[40:49] Home Farm (2019)[40:49] “Home Farm Cooking” (2021)[47:18] Bill Brandt[55:46] Hester van Royen Apartment (1981)[56:36] Casa Malaparte[56:36] Mies van der Rohe[56:36] Barcelona Pavilion[59:356] The Design Museum (2016)[59:356] Farnsworth House[59:356] “Inside the Brick House, Philip Johnson's Private Playground”[1:02:26] Pawson House (1999)[1:05:53] The Feuerle Collection (2016)[1:10:33] Abbey of Our Lady of Nový Dvůr (2004)[1:21:54] Pieter Jansz. Saenredam 

We explore experimental ways of living thanks to a new exhibition in Tokyo and we imagine sunnier futures at the ‘Solar Biennale’ in Switzerland. Finally, a cooling dip in the pool as we visit ‘Splash! A Century of Swimming and Style’ at London’s Design Museum.See omnystudio.com/listener for privacy information.

As an architect, are you influenced by the environment you grew up in, even if your work looks vastly different to where you spent your formative years? John Pawson thinks so. He grew up in the north of England in the 1950s with his four sisters, playing with kids from houses around their family home. Despite being a master of minimalism, he grew up in a house that was quite the opposite. John Pawson CBE has spent over forty years making rigorously simple architecture. His work spans everything from London’s Design Museum to the Czech Republic’s Cistercian Monastery, Calvin Klein’s store on Madison Ave in New York and a range of private homes and the furnishings to go with them. His work is defined by the use of natural materials, a sensitivity to light and spare spaces that have a feeling of calm. At a turning point in his life as a young man, Pawson set off on a ‘round the world ticket with nothing to lose. His first stop was in Nagoya, where he had the idea to become a Buddhist monk. When that failed, he went to Tokyo and met Shiro Kuramata. Despite having no formal qualification as an architect, his accolades are many. They recognise his influence as one of the world’s leading architects. In 2007 he was appointed a Commander of the Order of the British Empire (CBE) for his contribution to architecture in the UK. Listen in as Vince and John discuss knocking down walls to redesign Hester van Royen’s rented flat, the moment Calvin Klein turned up to his office unannounced in 1993 and how starting out can often feel painfully slow. See omnystudio.com/listener for privacy information.

Welcome to this BONUS episode of Pattern Portraits on the occasion of Bethan Laura Wood's solo exhibition at The Design Museum in London!Step into the wiggle world of designer Bethan Laura Wood as she chats with Lauren Godfrey about hidden versus mirrored repeats, the similarities between kaleidoscopes and iPhones and pattern in three dimensions.Known for her joyful and maximalist approach to design, Bethan Laura Wood has turned her hand to furniture, lighting, rugs and even handbags. Enhancing all she does with a friendly wiggle, a playful pattern and an immaculate eye for colour.Bethan has collaborated with many companies including Hermes, Perrier-Jouet champagne and fine porcelain manufacturers, Rosenthal. She has work in collections worldwide including at the V&A and The Design Museum in London.Bethan has chosen a veritable party of patterns including an Otomi embroidery from Mexico, a quilt from Pakistan, a book matched section of veneer made by Bethan, a vibrant Luntaya Acheik from Myanmar and a metallic zig zag pattern (origin unknown).You can see all of Bethan's patterns and more on instagram @patternportraitspodcast‘The Wiggle World' - The PATTERN PORTRAIT print artwork to accompany Bethan's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.uk Hosted on Acast. See acast.com/privacy for more information.

Deze keer gaan Anja en Jolanda in gesprek met Malou van Doormaal, artistiek leider van de Academie voor Beeldvorming en de oprichter van de Bossche Drag Up Family. We hebben het samen over de expositie 'Soft Spaces: 'Beyond the glitters' in het Design Museum. Die Drag Up Family werd geboren in de woonkamer van drag royalty Maybe Boozegeoisie en is uitgegroeid tot een artistiek actieonderzoek. Drag is bij de Drag Up Family namelijk meer dan glitter: het draait om het ontdekken en omarmen van je eigen identiteit. Drag breekt hokjes open, eist vrijheid op en verlegt grenzen. Voor jezelf óf voor een ander. En of het nu subtiel is of meer uitgesproken, drag is een vorm van activisme waar je nieuwe definities van normaal kan oefenen en uitdragen. De Drag Up Family bouwt zo aan een community waar iedereen die wil experimenteren met drag welkom is. Een Soft Space waar iedereen een thuis kan vinden. En daar hebben we het samen uitgebreid over? Luisterde gij efkes met ons mee? En de expositie is GRATIS te zien tot 23 februari, dus ga vooral even kijken!!

James and John discuss eBay finds: "I'd rather be driving a Macintosh" bumper stickers, Macintosh Quadra 900, and  Apple Computer rug. They look back at Macworld magazine January 1985, and news includes an Apple collection in the Design Museum in London, and a tour of Matthew's Apple Computer Museum. Join our Facebook page, follow us on Twitter, watch us on YouTube, and visit us at RetroMacCast.

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

When have boards added most value to you as an exec? (2:48) When was the last time your board challenged you as CEO? (5:38) How can non-execs challenge execs, without compromising trust? (7:05) How have you and the board of the Design Museum got comfortable that your 550m transformation project won't overrun? (8:52) Could you distill Amazon's ways of working and how they might apply to boards? (12:33) Can non-execs help instil good judgement in execs? (18:46) What are the other ways in which non-execs can materially impact their organisations? (25:12) How should board members be thinking about AI? (28:44) What can board members do to better undertake their environmental responsibilities? (32:44) ⚡The Lightning Round ⚡(35:11) Audience Q&A (40:57) Host: Oliver CummingsProducer: Will Felton Music: Kate Mac Audio: Nick Kold Email: podcast@nurole.com Web: https://www.nurole.com/nurole-podcast-enter-the-boardroom

In Berlin hat das Deutsche Design Museum eröffnet. Gezeigt werden dort aber ausschließlich Arbeiten des Gründers Rafael Horzon. "Berliner Design Museum" wäre ihm als Bezeichnung eine Nummer zu klein gewesen, sagt Horzon im Gespräch. Horzo, Rafael; Wenzel, Ingrid www.deutschlandfunkkultur.de, Kompressor

In dieser Radioreise nimmt Sie Alexander Tauscher mit nach Helsinki. Wir entdecken die Hauptstadt Finnlands als ein Mekka für Design- und Kunstinteressierte. Gleichzeitig widmen wir uns der Sauna, die untrennbar mit dem Leben der Finnen verbunden ist. Außerdem spazieren wir an den wichtigsten Orten der Ostsee-Metropole vorbei. Jaana Woll, die für Helsinki Partners arbeitet, begleitet uns gedanklich zum Weißen Dom und zur Uspenski Kathedrale. Außerdem spricht sie über die großen Schärenwelt vor der Küste von Helsinki. Hunderte kleine Inseln bilden diesen riesigen Schärengarten, der ein beliebteste Ausflugsziel der Hauptstädter ist. Wir besuchen die Löyly-Sauna am Ostseestrand, die den Touristen auch das Erlebnis der Rauchsauna bietet. Kräuter-Hexe Anna Velten aus dem Spa-Bereich des Hotel NH Collection Helsinki Grand Hansa erzählt uns von ihren Kräutertouren mit Gästen in den Wäldern der finnischen Hauptstadt. Für uns singt sie sogar A capella ein finnisches Sauna-Lied. Willem Hagedoorn, der stellvertretender Hoteldirektor, läuft mit uns durch prächtige Säle in die Präsidenten-Suite des Hauses. Auf dem kulinarischen Plan dieses Städtetrips steht unter anderem das mit Michelin-Sternen gekrönte Restaurant Nokka am Hafen. Wein-Sommelier Jerry Toivonen stellt uns das kulinarische Konzept dieses Fine Dining-Hauses vor. Als Kontrast besuchen das Nolita-Bistro und sprechen mit Christian Angelov über ein Bistro als moderne und gehobene Kiez-Kneipe. Von hier aus erreichen wir das Design-Viertel mit seinen hunderten Geschäften und vielen Ateliers und Galerien. Katja Hagelstam will in ihrer Galerie vor allem jungen Künstlern eine Plattform bieten. Pinja Nousiainen führt uns durch das Design-Museum, dass gleichzeitig eine technische Zeitreise durch die jüngere Geschichte Finnlands ist. Viel Spaß bei der Reise ins Land der mindestens 1.000 Seen!

Welcome to The Spark—your weekly creative pick-me-up from The Creative Boom Podcast. Each Thursday, we bring you a shorter, snappier episode packed with inspiration, creative news, and practical tips to fuel your creative journey as the week winds down. Whether you need a quick shot of motivation or insights to carry you through, we've got you covered. In this episode, Katy reflects on her inspiring conversation with Kwame Taylor-Hayford, the new D&AD president and co-founder of Kin. Together, they explore the impact of empathy, connection, and curiosity in creative careers and discuss D&AD's mission to support both emerging and mid-career creatives. Kwame also shares his insights on the shifting power dynamics in the industry, the role of AI, and the future of creativity. His thoughtful perspective left Katy inspired and motivated, sparking her own reflections on personal growth and career planning. In the Creative News segment, we share the record-breaking Tim Burton exhibition at the Design Museum, a £1.7 billion investment roadmap for the Thames Estuary, and the return of Maurizio Cattelan's infamous banana art at auction. Then, in The Spotlight, we celebrate Raw Materials' unique approach to design that led them to win D&AD's Studio of the Year. Plus, our Book of the Week showcases 1,000 Marks by Pentagram, and the Tip of the Week highlights the value of quiet confidence for creatives. Finally, in Letters to the Editor, listeners share reactions to the episode and industry insights. Tune in next week for an inspiring chat with Holly Howard on rethinking marketing for creatives. It will be packed with actionable tips for freelancers and entrepreneurs alike, especially those looking to step away from the pressures of social media and the increasing "sea of sameness" to build a sustainable, fulfilling creative practice.

