Podcasts about francis al

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Das Museum Ludwig präsentiert ab 11.04.2025 mit dem Künstler Francis Alÿs eine außergewöhnliche Ausstellung - "Kids Take Over", in der Kinder im Mittelpunkt stehen. Alÿs dokumentiert seit 25 Jahren Kinderspiele aus unterschiedlichsten Regionen der Welt. Zur Vorbereitung auf die Ausstellung hat Kölncampus Reporter Matthis sich über den Künstler und seine Arbeiten informiert.

Ceri speaks to Inês Geraldes Cardoso, an assistant curator at the Barbican. Inês shares her experience in curating, her fascination with Frida Kahlo, and her recent work on Francis Alÿs' exhibition "Ricochet." Discover the intricacies of curating, the importance of play in art, and the evolving role of curator and artist. KEY TAKEAWAYS Inês' multicultural background and early exposure to diverse art forms shaped her curatorial approach, emphasising an omnivorous curiosity and openness to various cultural expressions. The curator's role extends beyond exhibition planning, involving research, interpretation, catalogue production, and collaborative projects with artists and local communities. Studio visits play a crucial role in exhibition development, allowing curators to discover new works and engage in dialogue that shapes the final presentation. Curating is increasingly seen as a relational practice, focusing on dialogue, collaboration, and the ability to expand the resonance of artists' work. Inês stresses the interdependence of artists and curators, encouraging ongoing relationships and experimentation beyond specific projects. Francis Alÿs' "Children's Games" series explores the universal nature of play while highlighting site-specific contexts, bridging macro and micro perspectives on human experience. The Barbican exhibition of Alÿs' work included new films shot in London, showcasing local children's games and expanding the artist's ongoing exploration of play. The exhibition aims to highlight the urgency of creating spaces for children to play, especially in urban environments with diminishing public spaces. BEST MOMENTS "I grew up in a very multicultural environment... so that's really from a very young age contributed to my understanding of culture as a multifarious, diverse, open thing." "Frida Kahlo was an artist that really made me want to be close to artists, understand the way they work and understand the ways in which the kind of completely left field sort of way of seeing and interpreting the world could shatter the way we think about gender, the way we think about love, the way we think about relationships, the way we think about politics." "I'm drawn to artists who are kind of deeply committed to research but also artists who have relational practices, who have socially, socially engaged practices." "There's this real sense of a kind of community in the, in the studio that kind of comes together." "Curating is, I think, first and foremost, a kind of relational practice, you know, it's about the kind of relationships that you have with, with artists and about, again, this idea of dialogue and a kind of act of almost radical listening." "Being an artist, being a curator, they're never independent practices. They're completely interdependent." "We really wanted, you know, play and children to be a central part of the show, not kind of a sort of add on."  PODCAST HOST BIO With over 30 years in the art world, Ceri has worked closely with leading artists and arts professionals, managed public and private galleries and charities, and curated more than 250 exhibitions and events. She sold artworks to major museums and private collectors and commissioned thousands of works across diverse media, from renowned artists such as John Akomfrah, Pipilotti Rist, Rafael Lozano-Hemmer and Vito Acconci. Now, she wants to share her extensive knowledge with you, so you can excel and achieve your goals. **** Ceri Hand Coaching Membership: Group coaching, live art surgeries, exclusive masterclasses, portfolio reviews, weekly challenges. Access our library of content and resource hub anytime and enjoy special discounts within a vibrant community of peers and professionals. Subscribe before September 29 for just £5 per month for the first year! Flexible membership with monthly payments and no pressure to stay. Ready to transform your art career? Subscribe now!  www.cerihand/subscribe  **** Build Relationships The Easy WayOur self-study video course, "Unlock Your Artworld Network,"  offers a straightforward 5-step framework to help you build valuable relationships effortlessly. Gain the tools and confidence you need to create new opportunities and thrive in the art world today. **** Book a Discovery Call Today To schedule a personalised 1-2-1 session with Ceri or explore our group coaching options, simply email us at hello@cerihand.com. **** Discover Your Extraordinary Creativity Visit www.cerihand.com to learn how we can help you become an extraordinary creative.

Crítico, curador e historiador de arte. Doctor en Historia y Teoría de Arte (PhD) por la Universidad de Essex en la Gran Bretaña y Licenciado en Historia por la Universidad Autónoma de México. Ha sido investigador del Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México desde 1993, y entre 2002 y 2008 fue el primer Curador Asociado de Arte Latinoamericano en las Colecciones de Tate Modern, en el Reino Unido. Actualmente es Curador en Jefe del Museo Universitario Arte Contemporáneo (MUAC) de la UNAM. Ha curado, entre otros, Cuando la Fe Mueve Montañas de Francis Alÿs (2002) y la intervención de Teresa Margolles, ¿De qué otra cosa podríamos hablar? (2009) para el Pabellón de México en la 53a. Bienal de Venecia. En 2012 fue curador de la bienal Manifesta 9: The Deep of the Modern, que tuvo lugar en Genk, Bélgica, con la colaboración de Dawn Ades y Katerina Gregos. En 2012 fue premiado con el Walter Hopps Award for Curatorial Achievement de la Menil Foundation. En 2017, Cubo Blanco y RM publicaron su compilación titulada Abuso Mutuo. Ensayos e Intervenciones sobre arte postmexicano (1992-2013) editada por Edgar Alejandro Hernández y Daniel Montero. En 2019 publicó el libro Una ciudad ideal: la Olinka del Dr. Atl con el sello del Colegio Nacional.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

