Podcast appearances and mentions of Doris Salcedo

In an interview from the BBC's This Cultural Life, presenter John Wilson speaks to the Colombian artist Doris Salcedo. Her work is a response to the devastation of war, and tells the stories of its victims - tales of loss, trauma and survival. She is recognised as one of the most important living artists, and her powerful sculptures and installations have been shown across the world.A childhood growing up amid the political violence of Colombia led to career dedicated to giving voice to the victims of conflict, visiting concentration camps, mass graves and abandoned villages. She says she wants to place herself where there is nothing left but loss. The Interview brings you conversations with people shaping our world, from all over the world. The best interviews from the BBC. You can listen on the BBC World Service, Mondays and Wednesdays at 0700 GMT. Or you can listen to The Interview as a podcast, out twice a week on BBC Sounds, Apple, Spotify or wherever you get your podcasts.Presenter: John Wilson Producers: Lucy Sheppard, Ben Cooper Editor: Richard Fenton-SmithGet in touch with us on email TheInterview@bbc.co.uk and use the hashtag #TheInterviewBBC on social media.

Since the late 1980s, Colombian artist Doris Salcedo has made work in response to conflict and political violence, drawing on the testimonies of victims to create metaphorical sculptures and installations about trauma, loss and survival. She is now recognised as one of the most important living artists, with work shown in museums and galleries around the world, including in the turbine hall of Tate Modern in 2007. Doris Salcedo is the 2025 recipient of the Whitechapel Gallery's prestigious Art Icon award, in recognition of her ‘profound contribution to the artistic landscape'. She talks to John Wilson about the first time she saw Goya's painting The Third of May 1808, also known as The Executions of the Third of May. The painting depicts the brutal aftermath of the Dos de Mayo Uprising in Madrid, during the Peninsular War, in which Spanish civilians were executed by French soldiers. Salcedo recalls how this painting showed her what a work of art could accomplish. It was seeing this painting that inspired her artistic purpose of trying to reveal the true cost of war in her work. Salcedo also explains how the poetry of Paul Celan, the French-Romanian poet and Holocaust survivor has been a significant influence on her and her art , and how the testimonies of the Colombian victims of violence have defined her work.Producer: Edwina PitmanArchive used: Paul Celan, Psalm, read by Robert Rietty

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. 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

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biblical-studies

Esta es la segunda parte de nuestro final de la tercera temporada, con otros ocho objetos emblemáticos que relatan los cambios políticos y sociales de Colombia y están alojados en la colección permanente del Museo Nacional.En esta parte, recorremos los objetos que marcaron la modernización del país y sus hitos históricos: desde las primeras prendas de la tripulación de la aerolínea Avianca (la más antigua del continente) hasta las piezas de la obra Fragmentos, de Doris Salcedo, que marcaron el final del conflicto con las Farc. Este episodio fue posible gracias al Museo Nacional de Colombia. Fue producido por Juanita Escobar y Juan Carlos Hernández. Déjà Vu es un pódcast de opinión de La Silla Podcasts.La dirección es de Alejandro Lloreda y Luis Guillermo Vélez.La coordinación periodística y de podcasts de La Silla Vacía es de Tatiana Duque.La producción de audio y edición es de Fernando Cruz.Cada quince días un nuevo episodio.Viva en primera fila nuestro periodismo con una membresía a los SuperAmigos de La Silla. Puede ser parte de nuestra comunidad acá Queremos saber más de nuestra audiencia. Por favor, llene esta encuesta para mejorar nuestro contenido: https://acortar.link/ijy4N9Más del aniversario de La Silla VacíaSi quiere saber cómo vamos a celebrar nuestros primeros 15 años durante todo el año, pásese a leer esta entrada de nuestra directora:

“Wright” with a “W, spider webs, sewing needles, Dune, grief, and Black and Blue. Join the friends as they visit Going Dark: The Contemporary Figure at the Edge of Visibility. Artists include: American Artist, Kevin Beasley, Rebecca Belmore, Dawoud Bey, John Edmonds, Ellen Gallagher, David Hammons, Lyle Ashton Harris, Tomashi Jackson, Titus Kaphar, Glenn Ligon, Kerry James Marshall, Tiona Nekkia McClodden, Joiri Minaya, Sandra Mujinga, Chris Ofili, Sondra Perry, Farah Al Qasimi, Faith Ringgold, Doris Salcedo, Lorna Simpson, Sable Elyse Smith, Stephanie Syjuco, Hank Willis Thomas, WangShui, Carrie Mae Weems, and Charles White.