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

The long-awaited essay collection from one of the most influential voices in disability activism that detonates a bomb in our collective understanding of care and illness, showing us that sickness is a fact of life. In the wake of the 2014 Ferguson riots, and sick with a chronic condition that rendered them housebound, Johanna Hedva turned to the page to ask: How do you throw a brick through the window of a bank if you can't get out of bed? It was not long before this essay, "Sick Woman Theory", became a seminal work on disability, because in reframing illness as not just a biological experience but a social one, Hedva argues that under capitalism--a system that limits our worth to the productivity of our bodies--we must reach for the revolutionary act of caring for ourselves and others. How to Tell When We Will Die: On Pain, Disability, and Doom (Zando-Hillman Grad Books, 2024) expands upon Hedva's paradigm-shifting perspective in a series of slyly subversive and razor-sharp essays that range from the theoretical to the personal--from Deborah Levy and Susan Sontag to wrestling, kink, mysticism, death, and the color yellow. Drawing from their experiences with America's byzantine healthcare system, and considering archetypes they call The Psychotic Woman, The Freak, and The Hag in Charge, Hedva offers a bracing indictment of the politics that exploit sickness--relying on and fueling ableism--to the detriment of us all. With the insight of Anne Boyer's The Undying and Leslie Jamison's The Empathy Exams, and the wit of Samantha Irby, Hedva's debut collection upends our collective understanding of disability. In their radical reimagining of a world where care and pain are symbiotic, and our bodies are allowed to live free and well, Hedva implores us to remember that illness is neither an inconvenience or inevitability, but an enlivening and elemental part of being alive. Johanna Hedva (they/them) is a Korean American writer, artist, and musician from Los Angeles. Hedva is the author of the essay collection How To Tell When We Will Die: On Pain, Disability, and Doom, published September 2024, by Hillman Grad Books. They are also the author of the novels Your Love Is Not Good and On Hell, as well as Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays. Their albums are Black Moon Lilith in Pisces in the 4th House and The Sun and the Moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; in Los Angeles at JOAN, HRLA, in the Getty's Pacific Standard Time, and the LA Architecture and Design Museum; The Institute of Contemporary Arts in London; Performance Space New York; Buk-Seoul Museum of Art and Gyeongnam Art Museum in South Korea; the 14th Shanghai Biennial; Migros Museum für Gegenwartskunst in Zürich; Modern Art Oxford; Museum of Modern and Contemporary Art of Bolzano; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, Rewire, and Creepy Teepee Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, Die Zeit, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016, has been translated into 11 languages. Learn more about your ad choices. Visit megaphone.fm/adchoices

European Commission president Ursula von der Leyen meets with leaders throughout the Western Balkans to secure the enlargement of the EU. Plus: will the winners of the Austrian election get pushed out of government? Then: London's Design Museum dives into ‘The World of Tim Burton'.See omnystudio.com/listener for privacy information.

Critic and film producer Jason Solomons and BBC New New Generation Thinker Jade Cuttle join Tom Sutcliffe to review Emilia Pérez. The musical thriller follows a drug cartel leader who wants to fake their death and change gender.They also review Dahomey, an award winning documentary which follows 26 plundered artefacts as they are returned to their African home of Benin.Tim Burton talks about turning his life's work into an exhibition at the Design Museum, which includes childhood drawings, set designs and costumes from films such as Beetlejuice, Batman Returns and Corpse Bride.Presenter: Tom Sutcliffe Producer: Claire Bartleet

Hein Koh (b. 1976, Jersey City, N.J.) lives and works in Brooklyn. She graduated from Dartmouth College with a dual B.A. in studio art and psychology in 1998, and received her M.F.A. in painting from Yale University in 2004.  Koh has exhibited internationally, receiving features in Artforum, ArtNews, The Atlantic, The Brooklyn Rail, The Huffington Post, Hyperallergic, New York Magazine, The New York Times, Time Out New York, and The Wall Street Journal, among others. Her work is in the permanent collections of the Garage Museum in Russia and the Xiao Museum in China. In 2019, the artist mounted her first public installation at Rockefeller Center with the Art Production Fund. In 2021, Koh presented her first institutional solo show at SCAD Savannah College of Art and Design Museum, titled ‘Hope & Sorrow'. The site-specific installation transformed the museum's Jewel Boxes into gardens for larger-than-life anthropomorphized flowers—made up of the artist's very own soft-sculptures of metallic spandex, velvet, and satin, set against vinyl backdrops and Astroturf. In 2022, her first exhibition catalogue was printed in conjunction with her solo show ‘On the Edge of a Precipice' at the gallery. ‘Hope Springs Eternal' marks our fourth solo project with Koh, and her first in the main gallery space at 16 East 55th Street. Hein Koh, Awake, 2024, Acrylic and oil on canvas, 72 x 96 inches (182.9 x 243.8 cm) Hein Koh, Mammo, 2024, Acrylic, oil, and oil stick on canvas, 96 x 72 inches (243.8 x 182.9 cm) Hein Koh, Four Burners, 2024, Oil and oil stick on canvas, 30 x 22 inches (76.2 x 55.9 cm) Hein Koh, Drooping Flower, 2024, Acrylic, aluminum foil, archival spray varnish, armature wire, concrete, copper pipe, cotton string, duct tape, epoxy clay, fiberglass cloth, gauze, plaster, styrofoam, Weldbond glue. 62 x 26 x 29 inches (157.5 x 66 x 73.7 cm)

In this episode of the "Truth and Shadow" podcast, host BT delves into the mystical and historical realms of the French Pyrenees with filmmaker Richard Stanley. Stanley shares his experiences living in the region, focusing on the enigmatic histories of the Cathars and Templars. The discussion touches on prophecies, supernatural phenomena, and the cultural significance of the area. An unidentified individual adds a poetic and mysterious narration, enhancing the episode's atmospheric feel. The conversation also explores the adaptation of H.P. Lovecraft's "The Color Out of Space" and its connection to the region's mystique.Richard Stanley Website: https://theofficialrichardstanley.com/Mr. Stanley will be hosting a special screening of COLOR OUT OF SPACE at RISD (Rhode Island School of Design) Museum on Thursday August 9th as part of the Rhode Island Film Festival (RIFF)  and intends to use the school's sound system to access frequencies commonly forbidden in regular auditoria. This show will be followed by an exclusive Lovecraft themed soirée on the roof of the Biltmore Hilton in central Providence at which Mr. Stanley intends to make a very important announcement regarding the future of the franchise. Tickets can be purchased hereMusic from Munknörr's album: FutharunaUsed with express and written permission from owner.get yours here: https://munknorr.bandcamp.com/album/futharunaTheir Website: https://munknorr.bandcamp.comTime StampsThe prophecy of the green laurel (00:00:05) Discussion of the alleged prophecy regarding the return of the old ways after seven centuries.Exploring the mystical and historical realms of the French Pyrenees (00:01:00) Introduction to the episode and the exploration of the supernatural and historical aspects of the French Pyrenees.The history and beliefs of the Cathars (00:02:23) Insights into the beliefs and history of the Cathars, a medieval Christian sect, and their enduring legacy.The enigmatic allure of the French Pyrenees (00:03:35) Richard Stanley's experiences living in the mystical region and its influence on his creative work.Poetic and enigmatic narration (00:04:59) A poetic and enigmatic narration setting the tone for the episode.Introduction of Richard Stanley (00:05:53) Discussion of Richard Stanley's role as a filmmaker and his creative process.The history and cultural significance of the French Pyrenees (00:07:31) Richard Stanley's location in the French Pyrenees and its historical and cultural significance.The complex history of the French Pyrenees (00:09:23) Discussion of the region's complex history, including its independence and assimilation into France.The persecution of the Cathars and Templars (00:11:45) Insights into the persecution of the Cathars and Templars by the Holy Roman Church and the kings of France.The courts of love and the power of women in old Occitan (00:19:05) Discussion of the courts of love and the power of women in old Occitan society.The alleged prophecy and recent events (00:21:52) Discussion of recent events related to the alleged prophecy regarding the return of the old ways after seven centuries.The inquisition and its legacy (00:26:07) Discussion of the crimes of the inquisition, its impact on modern systems, and partial apology by the Holy Roman Church.The prophecy and regional changes (00:27:31) Impact of popular vote on regional changes, abolition of formal departments, and the so-called prophecy.The dangers of prophecies (00:28:55) Risks associated with belief in prophecies and the potential dangers posed by believers.Encounters with the supernatural (00:30:03) Experiences with the supernatural, including encounters at a castle and the sensation of an unseen presence.Mystical phenomena and solstice alignment (00:34:17) Discussion of solstice phenomena at a castle, alignment with seasonal positions of the sun and the moon, and dismissive arguments.Geometric alignment and magical science (00:36:53) Exploration of geometric alignment, potential magical science, and the connection to gothic architecture.Personal experiences and unique storytelling (00:43:14) The speaker's unique perspective on storytelling, personal experiences, and the influence of specific elements in his films.Challenges in film production and anomalies (00:49:56) The unique circumstances and challenges in film production, including budget constraints and the anomalous nature of the film's existence.Sintra, Portugal (00:50:24) Discussion of filming in Sintra, its history, and its association with notable figures like Aleister Crowley and Roman Polanski.Lovecraftian Horror (00:52:13) Exploration of the fear of the unknown, cosmic horror, and the concept of different individuals experiencing the supernatural in varying ways.Richard Stanley's Projects (00:55:13) Richard Stanley discusses his work on the Dunwich Horror and his long-standing desire to bring the character Wilbur Whateley to life.Lovecraft's Relevance (00:57:47) The relevance of Lovecraft's work in shedding light on social justice and ethical conflicts, particularly in the Dunwich Horror story.

