Podcast appearances and mentions of ed atkins

Ed Atkins, artist and author of Flower, Old Food and A Primer for Cadavers, speaks to Dan Fox, filmmaker, musician and author of Pretentiousness: Why it Matters and Limbo, about his work to date. The conversation touches on catachresis and its relation to the animism of childhood, the feeling of words in the mouth, the thin border between pathos and slapstick, and the pleasure of making lists. Recorded remotely in May 2025. Edited by Frankie Wells. Music by Kwes Darko.

A text about girls with guitars and also Ed Atkins' book Flowers. A little two-for-one : ) find the written version of this on our website, support us on Patreon here, and buy our book Poor Artists wherever you buy your books!!!!!

SIGN UP –Be the first to know next episodes, get BOOK RECOMMENDATIONS, juicy facts + useful links.Episode......................................................................Contemporary artist Ed Atkins's survey at Tate Britain is best described as an existential theatre with avatars, CGI, motion capture technology, traditional figural drawing, Unreal Engine, filmed performance, experimental writing and much more. You wouldn't leave the shop without paying for your latte, right?Buy us a latte ;-) ⁠⁠https://exhibitionistaspodcast.com/support-us⁠Architect and first-time guest on the podcast, Nick Taylor, and I, get lost, fall into the temporary exhibition through a faulty door, rush through the show to watch the timed film, return a second time because one of us went to Tate Modern first, discuss exhibition-visiting methods, critique wall texts, and reflect upon our own relation with time, narrative, devotion and death.If you enjoyed the episode, you may enjoy my essays on Substack: ⁠⁠https://joanaprneves.substack.com⁠⁠Across all technologies, we've asked the same questions: …are we spectators or actors? …contemplative or engaged? …are images and the people in them dead? …and if so, why are they moving (both as a verb and an adjective)?Hailed as a pioneer of digital technology, Ed Atkins' work found its groove in early experiments with video-editing. These quickly migrated into the world of gaming, with its motion capture and CGI animation, and their striking similarity with live performance through timed duration, but with a complicated relation with the physical world and real, fleshy bodies. For behind the scenes clips and visuals follow us on Instagram: @exhibitionistas_podcastWe discuss: #parenting, #audience #engagement, #theatre spaces, fear, #vulnerability, #narrative building, #virtual realities, #self-representation, #identity, spatial dynamics, #modernism, #existentialism, #mortality, #parenthood, #theatre, #experimental film, emotional detachment, #intergenerational connections, #illness, #family dynamics.Instagram:   @exhibitionistas_podcast  Bluesky: @exhibitionistas.bsky.socialWebsite: https://exhibitionistaspodcast.comChapters00:00 Introduction and Setup02:31 Memories of Tate Modern07:07 Pivotal Moments in Ed Atkins' Career14:03 A Few Points Of Reference For Ed Atkins' Work18:21 When The Artist Writes Their Own Wall Texts22:35 Narratives On And Off The Screen(s)27:17 The Exhibition as Experimental Writing32:07 Narrative Building in Art Experiences37:33 Theatre Without Actors41:03 Self-Representation and Identity in Art46:19 Spatial Dynamics and Human Scale in Art53:23 Modernism and Its Absence in the UK55:31 Life As Utter Devotion, Art As Its Awareness 01:02:36 The Disconnect Between Generations in Art01:07:18 Reading Emotion: Ed Atkin's New Film With Real Actors01:11:40 The Journey Through Illness and Art01:16:51 The Mysterious Case of the Disappearing Spectators01:22:16 OUTROAbout us: If you enjoy the podcast If Books Could Kill and You Are Good, you will enjoy Exhibitionistas, where artists are unveiled through current and pertinent angles, and through thoughts and feelings. These podcasts were a great inspiration for our format because they're nerdy and engaging, researched and approachable. The co-host and the guest co-host engage in a conversation informed by an accessible and lively presentation of the subject, through which you can reflect on a show you've seen or discover it if you can't go, learn or re-evaluate artistic topics crossing over into our everyday lives.

Ed Atkins talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Atkins, born in Oxford, UK, in 1982, is best known for exploring the strange but endlessly rich space between the digital world and human experience and emotion. He has taken an unorthodox approach to software and hardware, “misusing” them, as he puts it, to produce videos and animations that reflect on technologies critically and poetically, testing their relationship with the messy world of physicality and feeling. A crucial factor in achieving this is his work in writing and drawing, which offers a counterweight to the digital textures of the video installations. Atkins himself is ever-present in the multiple manifestations of his practice, physically and emotionally, and the result is a body of work that, for all its deliberate complexities and confusions, has a profound core of tenderness. He reflects on the transformative experience of encountering the Czechian artist Jan Švankmajer's animated films on television, the emotional impact of Velázquez's Las Meninas, his collaborations with the Swiss composer and clarinettist Jürg Frey, and his ongoing engagement with the US literary critic Leo Bersani. Plus, he discusses life in the studio and answers our usual questions, including the ultimate: what is art for?Ed Atkins, Tate Britain, London, until 25 August; Ed Atkins, Flower, Fitzcarraldo Editions, published on 10 April, £12.99 (pb). Hosted on Acast. See acast.com/privacy for more information.