I am so excited to say that my guest on the GWA Podcast is one of the most renowned artists alive today, Doris Salcedo. Born in Colombia, where she is based today, Salcedo, is hailed for her mid to colossal-scale sculptures and public installations that push the boundary of the artform, while simultaneously addressing vital political narratives of Colombian history of conflict that also have the power to transcend both time and geographies. Salcedo challenges scale and perspective; materials and everyday objects, and although the physical breadth of her work might be extensive, humanity remains the centre of it – as she has said: “I address the experiences of those who dwell on the borders, on the periphery of life and in the depths of catastrophe.” By incorporating materials that speak to the presence of a human being – whether it be chairs, desks, shoes and more, or working with people and the names of the innocent people who have lost their lives – Salcedo's work points to absence, loss, memory. Works have ranged from slotting and stacking 1,500 chairs between two buildings on a street in Istanbul to filling domestic items with cement – creating an atmosphere of silence, of mourning. She has exhibited all over the world, in the most acclaimed institutions worldwide, and in 2007, she showed at Tate Modern with a work called Shibboleth, which saw her excavate a crack into the concrete ground, which is a work that could be viewed from multiple perspectives but which also – when not looking properly – could easily be missed. And it's this idea of looking in Salcedo's work that I find so interesting – because by getting us to look further, she gets us to question beyond our everyday experiences, what we witness in the media, the futile lines that divide this world, to ensure for a fairer and more equal society. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

To Helen Molesworth, curating is much more than carefully selecting and positioning noteworthy artworks and objects alongside one another within a space; it's also about telling stories through them and about them, and in turn, communicating particular, often potent messages. Her probing writing takes a similar approach to her curatorial work, as can be seen in her new book, Open Questions: Thirty Years of Writing About Art (Phaidon), which culls together 24 of her essays written across three decades. For nearly 20 of those years, Molesworth served in various curatorial roles at museums and arts institutions including the Baltimore Museum of Art, the Institute of Contemporary Art Boston, and most recently, as the chief curator at the Museum of Contemporary Art in Los Angeles (MOCA). In the five years since her departure from MOCA, Molesworth has built a thriving practice as an independent curator, writer, and podcaster, notably as the host of the six-part podcast Death of an Artist, which was named a best podcast of 2022 by both The Economist and The Atlantic.On this episode of Time Sensitive, Molesworth discusses her lifelong engagement with the work of Marcel Duchamp; the transformative power of a great conversation; and the personal and professional freedom she has found in recent years as a roving, independent voice in the art world.Special thanks to our Season 8 sponsor, Van Cleef & Arpels.Show notes:[00:25] Helen Molesworth[03:50] Open Questions: Thirty Years of Writing About Art[04:02] Marcel Duchamp[04:09] “At Home with Marcel Duchamp: The Readymade and Domesticity”[11:33] “The Creative Act”[12:09] Marcel Duchamp's “Fountain”[17:22] Frank Stella[17:28] John Baldessari[21:56] Paul Lafargue[22:32] Doris Salcedo[29:50] Josiah McElheny[35:23] Al Hirschfeld[36:41] State University of New York at Albany[36:43] Whitney Museum Independent Study Program[36:48] Cornell University[42:33] “One Day at a Time”[46:57] Kerry James Marshall[47:00] “This Will Have Been: Art, Love & Politics in the 1980s”[47:02] “Leap Before You Look: Black Mountain College 1933-1957”[47:41] Death of an Artist[47:46] Dialogues: The David Zwirner Podcast[47:48] Recording Artists[54:53] Museum of Contemporary Art, Los Angeles[54:51] Carl Andre[59:45] WBLS: The Quiet Storm

MaPa" - die beliebte Familienserie der ARD geht weiter, und wurde familienfreundlich gedreht / Seelenerkunder: Der britische Schriftsteller Martin Amis ist gestorben / Stunde der Kinohelden: Höhepunkte aus den ersten Tagen der Filmfestspiele in Cannes / Palimpseste: Die Fondation Beyeler bei Basel würdigt die bedeutende kolumbianische Künstlerin Doris Salcedo; Moderation: Christoph Leibold

(00:00:30) Wenn frisch Zugezogene und die langjährige Nachbarin nicht miteinander klar kommen oder wenn es Streit gibt, wie die Umgebung genutzt werden soll, kommt Siedlungscoach Katharina Barandun ins Spiel.  Weitere Themen: (00:12:13) Freiluft-Konzert auf der Panoramabrücke – die Bläserwanderung in der Gummischlucht bei Sigriswil.  (00:16:16) Namen verstorbener Flüchtlinge sichtbar machen – das gelingt der Künstlerin Doris Salcedo in der Ausstellung «Palimpsest» in der Fondation Beyeler. (00:20:55) Klimapolitik, Globalisierung und die Wissenschaft waren seine Themen – ein Nachruf auf den Soziologen Bruno Latour.