What do you think of when you hear the word design? Maybe fashion, photoshop or video games? What about urban planning, street art and choreography? The Design Museum of Chicago on the corner of Michigan and Randolph has thought a lot about this question – they hope to contextualize and humanize how design shapes our day-to-day lives. Reset host Sasha-Ann Simons and production intern Ellie Gilbert-Bair visited the museum. For a full archive of Reset interviews, head over to wbez.org/reset.

Sarah McEneaney's art is singular and unique in its focus on the everyday existence of the artist. Living in the middle of the very busy and complicated city of Philadelphia, she has created a lifestyle of almost monastic discipline as an artist. McEneaney is also an activist and community leader including the formation of the Callowhill Neighborhood Association in 2001, and the co-founding of the Reading Viaduct Project in 2003. She works mostly in egg tempera, and her work is raw and direct, a slow moving autobiographic investigation of the nature of her life, and our life. In that way her paintings are very universal and profound.  She has shown her work in major galleries and museums for the last 40 years, including an extensive retrospective in 2004 at the Institute of Contemporary Art at the university of Pennsylvania. She is included in major collections including Philadelphia Museum of Art,[2] Mills College Art Museum,[3] the Pennsylvania Academy of the Fine Arts,[4] Rhode Island School of Design Museum, Woodmere Art Museum  in Philadelphia.

Mattel and The Design Museum are celebrating 65 years of Barbie this year. So (insert Carrie voice here) I couldn't help but wonder... what would be different for us if we grew up without Stereotypical Barbie beauty standards? And is the doll Ruth Handler created with her daughter in mind really responsible for shero worshipping blonde hair, blue eyes, and being super slim?There are rants about representation, chats about colourism, why everyone wanted to be Baby Spice in the 90s, why it's so damn hard to find a South Asian Barbie and MOREGot shit to say?Email almost40thepodcast@gmail.comFollow @almost40pod @_rajpander xoxo Hosted on Acast. See acast.com/privacy for more information.

Was the Space Shuttle fundamentally flawed? Richard Hollingham talks to Adam Higginbotham, author of a new book on the Space Shuttle to discuss the design, the dream, and the wishful thinking that led to the Challenger and Columbia disasters. Sue Nelson visits London's Design Museum to visit a new Barbie exhibition and talk "Space Barbie". Also, discussions on the future of the International Space Station, Star Trek: The documentary, and betting on smarties. Like this podcast? Please help us by supporting the Naked Scientists

Was the Space Shuttle fundamentally flawed? Richard Hollingham talks to Adam Higginbotham, author of a new book on the Space Shuttle to discuss the design, the dream, and the wishful thinking that led to the Challenger and Columbia disasters. Sue Nelson visits London's Design Museum to visit a new Barbie exhibition and talk "Space Barbie". Also, discussions on the future of the International Space Station, Star Trek: The documentary, and betting on smarties. Like this podcast? Please help us by supporting the Naked Scientists

Barbie launched in 1959 and for the 65th anniversary of the brand, Mattel has unveiled Barbie: The Exhibition in London's Design Museum.Opening tomorrow (5 July), Campaign's tech editor Lucy Shelley gets an exclusive tour with Krista Berger, senior vice president of Barbie and head of dolls at Mattel. This episode is recorded as they walk round the exhibition through the years and lives of the Barbie brand.Discussing inclusivity, consumerism, sustainability and of course, the Barbie film, the pair talk through how the brand has coped with criticism, handled a change in strategy and the complexities of taking a Barbie doll into space.This episode was edited by Til Owen. Hosted on Acast. See acast.com/privacy for more information.

Evolution of voting infrastructure and why low-tech balloting can be more secure - with Pippa Catterall, professor of history and policy at the University of Westminster, a specialist in electoral systems.First stage of a rocket being developed by China detached from its launchpad and crashed.Hurricane Beryl: Caribbean islands on high alert.Also in this episode:Monzo launches tools to tackle phone thieves raiding savingsWhy volcanoes hold the secret to renewable energyNew AI algorithm flags deepfakes with 98% accuracyBarbie taken into space to feature in Design Museum's new exhibition Hosted on Acast. See acast.com/privacy for more information.

I'm delighted to be joined on this episode by Tim Marlow, currently CEO and Director of the Design Museum in London. Prior to this Tim was Artistic Director of the Royal Academy and Director of Exhibitions at White Cube. A highly respected curator, author and broadcaster, Tim has curated and overseen some game changing exhibitions working with the world's most celebrated artists. In 2020, Tim was awarded an OBE for services to art. In this episode I deep dive into his mind and find out what makes a great exhibition, what the highs and challenges were working at White Cube, the Royal Academy and the Design Museum, which exhibitions and artists have made a profound impact on his life, and much much more. Enjoy!This episode has been kindly sponsored by https://www.baylissbooks.co.uk/, specialists rare book dealers with music composed by Robin Katz. Hosted on Acast. See acast.com/privacy for more information.

Look at any can of cooking spray and it will say on the label that it has zero calories. How can that be? It can't be. Listen as I explain how they get away with saying that when it isn't really true and I'll reveal how many calories there actually are. https://cheatdaydesign.com/how-many-calories-does-cooking-spray-really-have/ No doubt you have heard of Ozempic. It is a drug that allows a lot of people to lose weight. While it is extremely effective, there are risks and concerns. But what is the bigger risk – the risks of taking the drug or the risks of remaining overweight? That's the question I explore with Johann Hari. He is a writer and journalist who has written for The New York Times, The Guardian, and other newspapers. His TED Talks have been viewed over 70 million times, he is the author of some bestselling books and he has taken Ozempic and lost weight. He has also thoroughly researched all sides of the debate on these drugs and the results of his work are in his book Magic Pill: The Extraordinary Benefits and Disturbing Risks of the New Weight-Loss Drugs (https://amzn.to/3WMpdC7). All the conveniences of living in a digital world are hard to argue with. Still, all these digital gadgets have made many cherished analog things obsolete. Think about how your smartphone has replaced the need for a watch, or camera or a bookstore or record store – even a map. Everything is digital now. This segment isn't about longing for “the good old days” of analog but rather looking at how important our analog world was a few decades ago and how some analog things still persist because they are still the better way (think of a pencil and a piece of paper). Joining me to talk about all things analog is Deyan Sudjic, Director Emeritus of the Design Museum in London, professor of Design Studies at the University of Lancaster in the UK and author of the book, The World of Analog: A Visual Guide (https://amzn.to/4dMnXEW). No matter what language people speak, when they get hurt they say “OUCH!” or something very close to it. Listen as I explain the reason and purpose of OWWW or OUCH! Source: Jonathan Goldman author of The 7 Secrets to Sound Healing (https://amzn.to/3V6vVR9). PLEASE SUPPORT OUR SPONSORS! Indeed is offering SYSK listeners a $75 Sponsored Job Credit to get your jobs more visibility at https://Indeed.com/SOMETHING NerdWallet lets you compare top travel credit cards side-by-side to maximize your spending! Compare & find smarter credit cards, savings accounts, & more https://NerdWallet.com TurboTax Experts make all your moves count — filing with 100% accuracy and getting your max refund, guaranteed! See guarantee details at https://TurboTax.com/Guarantees Luckily for those of us who live with the symptoms of allergies, we can Live Claritin Clear with Claritin-D! eBay Motors has 122 million parts for your #1 ride-or-die, to make sure it stays running smoothly. Keep your ride alive at https://eBayMotors.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