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.

In this episode of the Transforming Society podcast, Richard Kemp speaks with Ed Atkins, author of A Just Energy Transition: Getting Decarbonisation Right in a Time of Crisis, about what is needed for an energy transition to be just.They discuss the need to ensure decarbonisation doesn't come at the expense of already marginalised communities, the role that green jobs will play and the importance of acknowledging that while an energy transition will change our everyday lives, it has the potential to change them for the better.A Just Energy Transition by Ed Atkins is available on the Bristol University Press website. Order here for £26.99.Bristol University Press/Policy Press newsletter subscribers receive a 25% discount – sign up here.

Part script, part novel, part manual, Sorcerer (Prototype) is the latest unclassifiable book written in collaboration between the artist and writer Ed Atkins and the poet and critic Steven Zultanski – a gentle, contemplative work about the pleasures of conversation, being with others, and being alone. ‘Unlike many narratives, Sorcerer does not put crisis and conflict at the centre of the story', write Atkins and Zultanski, describing their theme as ‘the intractability of reality – both its resistance to clear meaning and its sweetness, weirdness.' Atkins and Zultanski were in conversation with the art writer and journalist Emily LaBarge. Hosted on Acast. See acast.com/privacy for more information.

Nice Try 是一个播客，也是一个游戏。几乎每周，四个朋友隔空聊天，分享「Happy Hour」，提出挑战，随时跑题。节目名称翻译成中文是「想得美」。欢迎登陆我们的官方网站 nicetrypod.com，在那里可以找到全部往期节目和邮箱，欢迎写信来。 本期我们说了不少美剧《亚特兰大》的剧情，请介意剧透的听众谨慎收听

In the ninth episode of "Barbara London Calling" 2.0, Barbara speaks with Ed Atkins, an English artist whose lively practice revolves around writing, the moving image and installation. Death, loss, distemper and debility have been preoccupations in Ed's work, which shows a keen interest in the emotions our digital technologies are unable to contain. 

Me and Ross Jardine talk about Ed Atkins' poem 'Old Food' in its book form, and as a performance by the British actor Toby Jones.

One of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world - from computer generated imagery to bathetic poetry - are hysterically rehearsed. A Primer for Cadavers, his startlingly original first collection, brings together a selection of his texts from 2010 to 2016. He was in conversation with Brian Dillon. See acast.com/privacy for privacy and opt-out information.

Serien Nye normaler er tredje del af Podcast for Samtidskunsts række af nykommissioner, der reflekterer over corona-krisen. I denne del har vi bedt kunstnere skabe nye lydværker, der sigter i retning af, hvad det er for nye normaltilstande, vi nu kan se frem til post corona. I denne episode introducerer kurator og museumsinspektør Magnus Kaslov til tre nye værker skabt af henholdsvis teaterkollektivet Teater Tugt, dramatiker David Bernstein og kunstner Ed Atkins. De tre værker kan høres i de tre følgende episoder af podcasten.

Ed Atkins, Dinner, 2020 Den britiske kunstner og forfatter Ed Atkins, der måske er bedst kendt for sine computeranimerede videoværker, har til denne serie skabt værket Dinner. Værket er performet, optaget og komponeret i Atkins lejlighed henover tiden siden nedlukningen.Gennem sin titel trækker Dinner tråde til Atkins bog og udstillingsrække Old Food. På bagsiden af bogen beskrives at: “Atkins’ kunstige realisme, hvad enten den er skrevet eller animeret, laver pastiche ud af det romantiske, så det reduceres ned til et sentimentalt blæver – for desto bedre at kunne modellere alle de triste følelser, som så ofte er umulige at udtrykke i det virkelige liv.”I Dinner fornemmer man også det sentimentale blæver, men først og fremmest mødes man af værkets store musikalitet og den nærmest fladpandede konkrete fornemmelse af noget, der ikke kan udtrykkes. En stemme, der er sidder fast i halsen, sidder fast i den fugtige mundens lyde – og sidder fast i et rum.Serien Nye normaler er tredje del af Podcast for Samtidskunsts række af nykommissioner, der reflekterer over corona-krisen. I denne del har vi bedt kunstnere skabe nye lydværker, der sigter i retning af, hvad det er for nye normaltilstande, vi nu kan se frem til post corona.  