Arts writer and former professional surfer Jamie Brisick talks about: w hat it was like being on the pro surfing tour back in his late teens and early 20s, and how he developed his Plan B career initially as a surfing writer before moving into arts & culture writing; how he comes to art/the art world with a relatively fresh perspective, and has experienced some unsavoriness in the upper spheres in its being too much like high school in terms of popularity, etc.; what it means when, to quote the artist Paul Chan in this case, ‘Success is its own form of failure;' the varied and fascinating work of Francis Alÿs, whom Brisick tried to get an interview with but was essentially blown off, but whom he still highly respects and reveres as an artist; the artworks, storytelling, and other idiosyncrasies of quintessential surfing-art artist, Raymond Pettibon, whom Brisick has profiled extensively and become friends with; the surf-skate pioneer Craig Stecyk (also a mentor of Brisick's) and his crazy performance art stunts; and his relationship with the journalist and writer William Finnegan, whose struggle with his memoir may be a source of inspiration for listeners.

It is time for a Thursday edition of Glenn Clark Radio, much to talk about ahead of a busy weekend in sports with the Ravens returning from bye to host the Panthers on Sunday. Plus some local college hoops teams are back in action tonight after a quiet Wednesday night in the sports world. We will be previewing the Panthers-Ravens game Sunday with the man who will be on the radio call, you know him from ‘Baldy's Breakdowns,' we'll chat with Brian Baldinger at 10:20am. At 10:45am, we will chat with our friend and former Maryland Terp, Al Wallace, who does radio in Charlotte to further break down how the Carolina Panthers matchup with the Ravens. At 11am, we will make our weekly picks selections when Ken Zalis joins us to pick the biggest games from this weekend's college and NFL slate of games. At 11:30am, we will chat with Top Dolla himself, AJ Francis, about what he's doing for Sara's House this weekend ahead of the Maryland-Ohio State game on Saturday and how you can help. We'll wrap the show by listening to the 2nd segment of the Tyus Bowser show with Calais Campbell. All that and much more on this Thursday edition of GCR.

Stephanie Weissberg, a curator at the Pulitzer Arts Foundation, stopped by to speak with Nancy about the Pulitzer and the current exhibition, Assembly Required. Assembly Required features eight artists whose work invites your active participation. You may build, shape, and use these artworks, collaboratively or on your own. The artists were selected based on a shared belief that public action is vital for transforming society. Created between the 1950s and the present, the artworks respond to distinct social and political moments, from unrest in the United States during the Vietnam War to Peru's military dictatorship. The artists offer unique perspectives on social change, addressing the need for optimism and hope in the face of global tensions. Throughout this immersive exhibition, members of the public will interact with the artworks and each other while sharing new experiences. Ultimately, Assembly Required poses questions about how art allows us to imagine new ways of being in the world. Assembly Required includes work by Francis Alÿs, Rasheed Araeen, Siah Armajani, Lygia Clark, Hélio Oiticica, Yoko Ono, Lygia Pape, and Franz Erhard Walther.

Episode No. 548 features curators Ann Temkin and Stephanie Weissberg. Along with Dorthe Aagesen, Temkin is the co-curate of "Matisse: The Red Studio," an exhibition that investigates Matisse's making of his famed 1911 The Red Studio. The exhibition, which is at the Museum of Modern Art, New York through September 10, features each of the surviving works Matisse portrayed in The Red Studio, as well as related archival photographs, correspondence and related paintings and drawings. The excellent exhibition catalogue was published by MoMA. Indiebound and Amazon offer it for $55. Weissberg discusses her exhibition "Assembly Required," which is at the Pulitzer Arts Foundation, St. Louis through July 31. The show features eight artists -- Francis Alÿs, Rasheed Araeen, Siah Armajani, Lygia Clark, Hélio Oiticica, Yoko Ono, Lygia Pape, and Franz Erhard Walther -- who believed that public action is vital to transform society. The work Weissberg has selected for the exhibition invites a viewer's physical participation.

Francis Alÿs est l'artiste belge qui représente son pays à la biennale des Arts de Venise, la plus importante manifestation artistique au monde, se déroulant jusqu'en novembre. Il a entrepris de recenser en vidéo les jeux que les enfants du monde entier pratiquent entre eux dans l'espace public, et ce, sur tous les continents. Des jeux en voie de disparition, du fait de l'urbanisation toujours plus grande et du numérique de plus en plus présent dans nos vies. ► Pour aller plus loin : Les vidéos de ces jeux d'enfants sont accessibles gratuitement sur le site de l'artiste.