A person has been able to receive the thoughts, emotions, intent transmitted by another across media. Maybe more amazingly, a person has been able to translate that transmission. Artistic transmissions are able to be sent by children to their parents, and across eons on cave walls. The most able are thought of as artists. The word 'artist' conjures tools, media, constructs. It might bring up oil paints, museums, brushes and knives. Or cameras, lights, microphones. Apple's recent ad depicting the compaction of art tools into a single digital container (The thinnest ever! Uh cool, right?) touched a nerve. But the nerve isn't specific to the iPad. Art has been created and transmitted through a set of processes for hundreds of years with plodding advances over time. Even the current digital revolution has been going on for ~forty years. In the 90's the comic book world bristled at Batman: Digital Justice which introduced digital art to a format famously in love with hand-craft. Now, no panel in a comic isn't created or enhanced by software and digital craft. What Apple may have revealed is a fear of the abstraction of art's creation. How different is it to create a sculpture by hand than to use Photoshop to emulate one? Dramatically so. But how different is it for a consumer of both pieces to behold a photo of the sculpture next to a .jpg emulating it? Not very different. Every new technology and technique has been examined dubiously, expected to bring art down from its higher purpose to a mere commodity. A system where the methods themselves are easily obtained and mastered by anyone with an idea. And here we are. I'm producing an audio program, with no audio training, using digital tools and artificial intelligence to capture and improve the quality of the voices and sound effects. I'm distributing this ostensibly to everyone in the world, with the ability for you, with an interest in these topics (or perhaps brought here by the keywords within this very piece) to consume as much or as little as you desire, and to review as you see fit, even with no education in critical writing. Creating a painting is easy. A billion children do it every week. Creating a painting that communicates a unique mix of emotion, intent, movement, context and that is effectively received by an audience is nearly impossible. Yet, when it comes to AI tools, and we're primarily thinking of those as Generative AI visual tools today (think Midjourney), we assume anyone can both provide the prompt and master the transmission of feeling. Is this so? I had the pleasure of speaking with the following group to help me think through this bramble: Amy Bryzgel is an art history professor at Northeastern University. She's researched and published books on performance art in Central, Eastern and Southeastern Europe. Her current research looks at pedagogic practices related to performance art in Eastern Europe, networks of development, exchange and dissemination. She's studied changes in the practice and teaching of performance art going back to the 1960's. Double Plus is a working artist in sculpture and other media and also runs an alternative tea house, third space, art house, working with artists on events and installations. He is a prominent Prompt Engineer, exploring the limits of generative AI. He uses this pseudonym so his identity doesn't affect the perceptions of viewers of his art. Grace Ebert is a writer and editor with a background in literature and journalism, managing Colossal's editorial projects and lead an artist workshop series. She's taught, lectured and also serves on the board for Chicago Books to Women in Prison, and has co-curated At the Precipice: Responses to the Climate Crisis at the Design Museum of Chicago. This show works better with you involved. Share your feedback at https://thatsnotaninsight.com/. Music from Uppbeat https://uppbeat.io/t/bpmoore/call-ended License code: JXGDFVHZSYAMWRET --- Send in a voice message: https://podcasters.spotify.com/pod/show/adam-pierno/message

View show notes, transcript, and more on our Substack: https://designbetterpodcast.com/p/natsai-audrey-chieza Steve Jobs perfectly described the creative process when he said, “Creativity is just connecting the dots”. Innovation and new ideas are often found by combining the familiar in new ways. Natsai Audrey Chieza, founder of Faber Futures, is doing just that.  Natsai started her education as an architect, became fascinated by materials and transferred into biology, and today is designing new textiles, design processes, and manufacturing methods by harnessing biological technology. She's a rare individual who can hop between disciplines to design in new ways. We talk with Natsai about the work she and her team at Faber Futures are doing to help governments and large organizations design more sustainable products using bacteria, fungi, and algae as building tools, and how biophilic design technology could help us address climate change. Bio Natsai Audrey Chieza is a visionary designer and thought leader. She is the founder and CEO of Faber Futures and a co-founder of Normal Phenomena of Life (NPOL). Launched in 2018, Faber Futures is a pioneering design agency that melds consumer biotechnology advancements with real-world applications. In 2023, Chieza co-founded NPOL, a consumer brand offering biotech products online. NPOL makes tangible how biotechnology can generate new materials that can be beautifully designed to support climate goals and the cultivation of resilient bioeconomy value chains. ​Chieza's approach involves broad-ranging partnerships across biotech, consumer sectors, and cultural institutions. It uses collaborative, story-driven strategies to catalyse engagement and concrete action on critical issues. Notable clients and commissioning bodies include Ginkgo Bioworks, adidas, the Design Museum, MIT Media Lab, and the World Economic Forum (WEF).  ​As a member of the WEF's Global Futures Council on Synthetic Biology, Chieza advocates the integration of design and culture in policy development for bioeconomies powered by biotechnology. Her insights and leadership are sought after on various stages, including as a speaker at SxSW, TED, and Design Indaba. Chieza's contributions to biophilic design have earned her significant media coverage and accolades, including the 2019 INDEX award, known as the Nobel Prize for design. Premium Episodes on Design Better This ad-supported episode is available to everyone. If you'd like to hear it ad-free, upgrade to our premium subscription, where you'll get an additional 2 ad-free episodes per month (4 total). Premium subscribers also get access to our monthly AMAs with former guests, ad-free episodes, and our new enhanced newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show.  Upgraid to paid Visiting the links below is one of the best ways to support our show: Methodical Coffee: Roasted, blended, brewed, served and perfected by verified coffee nerds

The Vintage House Show Crew and the Design Museum of Chicago opens the new Navy Pier Exhibit, Chicago: Home of House, which chronicles the birth and rich history of House Music. Grammy nominated DJ Terry Hunter shares the story of his fantastic photo of the 100 Architects of House, which was commissioned in 2011. This wonderful group features the pioneers of the genre and is a feature of the Exhibit. Come to Navy Pier before October 31st, then share your story and follow our shows on VintageHouseShow.usSupport the Show.www.VintageHouseShow.usPreserving and Celebrating the History of House Music

Anne Spalter is an artist and educator who stands at the forefront of digital art. She was featured in the Taschen book On NFTs, named to the Lumen Prize Longlist, and included in the top 50 influential crypto artists by Rizzoli. Anne's work has been exhibited widely and can be found in private collections and institutions including the Victoria and Albert Museum, Buffalo AKG Art Museum, the Rhode Island School of Design Museum, and the Museum of CryptoArt, amonst many others. Anne and her husband Michael also steward Spalter Digital, one of the world's largest collections of early computer art.Recorded on April 19, 2024 as a Space on X.Follow the guest:https://twitter.com/annespalterFollow the host:https://twitter.com/0x_ScooterFollow Particle:https://twitter.com/Collectparticlehttps://www.particlecollection.comhttps://www.instagram.com/particlecollectionTimestamps:(00:00) Introduction(01:48) First Experience Making Computer Art(03:44) Appeal of Experimentation in Art(04:53) Painting AI Compositions (05:44) Educating Others on Computers and Visual Art(07:28) Disrupting Traditional Art Hierarchy with Digital Art(08:50) Bridging Historic Digital Art & NFTs through Curation(10:00) Hostility towards Early Generative Artists(11:15) Acquisitiion of the Wonder of it All by Centre Pompidou(13:05) The Bell Machine, Acquired by Buffalo AKG Museum(15:08) Pop-up Exhibition of Future Landscapes(16:26) Energy Kaleidoscopes: Video Loops with Infinite Objects(18:30) Imagining a Happy Apocalypse (19:45) Why Does Computer Art Provoke Such Strong Reactions?(21:31) Making Art out of Archetypal Imagery (22:44) Exploring Conspiracy Theories with AI(24:25)  Using AI to Imagine Future Mythologies(26:05) Stewarding Early Computer Art with Spalter Digital(27:35) Witnessing the Evolution of On-Chain Generative Art(28:44) Collecting Early Computer Art before NFTs(30:21) Merging the Traditional Art World with NFTs(32:08) Anyone can Become an Art Collector(33:37) Favorite Works from Anne's Collection(34:43) What the Traditional Art World can Learn from Web3(36:57) Gathering Artwork in a Common Marketplace with FirstMate(38:14) Future Opportunities for Digital Art Creators(39:55) Outro

Stuart Roden is Chair / former Chair of Landsdowne Partners, Hetz Ventures, Lewis Advisors, Tresidor, the Design Museum and Unlocking Potential, NED at LSE and Trustee at the National Gallery and Centre for Social Justice. In this conversation with Nurole CEO, Oliver Cummings, Stuart covers:  When you were an investor, did the quality of the board come into your investment evaluation? (1:34) Do boards justify their costs? (4:48) Do you think the board is more about governance than value creation? (8:15) Where and why have you made mistakes, hiring the CEO? (12:38) How do you build the best relationship with your CEO? (19:39) Practically, as a Chair, how do you make sure you are discussing what you need to with your CEO? (24:01) How do investors add value as board members? (25:47) How do you think about capital allocation and return on resources in the boardroom? (28:53) And ⚡The Lightning Round ⚡(33:04) Show notes and transcript available at https://www.nurole.com/news-and-guides

Under hösten och vintern visades utställningen Rebel: 30 Years of London Fashion på Design Museum i London. Den var ett samarbete med British Fashion Council vars satsning NewGen firade trettio år. NewGen är – ett onekligen framgångsrikt – initiativ som stöder unga designtalanger och vars målsättning är att hjälpa dem bygga upp globala  premiummodemärken. Lee Alexander McQueen, Christopher Kane, Christopher Raeburn, Erdem, Peter Pilotto, Jonathan Saunders, Henry Holland, Kim Jones, J.W. Anderson, Mary Katrantzou, Molly Goddard, Roksanda, Simone Rocha, Priya Ahluwalia, Saul Nash, Grace Wales Bonner, Bianca Saunders är bara några designers som stöttats av NewGen genom åren. Hur kommer det sig att London varit så bra på att få fram unga nya designers? Och hur hänger kreativitet, mångfald och städer ihop?I dagens avsnitt vänder vi blicken mot kultursidan av mode. I en tid då så mycket kring mode bara handlar om shopping, hur kan mode bli intressant igen?  Vi träffar Sarah Mower, mångårig kritikchef på Vogue.com, Ambassador for Emerging Talent vid British Fashion Council och ordförande för NewGen. Hon var också curator för utställningen Rebel: 30 Years of London Fashion. Vi pratar också med Charlotta Mellander, professor i nationalekonomi vid Jönköping International Business School och expert på städer, kreativitet och regional utveckling. Jordana Guimaraes, grundare till FashinNovation , berättar hur hennes företag arbetar aktivt mot olika städer och länder för att med kombinationen mode och tech få fart på hållbarhetsutvecklingen. Här utlovas samtal om designskolor, om en mångfald som berikar, om unga stjärnskott, om att vända det ohållbara ryggen, om vad staden och staten gör och inte gör för att stötta mode, om städers livskraft och om platsers önskan att profilera sig. Programmet leds av Jenny Lantz, docent i företagsekonomi med inriktning på kulturekonomi vid Handelshögskolan i Stockholm. Inslaget med Jordana Guimares görs av modejournalisten Sofia Hedström de Leo. Tack för att du lyssnar! Följ oss gärna på Instagram.