Die Nachrichten über Flüchtende, die beim Überqueren der Meere ertrinken, sind innerhalb Europas auf traurige Art alltäglich geworden. Die kolumbianische Künstlerin Doris Salcedo hat eine grosse Installation geschaffen, die den Menschen, die auf der Suche nach einem besseren Leben den Tod fanden gewidmet ist. "Palimpsest" in der Fondation Beyeler ist als ein Ort der Trauer konzipiert, der die Namen der Verstorbenen in den Vordergrund stellt. von Paul von Rosen

Concrete is full of contradictions. First it's dust, then liquid, then hard as stone. It's both rough and smooth, it's modern and ancient, it can preserve history or play a hand in destroying it. Unsurprisingly, concrete is all about the gray area. Hear about this material from its supporters and detractors alike: why it's so controversial, why it's so often used in memorials, and how Colombian artist Doris Salcedo uses it to address grief and mourning. Guests: Nadine M. Orenstein, Drue Heinz Curator in Charge, Drawings and Prints, The Metropolitan Museum of Art Abraham Thomas, Daniel Brodsky Curator of Modern Architecture, Design, and Decorative Arts, Modern and Contemporary Art, The Metropolitan Museum of Art Adrian Forty, professor of architectural history, University College London, and author of Concrete and Culture (2012) Marco Leona, David H. Koch Scientist in Charge, Scientific Research, The Metropolitan Museum of Art Iria Candela, Estrellita B. Brodsky Curator of Latin American Art, Modern and Contemporary Art, The Metropolitan Museum of Art Featured object: Doris Salcedo (Colombian, b. 1958), Untitled, 1997–99. Wood, concrete, and steel, 32 x 15 1/4 x 16 1/2 in. (81.3 x 38.7 x 41.9 cm). The Metropolitan Museum of Art, New York, Purchase, Lila Acheson Wallace Gift and Latin American Art Initiative Gift, 2020 (2020.25) For a transcript of this episode and more information, visit metmuseum.org/immaterial #MetImmaterial Immaterial is produced by The Metropolitan Museum of Art and Magnificent Noise and hosted by Camile Dungy. This episode was produced by Eleanor Kagan. Special thanks to Doris Salcedo, Laura Ubate, the San Francisco Museum of Modern Art, the Museum of Contemporary Art in Chicago, Harvard Art Museums, and the Nasher Sculpture Center.

This episode of the pod kicks off with Lindsay, David, and Elisabeth reflecting on how artworks have changed (or reinforced) their perspectives on what art is, and whether or not Elisabeth is really “auditioning” for the role of co-host. Starting at about 9:00, guest Mary Louise Schumacher kicks off the conversation with a reflection about witnessing Milwaukee artist Roy Staab joyfully re-discovering his own artwork while watching it get destroyed in a storm.  Throughout the conversation, Mary Louise shares about her trajectory from political and technology reporter to art critic, to director of the forthcoming documentary film, Out of the Picture. She reflects on how art critics draw on a much more “embodied” kind of writing than other more objective forms of journalism.   Out of the Picture arose out of asking the question “what does it mean to write about art today?” Turning her camera on the interesting people in the art world who are writing about art, in the process Mary Louise and her team of collaborators ended up documenting extraordinary changes in visual culture and media. Since the beginning of the film, over the last ten years, 'Art” has evolved to include NFTs, social movements, memes and monuments, (oh my!) and visual culture shapes how we see the world more than ever. Out of the Picture raises questions including: how are power and privilege conferred on voices within the art world? And the question of how precious the work of art criticism actually is.  Mary Louise also reflects on how the simultaneous openness, intimacy, and obscurity of the Milwaukee art scene promotes a special kind of artistic thriving, and periods of richness within our arts ecosystem.  She closes with a fantasy edict to instate an Arts & Culture Administrator for the City of Milwaukee to help Art to be more valued in our community.    Instagram: @Marylouises  Due to the unprecedented number of shout-outs contained in this episode, we decided to do our best to represent all of the individuals and entities. Please enjoy the following absurdly long list of links: :  https://www.outofthepicturemovie.com/ (Out of the Picture)   https://www.youtube.com/watch?time_continue=2&v=Ue4q0Twd_So&feature=emb_logo (Sunset Theatre by Sarah Gail Luther)   https://okmke.org/ (Open Kitchen)  https://en.wikipedia.org/wiki/Nature_Belle_(Staab) (Nature Bell by Roy Staab)  https://mam.org/info/quadracci.php (The Quadracci Pavillion)    https://www.linkedin.com/in/nicholaslujero/ (Nicholas Lujero)   https://www.linkedin.com/in/cindy-eggert-johnson/?trk=org-employees&originalSubdomain=be (Cindy Eggert Johnson)  https://www.markescribano.com/ (Mark Escribano)  https://www.thisismilwaukee.us/johnathonolsen (Jonathan Olson)  https://www.corridorfilm.com/ (Corridor the film)  http://katieavilastudio.com/ (Katie Avila Loughmiller)  http://www.naomiwaxman.com/resume (Naomi Waxman)  https://www.lyndensculpturegarden.org/residency/pegi-christiansen-distance (Pegi Taylor Christiansen)  https://www.linkedin.com/in/katie-heil-a75b821a/ (Katie Heil)   https://www.jasper-johns.org/ (Jasper Johns)  https://www.rauschenbergfoundation.org/ (Robert Rauschenberg)  https://latoyarubyfrazier.com/ (LaToya Ruby Frazier)  https://whitecube.com/artists/artist/doris_salcedo (Doris Salcedo)  https://www.hankwillisthomas.com/ (Hank Willis Thomas)  http://postcommodity.com/About.html (The Post Commodity Collective)  https://en.wikipedia.org/wiki/Jerry_Saltz (Jerry Saltz)  https://www.linkedin.com/in/jen-graves-96bb123/ (Jen Graves)  https://www.bostonglobe.com/about/staff-list/staff/jenee-osterheldt/ (Jenee Osterheldt)  https://hragvartanian.com/ (Hrag Vartanian)  https://genreurbanarts.com/ (Genre Urban Arts)  ...