A Venice Biennale special: we give you a flavour of the 59th edition of the Biennale which, as ever, brings a deluge of contemporary art to the historic Italian city. We talk to four artists in the national pavilions – Francis Alÿs in the Belgian Pavilion, Sonia Boyce in the British pavilion, Shubigi Rao in the Singapore pavilion and Na Chainkua Reindorf in the Ghana pavilion – about their presentations and how, if at all, they relate to the idea of nationhood. Louisa Buck and Jane Morris join host Ben Luke to review the main exhibition, The Milk of Dreams, curated by Cecilia Alemani, and pick their highlights of the Biennale so far. And while most visitors to Venice this week are immersed in contemporary art, for this episode's Work of the Week, we take a look at a masterpiece that remains exactly where it was intended to hang. The art historian Ben Street joins Ben Luke in San Giovanni Crisostomo, a church near Venice's Rialto bridge, to look at Saints Christopher, Jerome and Louis of Toulouse, a late painting by the Venetian Renaissance artist Giovanni Bellini.Venice Biennale, 23 April-27 November.Ben Street, How to Enjoy Art: A Guide for Everyone, Yale University Press, £14.99/$20. See acast.com/privacy for privacy and opt-out information.

Tijdens de openingsdagen van de Biënnale van Venetië strijkt Pompidou neer in het Belgisch paviljoen. Curator Hilde Teerlinck en kunstenaar Francis Alÿs ontwikkelden een tentoonstelling op uitnodiging van de Vlaamse Gemeenschap. Ook de buurlanden schuiven aan tafel. Jessica Gysel zag het werk van melanie bonajo in het Nederlands paviljoen. Tina Gillen creëert een geschilderde installatie in het paviljoen van Luxemburg. De Belg Björn Geldhof werkte mee aan het Oekraïense paviljoen.

Chaque vision est singulière, porteuse de sens et de changement. Le but de ce format est de rassembler de nombreux artistes et que chacun nous délivre sa vision et son expérience de la photographie. Ce podcast a été auto-produit.  Pour nous soutenir : https://visionspodcast.fr/nous-soutenir/    La première fois que je rencontre Laura Henno, c'est à l'occasion de la visite de presse de sa nouvelle exposition, fin 2021, intitulée Radical Devotion, à la galerie Nathalie Obadia. J'arrive l'un des premiers. Je suis directement frappé par ces tirages de diverses formes, certains sont très grands, d'autres sont assemblés comme des polyptiques. Et ces photographies, la plupart du temps mises en scène, dégagent une certaine tension, notamment par le regard souvent frontal des sujets. Le temps semble s'être arrêté. L'artiste expose ici sa série encore en cours sur Slab City, « la dernière ville libre des États-Unis ».  Je m'interroge sur le titre. Une dévotion, c'est déjà un fort attachement et un geste radical. Pourquoi y ajouter ce qualificatif ? Et une dévotion à quoi ? À qui ? Une dévotion, c'est un moment d'amour inconditionnel, presque une transe. On se livre, on donne de sa personne, de son intimité. On aime aussi de manière sincère, on vénère parfois un dieu ou une figure, qu'elle soit religieuse ou non. Entre images fixes et en mouvement, Laura Henno s'attarde à montrer des personnes en lisière, à la marge, ou que l'on place à la marge. Des vies invisibles en somme. Des migrants comoriens, des adolescents fragiles, en passant par des mineurs isolés ou bien, plus récemment, par une communauté souvent « blessée », en autarcie. Ces sujets photographiés par l'artiste vouent une dévotion certes, mais à une certaine liberté. Au fait de vivre pleinement. Ou de vivre tout simplement.      À la suite d'études de photographie à l'ENSAV de La Cambre, Laura Henno s'initie au cinéma au Fresnoy. Lauréate du Prix Découverte des Rencontres Internationales de la Photographie d'Arles en 2007, l'artiste multiplie depuis les expositions en France et à l'étranger, à l'instar de son exposition à l'Institut pour la Photographie de Lille 2019, au Ryerson Image Center de Toronto, Redemption aux Rencontres de la photographie d'Arles en 2018, M'Tsamboro au BBB Centre d'Art à Toulouse en 2017, Summer Crossing au Centre Photographique Ile-de-France ou de son exposition au Finnish Museum of Photography à Helsinki en 2011. Lauréate du Prix SAM pour l'art contemporain 2019, Laura Henno bénéficiera également d'une exposition au Palais de Tokyo du 15 avril au 4 septembre 2022.     Dans ce grand entretien, l'artiste évoque tout d'abord son parcours, ses références. Beaucoup sont américaines. On comprend que les maîtres de la peinture et du cinéma, souvent documentaire, ne sont jamais loin de son travail initial. Il est évoqué son rapport singulier à la mise en scène et à la fiction. On parle également de son approche, qui a évolué au fil des ans. Une photographie, qui, comme elle le souligne dans le podcast, « s'est rapprochée au fil du temps de l'humain, de situations de vie existentielles ». Malgré une esthétique documentaire bien présente dans son travail, Laura Henno cherche toujours le pas de côté. En observant avec attention ses photographies, nous devinons que l'artiste cherche avant tout à dévoiler la part d'humanité, souvent imperceptible au premier abord, de ses sujets.     Puis, nous entrons doucement dans son univers en commençant par deux séries intimement liées : Summer Crossing et La Cinquième Ile. Suite à sa recherche aux Comores, qui explore la géopolitique complexe de l'archipel au travers de portraits de vie d'adolescents clandestins, de passeurs, Laura Henno tourne son regard vers Slab City, campement hors du temps, perdu dans le désert californien. Montrée pour la première fois à Paris, la série Outremonde, initiée en 2017 est remarquée par la critique aux Rencontres d'Arles en 2018, ainsi qu'à l'Institut de la Photographie en 2019 et au Bleu du Ciel en 2020, sous le commissariat de Michel Poivert.      Le résultat final ? Un podcast aux couleurs musicales : nous naviguons entre différents projets, descriptions de photographies, pistes de réflexion… L'artiste se plonge à corps perdu dans ses séries, aux côtés de ses sujets… De manière littérale parfois, comme à Slab City, où elle vit en immersion plusieurs semaines par an, demeurant dans sa caravane. Finalement, ne serait-ce pas Laura Henno qui voue une dévotion « radicale » aux arts visuels qu'elle pratique ? Nous ressentons en tout cas une passion communicative qui fait plaisir à entendre. Il ne reste plus qu'à vous souhaiter une agréable écoute.   Pour aller plus loin  Walker Evans, Robert Frank, Dorothea Lange, Diane Arbus, Stephen Shore, William Eggleston, Jeff Wall, Don DeLillo, Jim Harrison, Russel Banks, Toni Morrison, James Baldwin, Philip Roth, Édouard Glissant, Patrick Chamoiseau, John Akomfrah, Francis Alÿs, Steve McQueen, Mohamed Bourouissa, Wang Bing, Roberto Minervini, Peter Watkins, Gianfranco Rosi, FSA   Liens  https://www.instagram.com/hennolaura/  https://laurahenno.com/  https://www.instagram.com/podcastvisions/    https://www.visionspodcast.fr/   