In this episode of The Evolving Leader podcast, co-hosts Scott Allender and Jean Gomes talk to James Church. James is passionate about working with founders to present a clear, concise, and credible business case to investors. He is co-founder and CEO of Robot Mascot, a global award-winning investment readiness agency and he claims that his clients are 40 times more likely to raise investment than the average start-up. James has been featured in Forbes, Entrepreneur Magazine, and on numerous industry blogs and podcasts. He has run mentoring sessions at Tech Hub, Google Campus and Runway East, and delivered mastermind sessions for Founder Institute, Design Museum, Dent Global, The Chartered Institute of Marketing and the University of East Anglia.Referenced during this episode:Claim your free copy of James' book ‘Investable Entrepreneur':https://www.robotmascot.co.uk/investable-entrepreneur/Take the PitchReady scorecard and benchmark your ability to raise investment: https://pitchready.co.uk/Other free resources for entrepreneurs and start-ups:https://www.robotmascot.co.uk/free-resources/Other reading from Jean Gomes and Scott Allender:Leading In A Non-Linear World (J Gomes, 2023)The Enneagram of Emotional Intelligence (S Allender, 2023)Social:Instagram           @evolvingleaderLinkedIn             The Evolving Leader PodcastTwitter               @Evolving_LeaderYouTube           @evolvingleader The Evolving Leader is researched, written and presented by Jean Gomes and Scott Allender with production by Phil Kerby. It is an Outside production.

What you'll learn in this episode: What to expect at the second Lisbon Contemporary Jewelry Biennial and tips for attending. How Portugal's 48-year authoritarian regime and the Carnation Revolution continue to influence Portuguese artists and jewelers today. Why jewelry is so closely linked to power and politics. How artists can use masterclasses and workshops to refocus their work. How Marta is working to promote Portugal's art jewelry scene.   About Marta Costa Reis Marta Costa Reis started studying jewelry in 2004, as a hobby, in parallel with other professional activities. She dedicated herself fully to this work in 2014. Costa Reis completed the jewelry course at Ar.Co – Centro de Arte e Comunicacção Visual, in Lisbon, and the Advanced Visual Arts Course at the same school, in addition to workshops with renowned teachers including Iris Eichenberg, Ruudt Peters, Lisa Walker, and Eija Mustonen, among others. In addition to being a jewelry artist, Costa Reis teaches jewelry history at Ar.Co, writes about jewelry, and curates exhibitions. She also serves as artistic director of the Lisbon Contemporary Jewelry Biennial and as a board member of Art Jewelry Forum. Additional Resources: Marta's Website Marta's Instagram   Photos Available on TheJewelryJourney.com Transcript: How does jewelry symbolize power, and where do jewelry and politics intersect? That's the central question that Marta Costa Reis and her fellow curators, artists and speakers will explore at this year's Lisbon Contemporary Jewelry Biennial. Marta joined the Jewelry Journey Podcast to talk about why this year's theme is so timely; how Portugal's turbulent political history influences jewelry today; and how to plan your trip to make the most of the biennial. Read the episode transcript here. Welcome to the Jewelry Journey, exploring the hidden world of art around you. Because every piece of art has a story, and jewelry is no exception.   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 head to TheJewelryJourney.com. Today, we're going to be talking about the Lisbon Contemporary Jewelry Biennial. I am talking with Marta Costa Reis, who is going to tell us all about it. Welcome back.   Sharon: Are you a maker?   Marta: I am a maker.   Sharon: Have you been developing jewelry that's linked to power?   Marta: Actually, not so much. My themes are a bit more, maybe spiritual is the word. I don't know. I'm interested in themes that revolve around time and our connection to time and what is behind us. It's quite different, but this was already the theme of the first biennial. We have to move on and have different themes. Of course, I couldn't do work myself for this biennial. I don't have the time or the mindset to be making at this time. I'm fully focused on the biennial.   Sharon: I was noticing you have several curators. How did you choose the curators of different seminars and exhibits? How did you choose them?   Marta: I can speak, for instance, about the main show that is called Madrugada, daybreak. The main title. I wanted someone that was not a Portuguese person so we don't stay too closed in our own bubble. I wanted someone from another country but who could understand what happened here. Mònica Gaspar is Spanish. Besides being an amazing intellectual and teacher and writer and very knowledgeable about jewelry and design, being Spanish, they had a similar process as ours. They also had a very long dictatorship, and at almost the same time as we did, they became a democracy. So, she could understand more or less the same events. That was important, to have someone with that experience of changing from the dictatorship into a democracy.    We spoke last year Schmuck in Munich about it, and she was interested, but she has a lot of work, so it took a little while to convince her. It's because we are a team and we can share the work that were able to do it and Mònica is able to do it. Patrícia Domingues is the other curator. She's Portuguese, but she's younger than we are.   Sharon: Who is that?   Marta: Patrícia Domingues. She recently had a show in Brooklyn. I can write it down for you later, maybe afterwards.   Sharon: Okay. Patrícia. How do you spell the last name?   Marta: Domingues, D-O-M-I-N-G-U-E-S. I think I got it right. I know how to spell it, but sometimes saying it in English is more difficult. She has been living abroad for a quite a long time, but she's Portuguese, so she has a perspective that is both an insider but also an outsider. I wanted that very much, someone that is not closed here in our little bubble. She's she recently finished a Ph.D. She's younger. She's very much in contact with everything that is being reflected about jewelry in the world right now.    I think they are amazing curators, and they bring a lot to the biennial and to the show. I am there as well not only because I enjoy it, but I wanted to help out with the work, sending the invitations and keeping track of everything so that everything goes smoothly. We are a very small organization, and we do a lot of it ourselves on a voluntary basis. We have to take different jobs in this process. But I'm happy they joined us, and I'm very happy to be working with them on this show.   Sharon: Are you the main curator? Is there a main curator who chose the other ones?   Marta: Yes, that is me. I am the main curator for the whole biennial. Then there is a team and we discuss. We basically invited Mònica and Patrícia and they agreed. The other shows, for instance, the tiara show is curated by Catarina Silva, who is also the head of the jewelry department at ARCO. I'm also taking care of, it's called Jewels for Democracy. That's the show that I mentioned about the women being honored. There's a lot of people involved, but it's quite smooth.   Sharon: Somebody has to keep everything moving and coordinate. How are you promoting the show in Portugal and in general? Anything?   Marta: We will start promoting now. We have the two shows in April. We did the launch last November for the whole biennial. We try to be active on Instagram. Not so much on Facebook, but mainly on Instagram. We will start a more intense campaign. We have a professional communications person that will take care of this. We will start a more intense communication campaign very soon. We have it in two parts, so we are focusing on April. Then we'll have the other show in May, and then it's the end of June. It will be in different parts.    We will also announce the masterclasses very soon. I haven't mentioned the masterclasses yet. That's what I was forgetting. There will be two masterclasses, one with Lin Cheung and one with Manuel Vilhena from the 22nd to 26th of June. We'll open the registrations very, very soon. This week we'll open the registration. You'll start seeing more about it, and we will promote it in different venues. I did an interview for SMCK Magazine, the European magazine about jewelry. It just came out in their last issue. I did it in October or at the end of September, but it just came out. So, we're doing a number of things, but it will become more intense at the end of this month, in February. We will reinforce the communication and the advertising.    Sharon: How long are the shows in the biennial? Does it go through the summer, or is there an ending point or beginning point?   Marta: The main thing is that in the last week of June, everything will be open. The shows in the Royal Treasure Museum, the shows at the Design Museum, the colloquium, the schools, the masterclasses, the students, the galleries. Everything will be open in that last week of June. That will be the right moment to come to Lisbon. That's when we are concentrating everything. On the 30th of June, the two shows at the Royal Treasure Museum will close, but the show at MUDE, the Design Museum, will continue until the end of September, so it will go through the summer.   Sharon: Why do you call it a masterclass? Who's teaching it and what are they teaching?   Marta: It's Lin Cheung. She's from the UK. Manuel Vilhena is a quite well-known Portuguese artist and amazing teacher as well. It's five days. I'm not sure how to differentiate between a workshop and a masterclass, which I guess is a workshop with the masters, and they are masters. They are some of the top teachers I know. I did a small course with Manuel Vilhena a few years ago. Not yet with Lin, but I know they are amazing teachers. I'm sure everyone who comes will enjoy it.    Last biennial, we also had masterclasses, one with Caroline Broadhead and the other with Christoph Zellweger. They are very interesting moments of sharing and learning and deepening your understanding of your own work, not just for students but for artists in every moment of their careers. It's super interesting to be able to have these few days to stop and look at what you do, what you want to do next with very good teachers like they are. This can be a very special moment. For a long time, I did as many workshops and masterclasses as I could, and it was so great.   Sharon: The people who teach the classes, do they vet the people coming, or can anybody who wants to come into the class and take it?   Marta: There is a small vetting process, but basically you send a CV and your motivation, not even a letter, but a few words of why you want to do these classes. That will be the vetting process. But it's pretty much open to everyone in every stage of their education or career.   Sharon: The exhibits and going to galleries, are there charges? Are they free? What is the story with that?   Marta: To visit the galleries, some of the venues will be free. The museums have tickets, but most of the venues that are not museums are free.   Sharon: MUDE is the design museum that just opened.   Marta: Yes. It opened a while ago, but it was under renovation for a long time. It's the only museum in Portugal that has a contemporary jewelry collection. They have been building a collection, and hopefully it will grow. They also have lots of fashion and all kinds of product and graphic design. It's a very interesting collection, very interesting building. They haven't opened yet. We will be one of the first shows. The first temporary show after the renovation will be this one.    Sharon: Wow.    Marta: Yeah, it's exciting.   Sharon: Do you think there'll be a triennial?   Marta: Hopefully we'll do the next one. I have a few ideas. I cannot say yet, but yes. I like to start thinking about the next one while still doing this one. If the team wants to, if we get the support we need, for sure there will be another one.   Sharon: Now for somebody who wants—I started thinking of myself and other people, but members of the audience, if there somebody who wants to come alone, who wants to come to Portugal alone to see the exhibit, where do they stay? You said the end of June is the best time to come.   Marta: The last week of June, yes.   Sharon: Okay, and they stay at a hotel?   Marta: Lisbon is a wonderful, very safe and, I think, easy to navigate town. We don't have a special hotel to recommend, but you can reach out to us and we can help give some suggestions. Stay in a hotel, you will get your program, tell us you are coming. We will try as much as possible to help you out. If you want to organize a group, we can help organize the group as well. But it's easy. Uber goes everywhere, taxis go everywhere, you have the subway, you have buses, you can walk, bike. There are all kinds of ways to travel in town. It's not very big. We're not always able to do it, but many of the events, the venues, will be quite close. There will be a few groups in different locations, but you can visit a lot of things by foot that will be very close by. I think it will be very easy to come even if you're alone.   Sharon: Okay. As long as I have you, tell us about the market for art jewelry in Portugal. Has it grown? Do people care about it?   Marta: I think like almost everywhere else, it's a specialist market that certain people enjoy a lot. Actually, it's not very known by everyone. Most people, when you say jewelry, think about more traditional, more commercial jewelry. Like everywhere, there's a way to go, I think. But there is a group of interested people. There's certainly very interesting artists.    We've had contemporary jewelry, art jewelry being done and presented in shows here since the 60s. We've had a school, the specialized school in Lisbon, since the 70s. We have two galleries. One of them just turned 25. The other I think even more, maybe 30. So, we have had the market for a long time. Now, of course, it's a little bit slow, but I think that happened everywhere with the recent crisis. But it exists, and it's been here for over 40 years, 50 years now. Like everywhere else, it's a continuous work, but people love it. Many people love it. I think it will never stop being interesting and important to a number of us.   Sharon: Okay. Go ahead, if there's anything else you wanted to say.   Marta: About the market, that's basically it. It's an issue, and also what we wanted to promote. That's why we did the biennial, to help people see there's a lot more jewelry than the ones they're used to in the traditional way. That's part of the reason we're doing this, not just for ourselves or the ones who already know what jewelry content actually is all about, but for the ones who don't and might be interested in knowing. Getting the beautiful works that are done out there and reaching out to more people, that's it.   Sharon: Okay. I'm trying to read my handwriting here. I was reading your information last night again, but let's see. The cost, the people and most of the stuff is in English as well as Portuguese.   Marta: Yes, everything will be translated. The colloquium will be in English. Everyone will speak English at the colloquium, and in the museums you will have English. Everything will be translated. Our website is translated. Our Instagram, not all is translated, but because it translates automatically, it's not even an issue anymore, I think. But yes, usually you will always have Portuguese and English, except the colloquium that will be fully in English. It will be quite easy for everyone. English is indeed the common language for almost everything, so we just assume. In Portugal everyone speaks English more or less.   Sharon: Do they learn it in school?   Marta: Yes, yes. In school, movies. The movies are not dubbed. They are in the original English, so we are used to listening to English from when we are very young. It becomes a very common language.   Sharon: That's interesting. We'll have the Instagram and the website listed when we post this.   Marta: Okay, great. Going back, if people want to travel to Lisbon, if they by chance come before June, they will still have very interesting things to see besides the program of the biennial. There are the galleries that will have shows in Lisbon. There's Galeria Reverso and Galeria Tereza Seabra. They both will have shows as they usually have. In April and May, if you visit Portugal, come, because there will be jewelry to be seen. If you plan to come for the biennial, June is a very exciting month. The city is beautiful. It's when there are flowers, there's green, there's the sun. People are just happy in June, everywhere I guess.   Sharon: How is the weather then? Is it hot?   Marta: No, it's warm. June is still quite good. End of July, August is maybe a bit too much, but June usually is still quite good. I won't say the number because I would say it in Celsius so it doesn't mean anything, and I don't know how to say it in Fahrenheit. I won't say a number for the temperature, but it's really nice. The best thing is that the evenings are warm. That's the best, when in the evening it's still warm and it's nice outside. That's June.   Sharon: Are there a lot of people in the streets still when it's warm outside and warm in the evenings? I know you don't live in the center.   Marta: Yes, people will go out. As I said, in June you have traditional parties. The patron saint of Lisbon, his day is in June. From there, you have many, many parties. People go outside, they will eat outside. There will be concerts outside, there will be movies outside, everything will be outside and it will be very nice.   Sharon: I hope that we can all go. I have here the official name is the Second Lisbon Contemporary Jewelry Biennial, right?   Marta: Exactly.   Sharon: What is the theme once more again?   Marta: The theme is political jewelry and jewelry of power.   Sharon: Okay. And PIN is involved with this also? PIN is the art jewelry—   Marta: PIN is the Portuguese Contemporary Jewelry Association, and it's the organizer of the biennial.    Sharon: Reading through this information I was ready to book my flight. It looks wonderful.   Marta: Yes. I'm happy you come. But surely, if people want to come, reach out to us. If you write to us through Instagram, the website, it will be easy to reach out to us, and we will help in any way. If you want to come, we can help make it happen in the easiest way possible for you. We're happy to have you and everyone who wants to come.   Sharon: Well, thank you very much for telling us about it.   Marta: Thank you for having me and helping us tell our story.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