Para los que no saben: existen unos códigos en Internet, conocidos como NFT, que representan obras de arte digital y otras cosas únicas en el mundo. Esos códigos, que se compran y se venden, están llegando a valer millones de dólares. Puede que esto sea una burbuja o una moda, puede que sea el futuro. En este episodio tratamos de entender qué está pasando.   Este episodio es traído a ustedes gracias a:  ▸ Oyentes como tú en Patreon. Patreon es nuestra página para recibir donaciones, si quieres ayudar a la sostenibilidad de nuestro podcast y tener una relación más estrecha con nosotros, visita patreon.com/cosasdeinternet ▸ Compradores de la Tienda de Cosas de Internet. Tenemos camisetas y buzos que celebran la curiosidad, con estampados bonitos y 100% algodón. Sigue sin compromiso a la tiendacosasdeinternet.com   Notas del episodio:   «NFT y Beeple: la extraordinaria subasta por US $69 millones de una obra de arte que no existe en la vida real». La historia de Beeple y su serie Everyday, en voz de Mike Winkelmann.   En este video Mike Winkelmann y su familia celebran, en su casa, el resultado de la subasta de Christie's.  Entrevista a Doris Salcedo sobre su arte y el por qué de su obra. En este evento, del 2019, Beeple crea en tiempo real una de sus obras Everyday.  Esta es «Crossroad», la obra de Beeple donde parece estar Donald Trump tirado en un andén.  NFT o «Token no fungible», según Wikipedia. «¿Qué es Bitcoin y cómo funciona?», una explicación narrada por Santiago. «¿Qué es Etherium?» ¿Cómo una imagen se vuelve un Token no fungible? Esta entrada de blog resuelve con elegancia esta y otras preguntas.  «F1® Delta Time» es el  juego que funciona con Blockchain. Este video explicando qué son los NFT es especialmente claro. Un episodio que nos inspiró fue «NFTs for n00bs». La tenista Oleksandra Oliynykova vendió el derecho de usar un pedazo de su brazo como NFT. Top Shot, la página de coleccionables de la NBA. «¿Qué es una burbuja?» Acá la entrevista a Mike Winkelmann en Coindesk donde él dice que los NFT son una burbuja.  La tarjeta de béisbol de Mickey Mantle, se vendió en enero del 2021 por más de 5 millones de dólares.    Extras: Todos los jueves enviamos un correo electrónico con preguntas y respuestas sobre el mundo digital, si quieres recibirlo, suscríbete gratis en:  www.cosasdeinternet.fm/newsletter Gracias a las personas que nos apoyan en Patreon, acá un pequeño homenaje.   