Chaque vision est singulière, porteuse de sens et de changement. Le but de ce format est de rassembler de nombreux artistes et que chacun nous délivre sa vision et son expérience de la photographie. Ce podcast a été auto-produit. Pour nous soutenir : https://visionspodcast.fr/nous-soutenir/        Une voix douce, posée, qui semble remplie de sagesse. Cyrille Weiner aime prendre son temps. Principalement quand il réalise ses différents projets depuis le début des années 2000, mais aussi dans ses propos, souvent mûrement réfléchis. J'enregistre ce podcast dans son studio, en proche banlieue parisienne. En arrivant, j'aperçois en premier lieu plusieurs éléments : quelques tables, des écrans calibrés, signe d'un travail précis, et des étagères remplies de livres très graphiques. Nous commençons l'enregistrement avec la description d'une photo tirée de Jour de fêtes, un projet qui interroge la porosité entre le décor et le paysage et qui projette le spectateur dans une atmosphère où la limite entre réalité et fiction est troublée. Un prologue intéressant pour comprendre son travail.      Né en 1976 et diplômé de l'École Nationale Supérieure Louis Lumière, Cyrille Weiner vit et travaille à Paris. Un vrai Parisien en somme. Son travail a été publié par de nombreux magazines internationaux (M le Monde, Foam, British Journal of Photography, Artpress, l'Architecture d'Aujourd'hui, Domus…) et exposé à la Bibliothèque Nationale de France (Paysages Français, 2018), au musée d'Art Contemporain de Lyon (La région humaine, 2006), aux Rencontres d'Arles (L'impensé, 2010), à la Villa Noailles à Hyères (Presque île, 2009), à la galerie parisienne Salle Principale (Notre-Dame-des-Landes ou le métier de vivre, 2018).   Pour définir son travail, nous allons nous référer à sa biographie, qui est disponible sur son site. Au croisement du poétique et du politique, de l'art et du documentaire, Cyrille observe des expériences d'individus qui résistent et échappent aux espaces et aux modes de vie normalisés. Ses photos explorent le rapport que nous entretenons à la ville – notamment dans ses marges, ses interstices et ses lieux en transformation – et nos manières d'habiter l'espace.   Les sujets du paysage, de l'architecture et de l'humain sont associés dans des enquêtes précises menées sur les lieux. Se demandant obstinément comment les individus peuvent prendre prise sur leurs lieux de vie, à distance des directives venues « d'en haut », le photographe quitte peu à peu le registre documentaire pour proposer un univers traversé par la fiction, qu'il met en scène par des expositions, des projets éditoriaux et des installations.   Dans ce podcast, nous évoquons plusieurs sujets. Par exemple, son rapport au temps, qui est essentiel. Il l'affirme d'ailleurs lui-même dans le podcast : « ce qui peut me caractériser par rapport à d'autres photographes qui s'intéressent aussi au paysage, c'est que c'est plus souvent la notion de la temporalité des lieux que la notion d'espace qui m'intéresse. ». Il nous parle de ses (très !) nombreuses références : d'une photographie plus posée, mais aussi de la photographie de rue, en passant par la photographie de l'intime. Je lui pose différentes questions : quel est son rapport avec le réel, le tangible ? Qu'est-ce qui l'intéresse dans la transition, dans la mutation et finalement dans le côté éphémère d'un lieu ? Il y répond, en tâtonnant parfois, comme dans le noir, mais avec, paradoxalement, une certaine assurance. Enfin, nous évoquons ses différents projets, ceux qui ont marqué sa carrière ses dernières années : Twice, Le ban des utopies, Avenue Jenny, La fabrique du pré. Bref, un podcast long, qui se déguste peu à peu ou bien qui s'engloutit d'un trait. Selon votre sensibilité. En tous les cas, nous vous souhaitons une très belle écoute.   Pour aller plus loin  Playtime - Jacques Tati, Stalker - Andreï Tarkovski, Wim Wenders, Bruce Davidson - East 100th Street, Garry Winogrand, Jean-Marc Bustamante, Gabriele Basilico, Walker Evans, Stephan Shore, William Eggleston, Lewis Baltz, Thomas Ruff, Christophe Bourguedieu, Patrick Faigenbaum, Tango Photo, Francis Alÿs, Groupe Stalker, Patrick Bouchain, Gregory Lacoua, Marguerite Pilven, Fabrice Vacher, Jean Pottier, Rogedes Prés.   Liens  https://www.instagram.com/cyrilleweiner/  https://cyrilleweiner.com/fr/  https://www.instagram.com/podcastvisions/    https://www.visionspodcast.fr/   