I first became aware of Jeremy's food when he was head chef of Terence Conran's Blueprint Café, which was above the old Design Museum in Shad Thames. Nowadays, of course, he's in charge of the kitchen at the revered Quo Vadis in Soho.No one seems to have a bad word to say about Jeremy, and Jay Rayner describes him as ‘one of those rare phenomena in the London food world: a chap everyone agrees is a good thing.His cookbook is simply called Cooking, which sums up his warm-hearted and simple approach to food. I was fascinated to find out more about Jeremy's life via the homes he's lived in, from the modern house his parents built, which was shaped like a wedge of cheese, to the flat in a converted factory where we recorded this episode.It turns out that his approach to interiors is as artful as his presentation of food – as if each element has been dolloped off a spoon and landed in exactly the right place.This episode was recorded at Jeremy Lee's east London home.For more: Visit The Modern House website to see images of the spaces discussed in this episodeWatch Homing In, the film series. Check out Jeremy's cookbook, CookingProduction: Hannah PhillipsEditing: Oscar CrawfordGraphic Design: Tom YoungMusic: Father Hosted on Acast. See acast.com/privacy for more information.

In this episode I speak with Ella Bulley, a Material Designer known for her unique blend of textiles, products, art, and set design. Through a fusion of in-depth research, material experimentation, and traditional craftsmanship, Ella Bulley's design philosophy acts as a transformative force, turning basic materials into sophisticated designs. Her work has gone on to be exhibited at London Design Festival, Milan Design Week, Tendence, Ambiente, Sommerset House and the Design Museum, London. Ella's reflections on balancing a thriving professional life with deep personal ties in Ghana is a testament to the power of community and the enduring influence of heritage. Her dedication to sustainability and mentorship in material design is not only shaping her projects but also the minds of future visionaries.Ella shares her passion for collaboration and her vision for documenting her Ghanaian heritage is as tangible as the art she creates.You can connect with Ella at https://www.instagram.com/ellabulleystudio/ and on her website at  https://www.ellabulley.com/ 

Interdisciplinary artist Osman Yousefzada crafts stories of working-class migration experiences, unwrapping the influence of his mother and many other textile makers in his diaspora community in Birmingham. From large-scale textile works to prints and drawings, Osman Yousefzada's practice considers representations and reimaginings of working class migration experience. Growing up in a British-Pakistani diaspora community in Birmingham in the 1980s, Yousefzada's craft is grounded in his childhood experiences, watching his mother, ‘a maker' of shalwar kameez and other textiles. A new exhibition at Charleston in Firle draws connections between these domestic, private spaces, the Bloomsbury group and fashion, and the artist's public practice. We look at a new series of works on paper, on public display for the first time, inspired by characters in the Falnama, a book of omens used by fortune tellers in Iran, India and Turkey during the 16th and 17th centuries. At the time, people seeking insight into the future would turn to a random page and interpret the text; Yousefzada transposes this to the present day, to tell stories of ‘good' and ‘bad' migrants, and recreate such talismans that protect or heal and work as guardians of the immigrant experience. The artist describes his large-scale textile series, Queer Feet, Afghan rugs, topped with ceramic works, and embroidered with found objects that reference Islamic and Asian design histories. We discuss his expanded, Sufistic, spiritual practice. We also consider the healing potential of museums, and the various media used by the artist in storytelling, with his book, The Go-Between (2022). Osman Yousefzada runs at Charleston in Firle until 14 April 2024. For more, you can read my article in gowithYamo: gowithyamo.com/blog/osman-yousefzada-at-charleston-in-firle For more about the material power of embroidery, listen to curator Rachel Dedman on an UNRWA Dress from Ramallah, Palestine (1930s) at Kettle's Yard in Cambridge and the Whitworth in Manchester, on EMPIRE LINES: pod.link/1533637675/episode/92c34d07be80fe43a8e328705a7d80cb WITH: Osman Yousefzada, interdisciplinary artist and research practitioner at the Royal College of Art, London. He is a visiting fellow at Cambridge University, and Professor of Interdisciplinary Practice at the Birmingham School of Art. His first book, The Go-Between (2022), is published by Canongate. Alongside his solo exhibition at Charleston, he exhibits in group exhibitions including Embodiments of Memory at the Potteries Museum and Art Gallery in Stoke-on-Trent and Design Museum's REBEL, and his Migrant Godx can be found at Claridge's Art Space, Blackpool's Grundy Art Gallery, and soon, Camden Art Centre, as part of Bloomberg New Contemporaries 2023. He will exhibit at the 60th Venice Biennale, and the V&A in London, in 2024. ART: ‘Queer Feet, Osman Yousefzada (2023)'. SOUNDS: ‘Home Grown - Osman Yousefzada x Selfridges'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