In de video’s van Daan Couzijn spelen 3D-animaties de hoofdrol: vaak naakte mannen, die met hun even herkenbare als wezenloze voorkomen ondersteunen wat de neerslachtige voice-over vertelt. En ook in zijn installaties voert melancholie de boventoon, vormgegeven in een digitale beeldtaal à la Ed Atkins. Hoe verhoudt deze digitale wereld zich tot het fysieke leven?

In de video's van Daan Couzijn spelen 3D-animaties de hoofdrol: vaak naakte mannen, die met hun even herkenbare als wezenloze voorkomen ondersteunen wat de neerslachtige voice-over vertelt. En ook in zijn installaties voert melancholie de boventoon, vormgegeven in een digitale beeldtaal à la Ed Atkins. Hoe verhoudt deze digitale wereld zich tot het fysieke leven?

Karaoke, literature and ventriloquism... Ed Atkins brings us closer to his expression of the inexpressible.

The relationship between art and technology is celebrated in a unique exhibition, From Clay to Algorithm. It is a collaboration between Intesa Sanpaolo and the Castello di Rivoli Museum of Contemporary Art near Turin. The third episode of the Intesa Sanpaolo Talks podcast programme explores the exhibition. We hear from Castello di Rivoli’s chief curator and curator of collections, Marcella Beccaria, and Alastair Smart, an influential art critic who discuss its innovative non-linear approach and highlight some of its key exhibits.

Wir haben uns die Ausstellung ‚Ye Olde Food‘ in der Kunstsammlung NRW (Düsseldorf) angeschaut und waren...irritiert begeistert. Wir haben uns wie Versuchskaninchen in einem bedeutenden Kunstlabor gefühlt und daher in dieser Folge selbst ein Experiment gewagt! Für noch mehr Infos: http://www.kunstsammlung.de/entdecken/ausstellungen/ed-atkins.html und https://blog.berlinerfestspiele.de/old-food/

Flat Time house located at 210 Bellenden Road, Peckham, London is the former studio and home of John Latham (1921-2006) a pioneer of British conceptual art, who, through painting, sculpture, performances, assemblages, films, installation and extensive writings, fuelled controversy and continues to influence artists today. Latham transformed 210 Bellenden Road into a ‘living sculpture’ in 2003, naming it Flat Time House (FTHo) after his theory of Flat Time. A giant cantilevered book emerges through the glass facade of the building and onto the street. Inside, Latham designated specific rooms with anthropomorphic attributes of the living body, with the intention of communicating to visitors that Flat Time House exists as a living sculpture to be navigated as both a physical and metaphorical entity. Until his death in 2006, Latham opened his door to anyone interested in thinking and talking about art. In 2008, the Latham family opened Flat Time House to the public as a gallery, an artist’s residency and centre for alternative learning that is currently under the direction of Gareth Bell-Jones. Flat Time house operates as a discursive space to explore John Latham’s practice, his theoretical ideas and their continued relevance today. Gareth Bell-Jones (b. 1982) is the curator/director of Flat Time House. After graduating from the MA in Curating Contemporary Art at the RCA in 2010 he worked as curator for Wysing Arts Centre, Cambridge, for four and a half years. There he curated residencies, exhibitions, retreats, events, publications and an annual music festival with artists such as Ed Atkins, Michael Dean, Gustav Metzger, Elizabeth Price, Keren Cytter and Cally Spooner. From 2010-14 he was a regular visiting tutor to the RCA, Curating Contemporary Art Department. Previously he was curator of Tricycle Gallery, London from 2007-09. He has recently written catalogue texts for artists including Laure Prouvost, Marlie Mul, Barbara Visser and Agata Madejska. Lisson...ON AIR is written and presented by Hana Noorali

Year: 2018 Location: Toilets of McDonald’s at 48 Leicester Square, London Duration: 19 min Please note this work contains strong language. An intimate, culinary, eschatological slice of memoir, told to you as if you should remember it – an emergence from the psychedelia that precedes abandon and follows loss. Narrated in the artist’s own voice, flat meat cake pulsates with greed, and grief, and the obsessive precision of the genius and the insane. Voice: Ed Atkins Ed Atkins is an artist who makes videos, writes and draws, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world — from computer generated imagery to bathetic poetry — are hysterically rehearsed. Solo presentations include Martin-Gropius-Bau, Berlin; MMK Frankfurt; DHC/ART, Montréal (all 2017); Castello di Rivoli, Turin; The Kitchen, New York (both 2016); Stedelijk Museum, Amsterdam (2015) and The Serpentine Gallery, London (2014). An anthology of his texts, “A Primer for Cadavers”, was published by Fitzcarraldo Editions in 2016, and an extensive artist’s monograph from Skira was published in 2017. Atkins lives and works in Berlin and Copenhagen. Disclaimer: Please be aware that Cold Protein is not responsible for and does not guarantee your entrance to the locations. Access is at the discretion of each individual site, and subject to their opening hours, T&C and ticketing (if applicable).