Der belgische Künstler Francis Alÿs ist ein passionierter Läufer. Seine performativen Spaziergänge entstehen oft im Kontext anderer Kulturen. Er dokumentiert sie in Videos, Zeichnungen und Fotografien. >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-poscast-francis-alys

Der belgische Künstler Francis Alÿs ist ein passionierter Läufer. Seine performativen Spaziergänge entstehen oft im Kontext anderer Kulturen. Er dokumentiert sie in Videos, Zeichnungen und Fotografien. >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-poscast-francis-alys

Der belgische Künstler Francis Alÿs ist ein passionierter Läufer. Seine performativen Spaziergänge entstehen oft im Kontext anderer Kulturen. Er dokumentiert sie in Videos, Zeichnungen und Fotografien. >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-poscast-francis-alys

Lʹexposition présente un survol du travail vidéo des trente dernières années de lʹartiste belge Francis Alÿs, avec un accent particulier porté à lʹun des thèmes centraux de sa pratique: la marche. La curatrice de lʹexposition et conservatrice au MCBA Nicole Schweizer est au micro de Florence Grivel. Agenda: MCBA, Lausanne, Francis Alÿs. As Long as Iʹm Walking, jusquʹau 16 janvier 2022.

(00:00:46) Der belgische Künstler Franics Alÿs geht viel zu Fuss. Er hält seine Spaziergänge in Videofilmen fest – in inszenierter Form. Er erzeugt dabei besondere Geräusche, bewegt Gegenstände oder erkundet historische Gegebenheiten. Das Kunstmuseum Lausanne widmet ihm eine Retrospektive. Weitere Themen: (00:04:46) Wo so viel Wille ist, soll auch ein Weg sein: Berns Musikhochschule fördert Studierende mit Behinderungen. (00:09:05) «Die Verteidigung»: Fridolin Schley erzählt die aufwühlende Geschichte des Nazi-Spitzendiplomaten Ernst von Weizsäcker und seines Sohns Richard rund um die Nürnberger Prozesse. (00:13:28) «Das Buch der Nacht» von Bernd Brunner: Wie die Nacht uns Menschen fasziniert und verstört. (00:17:42) «Das letzte Wort» von Hannes Hug und Uta Köbernick.