When you think of dance in LA, you think commercial. But there is actually a pretty large community of contemporary dance companies in LA doing amazing things. Today's episode is a Career Spotlight episode and we are highlighting contemporary dance company experiences in Los Angeles. My guests, Michaela Moore and Nicole Hagen, both have a plethora of experience not only as dancers in LA, but also serving in different roles like rehearsal director, community liaisons and marketing. We chat about:the lengthy process of auditioningfiguring out the mutual relationship between company and company memberthe best advice for those looking to be a part of a dance company communityMichaela Moore @__mickmouz was born and raised in Colorado Springs, CO. Her dance education has come from Robin's Danceworks, The Ann Lacy School of American Dance and Arts Management program at OCU, and the BFA dance program at the University of Colorado-Boulder.  In 2017 she joined AGT's “The Silhouette's” for a 4 month International tour, dancing across Germany and performing in 75+ shows. Michaela is a member and rehearsal director for GEOMETRY dance company, under the direction of Mackenzie Martin, with whom she has performed at MASHUP's International Women's Day Dance Festival, Fiestalonia Sea Sun Festival, Capezio's A.C.E. Awards, Donovan Wood's music video “She Waits For Me To Come Back Down” & Duomo's music video “What About Us”, in collaboration with Netflix's Bridgerton. Aside from performing, her love for teaching and choreographing is expansive and she has choreographed/produced award winning pieces for the past 12 years. You can find her teaching at GENESIS STUDIOS every Tues. Michaela truly believes in the art of dance as a way to globally communicate through movement.Nicole Hagen @nicole_hagen is a LA-based dancer, educator, and choreographer, who has performed works by Elías Aguirre, Gianna Burright, Genevieve Carson, Roderick George, Tess Hewlett, Madison Hicks, Iker Karrera, Kate Hutter Mason, Waeli Wang, and WHYTEBERG. Nicole was a company member with L.A. Contemporary Dance Company and MashUp Contemporary Dance Company, which provided her the opportunity to perform at iconic venues including LA Dance Project, The Odyssey Theatre, ODC Theater, The Architecture & Design Museum, and Highways Performance Space. Commercially, Nicole's credits include Paramore, NBC's This Is Us, Banks, and Netflix's Dear White People.Choreographically, Nicole's work has been seen on a multitude of stages throughout SoCal such as AMDA's Cosmo Theater, LA Dance Project, LA Theater Center, IAF, Bootleg Theater, Sophia B. Clarke Theater at Mt. San Antonio College, McCallum Theatre, Musco Center for the Arts and Waltmar Theater at Chapman University, and ACDA's Screen Dance Festival. She has been a two-time finalist at the McCallum Choreography festival.Nicole is on faculty at Loyola Marymount University (LMU) and AMDA College. She holds a BFA in Dance Performance, with a minor in Business Administration from Chapman UniversityHey y'all! I'm Justine, the voice behind the DC:U pod and MNTR MGMT. After 15+ years in the industry as a choreographer, dancer, producer, educator and more, I'm now working closely with dance artists on professional development, business skills and digital enhancement. Curious? Book a free 1:1 Career Call. You can also help support the podcast! Subscribe and receive exclusive member benefits --> Pod Producer/SupporterConnect with me on Insta @mntr.mgmt

Writer and musician Kalaf Epalanga moves between Angola, Portugal, and Brazil, sounding out colonial histories and contemporary migrant experiences through kizomba and kuduro music, in Whites Can Dance Too (2023). ‘It took being caught at a border without proper documents for me to realise I'd always been a prisoner of sorts.' Kalaf Epalanga's debut novel follows a young man migrating from Africa to Western Europe, when he is suddenly stopped on his journey and demanded his papers by the immigration police. Finding work in various jobs, he does soon find community - and freedom - in the dance clubs of the cities. Whites Can Dance Too is an invitation to ‘embrace the other' and it's also a form of auto-fiction. Kalaf migrated from Angola to Portugal, the former a colony, known as Portuguese West Africa until 1951, which remained a province and state of the Portuguese Empire until 1975. First publishing in Portuguese, Kalaf details the legacies of this colonisation in contemporary culture, taking from the Latin tradition of writing the stream of consciousness, and challenging Anglophone standards with oral storytelling. Kalaf also talks about his relationship with translation - and why the English language edition is his favourite. Drawing on his background in electronic dance music, Kalaf relocates techno on the African continent, combining elements of the traditional African zouk and contemporary kuduro genres to design kizomba, or dance parties. We talk about sound as a vibration - a migration - which can articulate emotions and memories beyond words, and why curating exhibitions or DJ sets is a form of storytelling too. Traveling across continents, he shares some of his literary inspirations, from Ondjaki to Djaimilia Pereira de Almeida, and how he has connected with Afro-Brazilians since working in South America. We also discuss the relationship between diasporas in the Global South, and the importance of supporting cultural and literary industries. Whites Can Dance Too by Kalaf Epalanga, translated by Daniel Hahn, is published by Faber, and available in all good bookshops and online. You can find Kalaf's book playlist here, and the Kizomba Design Museum playlists here. For more artists practicing between Angola and Portugal, listen to Osei Bonsu, curator of A World in Common: Contemporary African Photography at Tate Modern, on Edson Chagas' Tipo Passe series (2014) on EMPIRE LINES: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 WITH: Kalaf Epalanga, Angolan musician and writer. Now based in Berlin, Germany, he is a celebrated columnist in Angola, Portugal, and Brazil. He fronted the Lisbon-based electronic dance collective Buraka Som Sistema, and founded the Kizomba Design Museum, which launched at the São Paulo Biennial 2023. He was also co-curator of Africa Writes 2023 at the British Library in London. Whites Can Dance Too is his debut novel. ART: ‘Whites Can Dance Too, Kalaf Epalanga, translated by Daniel Hahn (2023)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

In this episode, our guest, Mathew Barnett Howland, a Director of Research and Development at an architecture firm and Associate Professor, discusses the whole life approach to architecture and environmental sustainability. We delve into the use of cork as the main material in a cork house, exploring its limitations and the decision-making process behind it. Mathew shares insights on working with materials like straw, hemp, timber, and cork, and his shift towards sustainable building methods.The episode also covers structural considerations, challenges faced, and the connection between the design of the building and the life cycle of the material used. Tune in for an engaging conversation on architecture, materials, and sustainability.Episode LinksMathew Barnett Howland website - https://www.matthewbarnetthowland.com/cork-houseDesign Museum exhibition - https://designmuseum.org/exhibitions/how-to-build-a-low-carbon-homeBOOK - Buildings must die, a perverse view of architecture - https://tinyurl.com/yn5k37atA birdseye view of the bank of england (Joseph Michael Gandy) - https://collections.soane.org/object-p267Wup Doodle - http://wupdoodle.com/Targetting Zero - Simon Sturgis - https://www.targetingzero.co.uk/Arup - https://www.arup.com/Nettlecombe Craft School - https://www.nettlecombecraftschool.com/Nettlecombe Craft School Instagram - https://www.instagram.com/nettlecombe_craft_school/Building Sustainability Podcast Patreon - https://www.patreon.com/buildingsustainabilityACAN Natural Materials Talk - https://www.youtube.com/watch?v=mG-n-rTFoPYConnect with me:IG - @jeffreythenaturalbuilderTwitter - @JNaturalBuilderFacebook - JeffreythenaturalbuilderLinkedIn - JeffreythenaturalbuilderSupport this podcast - https://www.patreon.com/buildingsustainability Support the show and get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we explore the process of constructing a house using a unique block system and the challenges faced along the way. From the use of robotics and CNC machines to the benefits and limitations of cork as a building material, the speaker shares their experience and insights. We also delve into the considerations of a circular economy, fire performance, and the use of timber in tall buildings. Join us as we dive into the world of innovative construction methods and sustainable design.Episode LinksMathew Barnett Howland website - https://www.matthewbarnetthowland.com/cork-houseDesign Museum exhibition - https://designmuseum.org/exhibitions/how-to-build-a-low-carbon-homeBOOK - Buildings must die, a perverse view of architecture - https://tinyurl.com/yn5k37atA birdseye view of the bank of england (Joseph Michael Gandy) - https://collections.soane.org/object-p267Wup Doodle - http://wupdoodle.com/Targetting Zero - Simon Sturgis - https://www.targetingzero.co.uk/Arup - https://www.arup.com/Nettlecombe Craft School - https://www.nettlecombecraftschool.com/Nettlecombe Craft School Instagram - https://www.instagram.com/nettlecombe_craft_school/Building Sustainability Podcast Patreon - https://www.patreon.com/buildingsustainabilityACAN Natural Materials Talk - https://www.youtube.com/watch?v=mG-n-rTFoPYConnect with me:IG - @jeffreythenaturalbuilderTwitter - @JNaturalBuilderFacebook - JeffreythenaturalbuilderLinkedIn - JeffreythenaturalbuilderSupport this podcast - https://www.patreon.com/buildingsustainability Support the show and get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Few large art museums in the world are dedicated to architecture as well as art, and joining us is Adam Lerner, the CEO of one of those, the Palm Springs Art Museum.  A few blocks away, that museum owns another museum, the Palm Springs Architecture and Design Museum, location of an upcoming January exhibition on architect Albert Frey, the patron saint of Modernist design in Palm Springs.  Curating that exhibition, we have the noted and in-demand Palm Springs and LA designer, preservationist, returning podcast guest Brad Dunning.