Callie Ward and Joe Wager sit down with Diana Guzmán Rodríguez to discuss the 2016 Colombian Final Peace Agreement. Diana contextualizes the situation, discusses the multiple facets of the agreement, and lays out challenges to its implementation. As a massively complex negotiation, the Agreement encompasses myriad human-rights issues and demands that we understand it within a global context.A few options for further engagement:Robert Karl's 2017 A Forgotten Peace: Reform, Violence, and the Making of Contemporary Colombia: https://www.ucpress.edu/book/9780520293939/forgotten-peace The Kroc Institute's “barometer” on the Colombian peace process: https://peaceaccords.nd.edu/barometer A link to Dejusticia's website (in English): https://www.dejusticia.org/en A link to the Institute for Integrated Transitions website: https://ifit-transitions.org/A link to reports, briefings, and updates on Colombia from the International Crisis Group: https://www.crisisgroup.org/latin-america-caribbean/andes/colombiaA monument to the peace process by renowned Colombian artist Doris Salcedo and an article in the New York Times that contextualizes it within the implementation of the Peace Accords: https://www.museonacional.gov.co/micrositios1/Fragmentos/index.html; https://www.nytimes.com/2019/10/23/arts/design/colombia-farc-peace-monument.html Two academic articles: a) “Land, justice, and memory: challenges for peace in Colombia” by Catherine C. LeGrand et al.: https://www.tandfonline.com/doi/full/10.1080/08263663.2017.1378381; b) “‘Territorial Peace': The Emergence of a Concept in Colombia's Peace Negotiations” by Heriberto Cairo et al.: https://www.tandfonline.com/doi/full/10.1080/14650045.2018.1425110 The views reflected in this podcast do not necessarily represent the views of the Stanford Center for Human Rights and International Justice. Pamgaea by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/4193-pamgaeaLicense: http://creativecommons.org/licenses/by/4.0/See acast.com/privacy for privacy and opt-out information. Hosted on Acast. See acast.com/privacy for more information.

We discuss: - being an expat artist - how being a parent affected her career - Feminism in the art world - how covid affected her studio practice - Public Art - the tradition of working in a style - the lack of coherent movements in contemporary art - the increased speed of the artworld - artist statements - the amount of sales should not equate to quality   People + Places mentioned: Dieu Donné - https://www.dieudonne.org Pollock-Krasner Foundation - https://pkf.org Arts Mid-Hudson - https://artsmidhudson.org   3 artists she finds noteworthy Rachel Whiteread - https://www.instagram.com/rachelwhitereadofficial/ Doris Salcedo - https://whitecube.com/artists/artist/doris_salcedo/ Patrick Caulfield - https://www.tate.org.uk/art/artists/patrick-caulfield-873   https://triciawright.com   Hosted by Matthew Dols http://www.matthewdols.com   Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org             and we appreciate the assistance of our partners in this project: Hunt Kastner - https://huntkastner.com Kunstsentrene i Norge - https://www.kunstsentrene.no               Transcript available here: https://wisefoolpod.com/transcript-for-episode-165-multi-media-artist-tricia-wright-new-york-usa/

We discuss: - being an expat artist - how being a parent affected her career - Feminism in the art world - how covid affected her studio practice - Public Art - the tradition of working in a style - the lack of coherent movements in contemporary art - the increased speed of the artworld - artist statements - the amount of sales should not equate to quality   People + Places mentioned: Dieu Donné - https://www.dieudonne.org Pollock-Krasner Foundation - https://pkf.org Arts Mid-Hudson - https://artsmidhudson.org   3 artists she finds noteworthy Rachel Whiteread - https://www.instagram.com/rachelwhitereadofficial/ Doris Salcedo - https://whitecube.com/artists/artist/doris_salcedo/ Patrick Caulfield - https://www.tate.org.uk/art/artists/patrick-caulfield-873   https://triciawright.com   Hosted by Matthew Dols http://matthewdols.com Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org and we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no   Transcript available here: http://wisefoolpod.com/transcript-for-episode-165-multi-media-artist-tricia-wright-new-york-usa/

Ben Luke talks to Doris Salcedo about her life and work through the artists she most admires, the writers she returns to and the music she listens to. She recalls her epiphany when confronted with the works of Francisco de Goya, and how his empathy with the victims of war and violence prompted her own aim to give voice to the voiceless in the Colombian civil war and beyond. She talks about the influence of Paul Celan's poetry, which she quotes directly in her Unland series. She describes how Joseph Beuys's public sculpture gave her an example of a sensitivity to place that she has employed in her many memorable public works. Plus she reveals a secret to her studio life that she has never shown in public and answers our usual questions: if you could live with just one work of art, what would it be? And what is art for? See acast.com/privacy for privacy and opt-out information.

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, I speak with Marc Redfield, professor of Comparative Literature, English, and German Studies at Brown University about his most recent work, Shibboleth: Judges, Derrida, Celan, published in 2020 by Fordham University Press. In this short but intricate and dense work, Redfield investigates the “shibboleth”—the word, if it is one, and the concept—from its roots in the Book of Judges to the contemporary global regimes of technics that are defined by constantly proliferating technologies and practices of encryption, decryption, exclusion, and inclusion.  At the heart of this book is an insightful interpretation of two poems by the Romanian-Jewish, German-language poet Paul Celan. Redfield places Celan into a polyphonic dialogue with others who invoked “the” shibboleth: the French philosopher Jacques Derrida, William Faulkner, and the Colombian visual artist Doris Salcedo (whose 2007 installation at the Tate Modern, which bears the title Shibboleth, provides the cover image for the book). In doing so, Redfield pursues the track of shibboleth: a word to which no language can properly lay claim, a word that is both less and more than a word, that signifies both the epitome and ruin of border control technology, and that thus, despite its violent origin and role in the Biblical story, offers a locus of poetico-political affirmation. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to HerArt podcast, a project for art lovers, especially art created by women. In our seventh episode, we will talk about Doris SALCEDO - one of the most influential artists in Latin America. My name is Nata Andreev and I am going to tell you seven curious facts that you didn’t know about the artist that makes sculptures and installations that function as political and mental archaeology, using domestic materials charged with significance and covered with meanings accumulated over years of use in everyday life. For this episode, I wanted to thank my dear, dear friend Michael, who helped me find out when exactly Doris was born. The information provided in this episode comes from multiple sources and is not mine. All authors are credited on HerArt Podcast blog on Medium.