In her performances, sculptures, photographic works and video installations Margret Wibmer explores relations between bodies, objects and spaces. Using ambiguity and the principle of chance as a methodology to deconstruct internalized processes, norms and values deeply embedded within our societies, she creates transient ‘realities' that explore new strategies for connecting us with the world and with others. This becomes particularly apparent in her participatory performances such as Relay where she uses choreographic elements, sound and textile props to engage the public as co-generators in her work. She frequently collaborates with dancers, composers and writers. Margret Wibmer was born in Lienz, Austria. After her studies at the University of Applied Arts in Vienna, she spent a large part of the 1980s in New York where she worked as assistant for Sol Lewitt together with Kazuko Miyamoto. Since her first exhibition at Fashion Moda in the South Bronx, she has exhibited and performed internationally in venues such as Palais de Tokyo in Paris (2016, 2017), RMIT Design Hub in Melbourne (2015), Oude Kerk Amsterdam (2014, 2019), Ishikawa Nishida Kitaro Museum of Philosophy in Japan (2013); KAI 10 – Arthena Foundation in Düsseldorf (2012), Kunstpavillon Innsbruck (2006). Her works have been featured in publications such Sony Style Magazine and Vestoy, monographies have been published by Kerber Verlag (2010) and VfmK – Verlag für Moderne Kunst (2020). She has received grants from the Pollock-Krasner Foundation, Mondriaan Fonds, Prins Bernhard Cultuurfonds / Tijlfonds, Land Tirol, Austrian Federal Ministry for Arts and Culture among others. Her work is included in private and public collections in Europe and beyond. She lives in Amsterdam, The Netherlands and is currently teaching online at Nanyang Academy of Fine Arts in Singapore. The upcoming exhibition mentioned: Hella Berend, Margret Wibmer, ‘Intrinsic Oddity' at LABOR Ebertplatz in Cologne, curated by Marion Scharmann. Opening during DC Open 3 – 5 September, 2021. The book mentioned in the interview: Don't cross the bridge before you get to the river Francis Alÿs, exhibition catalog with essays by Kazuhiko Yoshizaki and Yukie Kamiya Margret Wibmer The walze 2017 Fine art print on Hahnemühle paper 80 x 64 cm (31 x 25 inches) Ed.5 + 1 AP Margret Wibmer Exchange in Orbit 2012 Archival pigment print on Baryta paper mounted on dibond. In boxframe with museumglas or diasec. 100 x 110 cm (39 x 43 inches) Ed. 5 + 1 AP left: Margret Wibmer A day in July 2005 Fabric, metal, wood 139 x 20 x 18 cm (55 x 8 x 7 inches) Unique right: Margret Wibmer Breathe – dreams may follow 2020/2021 Fabric, aluminum Installations view: 300 x 170

Un volpe che si aggira tra le stanze di un museo. Mi sono tornate in mente le immagine di una video installazione straniante e incredibilmente interessante. LINKL'installazione 'The Nightwatch', un'opera realizzata da Francis Alÿs alla Tate Gallery. https://www.tate.org.uk/art/artworks/alys-the-nightwatch-t12195TESTO TRASCRITTO (English translation below)Non so se vi capita mai, a me certe volte capita di ricordarmi degli stralci di qualcosa che ho visto in una mostra e, niente, inizio a pensare e non la smetto finché non mi torna in mente dov'è che l'ho visto, soprattutto pezzi di video. A Melbourne c'erano diverse gallerie d'arte specializzate nel mostrare opere d'arte in forma di video. Oggi me ne è tornata in mente una, e per fortuna grazie a Internet sono riuscita addirittura a ritrovarla. È un'opera che si chiama "The Nightwatch", il guardiano notturno, la guardia notturna ed è di Francis Alÿs Francis Alÿs è andato a Londra, lui originariamente lui è messicano, è andato a Londra per una serie di installazioni video, soprattutto concentrate sull'idea del sorvegliare, le telecamere che sono per strada nei luoghi pubblici e che riprendono le persone mentre ci passano davanti. Quest'opera di qualche anno fa, penso mi pare di ricordare 2003 - 2004. Comunque vi spiego brevemente di cosa si tratta e così capirete anche perché mi rimasta così impressa. L'opera era una serie di una decina di video che facevano vedere la Tate Gallery di Londra dove era in corso una mostra sulla sulla pittura spagnola, di artisti spagnoli tradizionali. Quindi avete presente, i re, le loro famiglie i cani, le nature morte eccetera. Ecco, cosa ha fatto l'artista? Ha preso una volpe, una volpe vera, e l'ha letteralmente sguinzagliata all'interno delle sale del Tate, del museo, di notte, quando naturalmente il museo era chiuso. L asua opera consiste nei filmati che sono stati ripresi dalle telecamere che sono in tutte le stanze del Tate e che vengono azionate col movimento. Quindi attraverso la sua opera, i video, si può seguire questa volpe che passa da una stanza all'altra di questo museo, con questi quadri incredibili, spagnoli, barocchi, con tutte queste cose d'oro, le cornici gigantesche, e la volpe che passa da un quadro all'altro, passa sotto un quadro, poi l'altro, sale sopra le panche che di solito vengono usate dalle persone per sedersi, va sotto la panca, annusa, e... non c'è suono, perché sono solo immagini, però è una cosa abbastanza straniante, una cosa... vedere questo animale selvatico che si muove tra le sale di un museo. È straniante. Vi metto il link così date un'occhiata, metto il link nelle note del programma, vediamo se ha lo stesso effetto su di voi.ENGLISH TRANSLATIONI don't know if it ever happens to you, sometimes I happen to remember excerpts of something I saw in an exhibition and, nothing, I start thinking and I don't stop until I remember where I saw it, especially pieces of video. In Melbourne, there were several art galleries specialized in showing video art. Today I remembered one, and thanks to the Internet I was even able to find it. It is a work called "The Nightwatch", the night watchman, and is by Francis Alÿs. Francis Alÿs went to London, he is originally Mexican, he went to London for a series of video installations, around the idea of surveillance, the cameras that are on the street in public places and that film people as they pass by. This work is of a couple of years ago, I think 2003 - 2004. Anyhow, I will briefly explain what it is about, so you will also understand why it remained in my mind. The work was a series of about ten videos showing the Tate Gallery in London where an exhibition on Spanish painting by traditional Spanish artists was in progress. So you know, kings, their families, dogs, still life, etc. And what did the artist do? He took a fox, a real fox, and literally unleashed it inside the rooms of the Tate, the museum, at night, when the museum was closed of course. His work consists of the footage shot by the cameras that are in every room of the Tate, motion activated cameras. So through his work, the videos, you can follow this fox passing from one room to another in this museum with these incredible paintings, Spanish Baroque, with all these golden things, the gigantic frames, and the fox, going from one painting to another, passing under one painting, then the other, climbing on the benches that are usually used by people to sit, going under the bench, sniffing, and ... there is no sound, because they are only images, but it is quite a disquieting thing, one thing ... to see this wild animal moving through the halls of a museum. It is disquieting. I'll put the link so you can take a look, I'll put the link in the program notes, let's see if it has the same effect on you.