Sir Patrick Stewart's memoir Making It So looks back over his long and eclectic acting career encompassing stage, film and television and video games. He has played roles in productions as varied as I, Claudius, Shakespeare and Star Trek: the Next Generation. Samira talks to him about his journey from a poor childhood in Yorkshire to Hollywood. The history and culture of the skateboard is the subject of an exhibition at London's Design Museum. Associate curator Tory Turk and film-maker and skateboarder Winstan Whitter discuss its development from a makeshift practice device for Californian surfers in the 1950s to a high-tech worldwide sport. The great cellist, and advocate for peace, Pablo Casals died 50 years ago this week. Steven Isserlis explains his importance in redefining the role of the cello in music. In the Front Row studio Steven demonstrates on his cello the influence of Casals on cellists to this day and performs Song of the Birds one of Casals's own compositions for the instrument.

In this podcast, we cover - 1. The art and science of curating interesting conversations 2. Nuances of productising serendipity 3. Anyone's technology and philosophy suite Introducing Alfred Malmros Currently building Anyone, an app that makes it easier to get and give advice through 5-minute phone calls. Get in touch for early access. Previously worked at Google's Jigsaw, that builds technology to make people in the world safer. Launched and built the Jigsaw brand and brought Perspective, Intra, Project Shield, Montage and Protect Your Election to market. Created Blackout to help people understand technology and its role in the world, a VICE News documentary about technology and the global struggle for free expression. Built Sideways Dictionary which explains technology using analogies everyone can understand. Featured on Ad Age's 40 under 40 list, exhibited at the Smithsonian in New York and the Design Museum and Science Museum in London. Awarded D&AD Pencils, One Show Pencils, Webbys and Cannes Lions; and named one of Sweden's 101 most talented people by Veckans Affärer. Associate lecturer at London College of Communication and a RSA Fellow. Introducing Vjera Orbanic Building a start-up, designing conversations. Background in contemporary art and performance. Specialised in leadership development, course design and coaching. Launched ventures that combine arts, learning and training and development.

Cleaning Up is back for its 10th season, and to start proceedings in style, Michael's first guest is Anya Hindmarch. Anya is one of Britain's most celebrated fashion designers and a leading voice in the industry on sustainability. Anya started her business in London in 1987 and now has 16 stores worldwide, as well as her own retail village in Pont Street, Chelsea. With the launch of her I'm Not a Plastic Bag totes in 2007, she helped kick-start a country-wide debate around single-use plastics, and this year Anya is collaborating with leading supermarkets again to prevent plastics pollution in style. In 2017 Anya was awarded a CBE, and in 2019 she became a Greenpeace Ambassador.  Links and Related EpisodesRead about the impact of the original ‘I'm Not a Plastic Bag' campaign: https://www.anyahindmarch.com/pages/im-not-a-plastic-bagYou can read Anya Hindmarch's pledges to sustainability and more here: https://www.anyahindmarch.com/pages/our-commitmentsThe Industry: Anya Hindmarch brings circular shopping bags back with Tesco and Morrison's: https://www.theindustry.fashion/anya-hindmarch-brings-circular-shopping-bags-back-with-tesco-and-morrisons/Politico: Fashion's sustainability reckoning: https://www.politico.eu/article/fashion-sustainability-reckoning-industry-textile-regulation-evironment-human-rights/ Guest BioAnya Hindmarch founded her business in London in 1987 and it has since grown into a global brand. Today, it is as known for its luxury, organisation-obsessed accessories as it is for its ground-breaking work in sustainability and its playful experiential retail concepts. I Am A Plastic Bag was launched in 2020 to tackle post-consumer waste, with each bag crafted from 32 half-litre recycled plastic bottles. 2007's I'm A Plastic Bag ignited the debate around the use of plastic bags and contributed to the decision to charge for plastic bags in the UK. In 2021, Anya launched The Universal Bag, a unique collaboration with supermarkets to rethink the reusable shopping bag.Anya is an Emeritus trustee of both the Royal Academy of Arts and the Design Museum. In 2017, Anya was awarded a CBE in recognition for her contribution to the British fashion industry. In 2021, Anya published her first book, If In Doubt Wash Your Hair.

Ep.165 features Harmonia Rosales. Born in Chicago, Illinois, she is an Afro-Cuban American artist currently based in Los Angeles, California. Her exquisite canvases navigate, and question received narratives from ancient myths, Biblical stories, classical antiquity, and AfroCuban culture, while challenging Eurocentric perceptions of beauty. Her work has been shown in various group and solo exhibitions including Femme Touch (2020) at the Andy Warhol Museum in Pittsburgh, Miss Education: Reclaiming Our Identity (2020) at the Museum of Contemporary African Diasporan Art in Brooklyn, and most recently Harmonia Rosales: Entwined (2022) at the Art, Architecture & Design Museum at the University of California, Santa Barbara. Harmonia Rosales: Master Narrative is organized by the Memphis Brooks Museum of Art, in collaboration with the Art, Design & Architecture Museum at UC Santa Barbara. Harmonia Rosales' first major traveling museum exhibition opened at Spelman College Museum of Fine Art in August 2023. ‘Harmonia Rosales: Master Narrative, an exhibition of twenty paintings and a large scale sculptural installation. The artist seamlessly entwines the tales and characters of the Yorùbá religion, Greco-Roman mythology, and Christianity with the canonical works and artistic techniques of European Old Masters.' Artist https://www.harmoniarosales.art/ Spellman College https://www.spelman.edu/about-us/news-and-events/news-releases/2023/05/08/harmonia-rosales-first-major-traveling-museum-exhibition-to-open-at-spelman-college-museum-of-fine-art NPR https://www.npr.org/2022/12/30/1145559044/visualizing-the-virgin-shows-mary-in-the-middle-ages UTA https://utaartistspace.com/press/2022/11/21/artist-harmonia-rosales-reinterprets-genesis-through-a-stunning-subversion-of-the-sistine-chapel/ Forbes https://www.forbes.com/sites/chaddscott/2023/03/14/harmonia-rosales-renaissance-at-memphis-brooks-museum-of-art/?sh=350c8b6c45d3 Colossal https://www.thisiscolossal.com/2022/11/harmonia-rosales-garden-of-eve/ Atlanta Journal Constitution https://www.ajc.com/things-to-do/atlanta-fall-arts-galleries-highlight-history-hip-hop-and-afro-caribbean-culture/UG5N2OFQVNDZLAXSUOBYB4EGP4/ ArtNews https://www.artnews.com/art-news/news/atlanta-university-center-black-art-history-scholarship-1234676015/ Boston Globe https://www.bostonglobe.com/2023/06/18/metro/kings-chapel-reckons-with-its-racial-history/ Memphis Flyer https://www.memphisflyer.com/harmonia-rosales-master-narrative-at-the-brooks The Atlanta Voice https://theatlantavoice.com/master-narratives-by-harmonia-rosales-is-at-the-spelman-museum-of-fine-art/ Arts Atl https://www.artsatl.org/master-narrative-at-spelman-reimagines-creation-story-through-yoruba-gods/ GBH https://www.wgbh.org/news/local/2023-06-15/on-bostons-freedom-trail-kings-chapel-plans-a-dramatic-facelift-to-recognize-its-ties-to-slavery Commercial Appeal https://www.commercialappeal.com/story/entertainment/arts/2023/04/10/memphis-brooks-museum-exhibits-harmonia-rosales-master-narrative/69991313007/ Daily Memphian https://dailymemphian.com/section/arts-culture/article/35169/memphis-brooks-museum-master-narrative-harmonia-rosales-exhibit-review Vogue https://www.voguescandinavia.com/articles/birth-of-oshun-watch-the-exclusive-video

Episode No. 608 is a holiday clips episode featuring artist Ebony G. Patterson. The New York Botanical Garden is presenting "…things come to thrive…in the shedding…in the molting…," a site-specific exhibition that immerses Patterson's work in the NYBG's spaces. It is on view in the Bronx through October 22. This episode was taped in 2020 on the occasion of “Ebony G. Patterson… while the dew is still on the roses…”, a survey of work Patterson had made in the previous decade that was on view at the Nasher Museum of Art at Duke University. Patterson's installations, tapestries, videos and sculptures wield beauty to address disenfranchised communities, violence, masculinity and the impacts of colonialism. “… while the dew” especially examines her consideration of gardens. Patterson's work has been the subject of solo exhibitions at the Baltimore Museum of Art, the Savannah College of Art and Design Museum of Art, The Studio Museum in Harlem, the Bermuda National Gallery, and more. For images, see Episode No. 436.