Screenwriter Jack Thorne discusses his new HBO/BBC adaptation of Philip Pullman's His Dark Materials, said to be the BBC's most expensive drama yet. Ken Loach’s new film Sorry We Missed You concerns a parcel delivery driver and his carer wife as they try to make ends meet, and the effect of that struggle on their family. Scottee reviews this portrayal of the gig economy on working lives. The 19th century British mathematician Ada Lovelace, cited as the first person to publish a computer programme, is the inspiration for a concert of world premieres this weekend. Professor Emily Howard has curated the evening and is the composer of one of the new works. She discusses why Lovelace’s belief in the creative power of mathematics makes her an important reference point for understanding how 21st century technology is shaping our world. The Colombian artist Doris Salcedo, known for her monumental sculptural installations on trauma, has just been awarded the inaugural Nomura Art Award. She receives $1m which has to go towards the making of a new artwork. Art critic for the Evening Standard and The Art Newspaper Ben Luke talks about her work and the prize. Presenter Kirsty Lang Producer Jerome Weatherald

Colombian artist Doris Salcedo's work is influenced by her experiences of life growing up in Colombia. Take a listen to this week's lesson with Elizabeth-Ann Macgregor, director of the Museum of Contemporary Art.

Colombian artist Doris Salcedo's work is influenced by her experiences of life growing up in Colombia. Take a listen to this week's lesson with Elizabeth-Ann Macgregor, director of the Museum of Contemporary Art.

Colombian artist Doris Salcedo's work is influenced by her experiences of life growing up in Colombia. Take a listen to this week's lesson with Elizabeth-Ann Macgregor, director of the Museum of Contemporary Art.

Doris Salcedo, Francisco De Roux, Patricia Tobón Y Mayerlis Angarita con María Jimena Duzán analizan la obra “Quebrantos” en homenaje a los líderes y lideresas asesinados en el país.

Según informes, después de la firma del acuerdo de paz del 1 de diciembre de 2016, 702 líderes sociales y 135 exguerrilleros han sido asesinados. See omnystudio.com/listener for privacy information.

I got the chance to visit the Irish Museum of Modern Art to go behind the scenes of a major new exhibition of internationally-renowned Colombian artist Doris Salcedo. IMMA's Claire Power walks me through the gallery sharing the background behind the pieces exploring profound themes of memorial and loss. 'Acts of Mourning' brings together six bodies of work exploring how we remember and acknowledge victims of violence. [Pictured: Atrabiliarios (1996) Doris Salcedo - courtesy of IMMA.ie] https://imma.ie/whats-on/doris-salcedo-acts-of-mourning-exhibition/

Arcadia y SEMANA están en uno de los celebraciones culturales más importantes del país. En distintas charlas, los asistentes podrán escuchar desde Mircea Cartarescu, pasando por Chimamanda Adichie, hasta Wilfrido Vargas y Doris Salcedo. Este tema a profundidad en El Diario, el pódcast de SEMANA.

Dijo que se trata de un contramonumento en el que busca invertir la relación de poder en torno a las armas.See omnystudio.com/listener for privacy information.

The latest reworking of the classic film story of a performer-on-the-wain-being-eclipsed-by-his-protege, A Star Is Born features Lady Gaga and Bradley Cooper as the two leads. It has received 5 star reviews all over the place; what will our reviewers make of it? There's a double-bill of Harold Pinter plays; The Lover and The Collection opening in London as part of Pinter At The Pinter. A series of one-act plays at the theatre named after the playwright. Berta Isla is the latest novel from award-winning Spanish writer Javier Marias. It's a story of love, espionage, betrayal and coming to terms with who you and what you can't change. Survey at The Jerwood Space in London is a chance to catch the work of 15 early-career artists from across a range of disciplines The Bisexual is a new drama series coming to Channel 4, created by and starring Desiree Akhavan (director of The Miseducation of Cameron Post) which explores - yes, you guessed it - the potentially thorny subject of bisexuality. Podcast Extra: Miranda Carter recommends the trailer for the new Holmes and Watson film and Also A Perfect Spy by John le Carre Esther recommends The BBC's RatLine podcasts Charlotte recommends Sylvia by Zoo Nation Tom doesn't really recommend Doris Salcedo at White Cube Bermondsey Tom Sutcliffe's guests are Esther Freud, Charlotte Mullins and Miranda Carter. The producer is Oliver Jones