Entretien avec le collectionneur de la Collection C2 11 collections bruxelloises d'art contemporain L'exposition Private Choices à la CENTRALE for contemporary art lève le voile sur un pan important du champ de l'art : les collections d'art contemporain et les amateurs d'art qui en sont les initiateurs. Plus que jamais, ils jouent un rôle majeur dans un monde de l'art en constante croissance. A l'ère de la commercialisation à outrance et de la mondialisation du marché de l'art, ces passionnés investissent leur temps et leur argent, dans la création contemporaine,souvent sans compter. Ce projet met en exergue 11 collections bruxelloises qui rassemblent des œuvres d'artistes belges et internationaux, artistes renommés et jeunes créateurs, pour tenter de dévoiler la singularité de chacune. Par le biais de choix réalisés en concertation avec les collectionneurs, c'est une partie de leur vision de l'art et de la vie qui se découvre. Carine Fol, directrice artistique de la CENTRALE et commissaire de l'exposition Private Choices confie à propos du projet : Ce fut une aventure passionnante de partir à la découverte de toutes ces œuvres, de toutes ces collections et surtout, à travers elles, de toutes ces personnalités et individualités. De la cuisine à la salle à manger en passant par la chambre à coucher et le hall d'entrée, chaque pièce raconte une histoire à travers des dialogues entres les oeuvres. Consciemment ou inconsciemment, chaque collectionneur donne un sens à l'oeuvre à l'intérieur de son univers. Car, qu'elles soient méthodiques, intuitives, gardées au secret ou partagées, ces collections racontent des histoires personnelles : celles de leur collectionneur pour qui la découverte, l'acquisition, la proximité – physique ou mentale – des oeuvres nourrissent l'existence. Le spectateur découvrira outre une sélection de plus 200 d'œuvres, un livre, une pièce de musique et l'interview du collectionneur qui introduira l'univers de chaque accrochage. Collection Collection C2 - À la vie, à la mort Avec des oeuvres de Francis Alÿs • Wim Delvoye • Jan Fabre • Michel François • Damien Hirst • Jeff Ladouceur • Sophie Langohr • Kris Martin • Yoshitomo Nara • Fabrice Samyn • Freddy Tsimba Questions: Carine Fol et Laura Pleuger Prise de son et montage: Sarah Segura www.centrale.brussels