We talk to the art market specialist Melanie Gerlis about Frieze London and Frieze Masters, to Doris Salcedo about her White Cube show, to the artist Ragnar Kjartansson and the curator Massimiliano Gioni about Strange Days, the New Museum’s video-art pop-up in London, and to the artist Ipek Duben about Social Work, Frieze London’s radical new section. See acast.com/privacy for privacy and opt-out information.

Two For Joy is a British film starring Samantha Morton, Billie Piper and Daniel Mays. a study of family tensions, depression and hope Poet In Da Corner is a play that explores how grime music (and Dizzee rascal's award-winning album Boy In Da Corner in particular) changed the life of a young Mormon girl in Essex who transformed from Deborah Stevenson into Grime MC Debris. It's about how an album can turn your life around. Sarah Perry's 2016 novel The Essex Serpent was a runaway prize-winning success. Her latest - Melmoth - is a supernatural tale full of dilemmas and questions Space Shifters is an exhibition at London's Hayward Gallery which intends to re-orientate visitor's perceptions of the world around them Two Sci-fi TV series Maniac and Counterpart have begun on Netflix and Amazon Prime respectively Podcast Extra: Kamila Shamsie recommends the Canadian literary journal Brick. Barb Jungr recommends the band 10cc. Tom Dyckhoff recommends the book Inner City Pressure by Dan Hancox and two exhibitions at London's Photographers' Gallery. Tom Sutcliffe recommends the radio programme Ratlines on Radio 4 and the Doris Salcedo exhibition at White Cube. Tom Sutcliffe's guests are Kamila Shamsie, Tom Dyckhoff and Barb Jungr. The producer is Oliver Jones

Además, en ‘Al cierre’: detalles de la entrevista a Yerry Mina, la amnistía para remisos del Ejército y la obra de Doris Salcedo. Este lunes, el expresidente y senador Álvaro Uribe Vélez dio una rueda de prensa en la que habló sobre el proceso que emprendió la Corte Suprema de Justicia y en el que lo llamó a indagatoria. Ya con fecha establecida para la diligencia, el país está a la espera. Jhon Torres, editor de la sección Justicia, analiza las afirmaciones y los temas que quedaron pendientes en este diálogo que el exmandatario sostuvo con los periodistas. Desde el pasado domingo, la entrevista que publicó la revista Bocas con el jugador de fútbol Yerry Mina ha sido el artículo más leído en Eltiempo.com. Su autor, Mauricio Silva, comenta detalles detrás de cámaras de su encuentro con el cabeceador máximo en el Mundial Rusia 2018. Doris Salcedo prepara una obra de arte con el armamento entregado por las Farc durante el proceso de paz. Este martes se conocerán algunos detalles, en un evento que será uno de los últimos a los que asistirá el presidente Juan Manuel Santos y la Ministra de Cultura, Mariana Garcés, sellando de manera simbólica el acuerdo de paz. Laura Guzmán, de la sección Cultura, cuenta detalles de lo que podría ser este anuncio. Los remisos del Ejército que tengan más de 24 años tienen una amnistía única para normalizar su situación militar sin tener que pagar una millonaria multa. Conozca aquí los detalles de esta ventana que abrieron las Fuerzas Militares.

Honouring the dead. An artwork that weeps the names of those who have died. Colombian sculptor, Doris Salcedo, is one of the most significant Latin American artists working today. For the last thirty years she has been making pieces on the theme of mourning. Her latest work honours those who died during the ongoing migrant crisis. An immense technical challenge, the effect is that stone slabs appear to weep the names of the dead.

Discussion with Carlos Granada and Joaquín Sanabria, members of Doris Salcedo’s production team, on material and technique for the exhibition "Doris Salcedo: The Materiality of Mourning" at the Harvard Art Museums (November 4, 2016–April 9, 2017).

Discussion with Ingrid Raymond and Carlos Granada, members of Doris Salcedo’s production team, on material and technique for the exhibition "Doris Salcedo: The Materiality of Mourning" at the Harvard Art Museums (November 4, 2016–April 9, 2017).

Discussion with Carlos Granada, Ingrid Raymond, and Joaquín Sanabria, members of Doris Salcedo’s production team, on material and technique for the exhibition "Doris Salcedo: The Materiality of Mourning" at the Harvard Art Museums (November 4, 2016–April 9, 2017).

Discussion with Carlos Granada and Joaquín Sanabria, members of Doris Salcedo’s production team, on material and technique for the exhibition "Doris Salcedo: The Materiality of Mourning" at the Harvard Art Museums (November 4, 2016–April 9, 2017).

Discussion with Carlos Granada and Ingrid Raymond, members of Doris Salcedo’s production team, on material and technique for the exhibition "Doris Salcedo: The Materiality of Mourning" at the Harvard Art Museums (November 4, 2016–April 9, 2017).

Can a crack in the floor be considered as art? This slideshow peers into Doris Salcedo’s C21st installation in the Tate Modern Turbine Hall, “Shibboleth”.

Transcript -- Can a crack in the floor be considered as art? This slideshow peers into Doris Salcedo’s C21st installation in the Tate Modern Turbine Hall, “Shibboleth”.

This week: A very brief interview with Doris Salcedo with special guests Sarah Guernsey, Executive Director of Publishing at the Art Institute of Chicago, and Hank Holland intern at Bad at Sports. Following the long intro and short interview we present courtesy of the Museum of Contemporary Art Chicago, Doris Salcedo's talk from February 22, 2015. Thanks MCA! Only two more weeks of that Holland charm.

Art and ethics are linked philosophically by the fact that they are both fall under value theory; and some aestheticians, notably Berys Gaut, have argued for a direct connection between aesthetic and moral values, in that the moral values that an artwork may embody can raise or lower its aesthetic value. In Art and Ethics in a Material World: Kant’s Pragmatist Legacy (Routledge 2013), Jennifer A. McMahon argues that aesthetic and moral judgments are intrinsically linked by the fact that they contain a common element of community-calibrated subjective responses, and that as a result by reflecting on art we also exercise this element of moral judgment. McMahon, who is associate professor in philosophy at the University of Adelaide, South Australia, draws on Kant, pragmatist philosophers such as John Dewey, contemporary philosophers of mind such as Susanna Siegel, and interviews with contemporary artists, including Olafur Eliasson and Doris Salcedo, to argue for and illustrate her view. Learn more about your ad choices. Visit megaphone.fm/adchoices

Art and ethics are linked philosophically by the fact that they are both fall under value theory; and some aestheticians, notably Berys Gaut, have argued for a direct connection between aesthetic and moral values, in that the moral values that an artwork may embody can raise or lower its aesthetic value. In Art and Ethics in a Material World: Kant’s Pragmatist Legacy (Routledge 2013), Jennifer A. McMahon argues that aesthetic and moral judgments are intrinsically linked by the fact that they contain a common element of community-calibrated subjective responses, and that as a result by reflecting on art we also exercise this element of moral judgment. McMahon, who is associate professor in philosophy at the University of Adelaide, South Australia, draws on Kant, pragmatist philosophers such as John Dewey, contemporary philosophers of mind such as Susanna Siegel, and interviews with contemporary artists, including Olafur Eliasson and Doris Salcedo, to argue for and illustrate her view. Learn more about your ad choices. Visit megaphone.fm/adchoices

Transcript -- Can a crack in the floor be considered as art? This slideshow peers into Doris Salcedo’s C21st installation in the Tate Modern Turbine Hall, “Shibboleth”.

Can a crack in the floor be considered as art? This slideshow peers into Doris Salcedo’s C21st installation in the Tate Modern Turbine Hall, “Shibboleth”.

Can a crack in the floor be considered as art? This slideshow peers into Doris Salcedo’s C21st installation in the Tate Modern Turbine Hall, “Shibboleth”.

Transcript -- Can a crack in the floor be considered as art? This slideshow peers into Doris Salcedo’s C21st installation in the Tate Modern Turbine Hall, “Shibboleth”.

Colombia vill bli känt för sina vita sandstränder istället för sitt vita pulver och regeringen vill genom en rad påkostade reklamkampanjer ersätta rubriker om massmord, gerillasoldater och knarksmuggling med turistartiklar om passionsfrukter, salsa och vackra floder i Amazonas. Vad leder den här processen till för kulturlivet? Lotten Collin har sökt efter svar i Bogotá. Falso positivo-skandelen i Colombia syftar på de runt 1 500 oskyldiga unga män som blev mördade i kampen mellan gerilla och regeringsstyrkor i Colombia. Berättelsen ligger bakom en stor ny utställning som precis öppnat på Moderna Museet i Malmö med titeln Plegaria Muda. Bakom verket står den colombianska konstnären Doris Salcedo. Cecilia Blomberg har sett utställningen. Och så reflekterar Sveriges Radios Latinamerikakorrespondent Lars Palmgren kring hur Colombias konfliktfyllda historia speglar sig i litteraturen. Programledare Anneli Dufva