In her office we discussed: Jindřich Chalupecký Society, Ini Project, Artists exhibition fees, Liveable wages for artists, Not every artist and artwork is meant to be sold, How to finance art creation, Working Artists and the Greater Economy, Call Against Zero Wage in Prague: Art Workers' Organising in the Context of Eastern Europe, The myth of the starving artist, The need to pay creative professionals a living wage (at least), Know your value, The art grant system and how it is flawed, Be honest when you write grants, Grant writing, Art awards, Art competitions, Award judging, The politics of judging awards, The balance of aesthetics vs concept, The importance of an artist statement, Having a writer or curator write your artist statements, The need to be genuine in your artist statement, The need for artists to also be business people, Do not be a pushy artist, Anna Hulačová, Build your network, one thing leads to another. About: Karina Kottová (* 1984) has long been one of the most prominent curators of contemporary art in the Czech Republic. She is the founder of a number of smaller projects and curator with an international reach. Since 2015 he has been managing the Jindřich Chalupecký Society. Karina Kottová graduated in Art and Heritage from the University of Maastricht, then returned to Prague to gather experience as head of the education department at the Kampa Museum (2007–2009) and later at the DOX Center for Contemporary Art (2009–2012). It is precisely the emphasis on the role of mediation of contemporary art that has been traceable in Kott's projects from the beginning until today. He also became the subject of her dissertation (defended 2015 at Masaryk University in Brno, headed by doc. Ladislav Kesner Jr.) on the topic of Institution and Audience. Its starting point in relation to contemporary art was the workshops with artists organized by the UMA team: You Make Art (2008, today under the name UMA Audioguide). Together with Jana Babincová she founded the project to enable students or other interested people from the general public to meet personally with representatives of the contemporary art scene. Then Kottová collaborated on the foundation of the Bohnice Laundry Room in the Bohnice Medical Institution (2011–2015), the INI Project experimental space (from 2013 up to now) and the Věra Jirousová Award for Fine Arts Critics (since 2013 up to now). For the MeetFactory Center for Contemporary Art, where Kott replaced (2012–2015) as the curator of Dušan Zahoranský's gallery program, she has prepared exhibitions such as Opposite to Truth (2012, Anna Hulačová, Pavla Screanková, Iede Reckman, Derk Thijs, Erwin Wurm). Francis Alÿs, Peter Fischli & David Weiss, Vojtěch Fröhlich, etc., Plato's Third Eye (2014, Matyáš Chochola, Kirstin Roepstorff, Pavel Sterec, Sinta Werner, etc.), 15,000 years of identity (2015, Matěj Smetana and Dan Perjovschi , collaboration with Jaro Varga) and a performance set in a site-specific installation by Jan Haubelt and Jiří Thýn A little worse than Romeo (2015, collaboration with Matěj Samec). Typical of these exhibitions was thematic framing with a slightly engaged subtext, space for associative thinking and interest in the irrational view of the world. As the director of the Jindřich Chalupecký Society, Kottová has been working for three years in addition to organizing the Jindřich Chalupecký Award on an intensive support program for the contemporary Czech art scene and its international contextualization, including through a foreign exhibition program. For example, she prepared an exhibition Don't Worry, Boy (2017) at the ForumBOX in Helsinki, which worked mainly with the authors who went through the Jindřich Chalupecký Award and Ripple Effect (together with Fatoş Üstek) in Futura, Prague. In 2018, he is preparing a laureate exhibition by Barbora Kleinhamlová (CJCh 2016) at the SAVVY Contemporary in Berlin or a solo exhibition by Kateřina Vincourová at the Katzen Ar...

In her office we discussed: Jindřich Chalupecký Society, Ini Project, Artists exhibition fees, Liveable wages for artists, Not every artist and artwork is meant to be sold, How to finance art creation, Working Artists and the Greater Economy, Call Against Zero Wage in Prague: Art Workers' Organising in the Context of Eastern Europe, The myth of the starving artist, The need to pay creative professionals a living wage (at least), Know your value, The art grant system and how it is flawed, Be honest when you write grants, Grant writing, Art awards, Art competitions, Award judging, The politics of judging awards, The balance of aesthetics vs concept, The importance of an artist statement, Having a writer or curator write your artist statements, The need to be genuine in your artist statement, The need for artists to also be business people, Do not be a pushy artist, Anna Hulačová, Build your network, one thing leads to another. About: Karina Kottová (* 1984) has long been one of the most prominent curators of contemporary art in the Czech Republic. She is the founder of a number of smaller projects and curator with an international reach. Since 2015 he has been managing the Jindřich Chalupecký Society. Karina Kottová graduated in Art and Heritage from the University of Maastricht, then returned to Prague to gather experience as head of the education department at the Kampa Museum (2007–2009) and later at the DOX Center for Contemporary Art (2009–2012). It is precisely the emphasis on the role of mediation of contemporary art that has been traceable in Kott's projects from the beginning until today. He also became the subject of her dissertation (defended 2015 at Masaryk University in Brno, headed by doc. Ladislav Kesner Jr.) on the topic of Institution and Audience. Its starting point in relation to contemporary art was the workshops with artists organized by the UMA team: You Make Art (2008, today under the name UMA Audioguide). Together with Jana Babincová she founded the project to enable students or other interested people from the general public to meet personally with representatives of the contemporary art scene. Then Kottová collaborated on the foundation of the Bohnice Laundry Room in the Bohnice Medical Institution (2011–2015), the INI Project experimental space (from 2013 up to now) and the Věra Jirousová Award for Fine Arts Critics (since 2013 up to now). For the MeetFactory Center for Contemporary Art, where Kott replaced (2012–2015) as the curator of Dušan Zahoranský's gallery program, she has prepared exhibitions such as Opposite to Truth (2012, Anna Hulačová, Pavla Screanková, Iede Reckman, Derk Thijs, Erwin Wurm). Francis Alÿs, Peter Fischli & David Weiss, Vojtěch Fröhlich, etc., Plato's Third Eye (2014, Matyáš Chochola, Kirstin Roepstorff, Pavel Sterec, Sinta Werner, etc.), 15,000 years of identity (2015, Matěj Smetana and Dan Perjovschi , collaboration with Jaro Varga) and a performance set in a site-specific installation by Jan Haubelt and Jiří Thýn A little worse than Romeo (2015, collaboration with Matěj Samec). Typical of these exhibitions was thematic framing with a slightly engaged subtext, space for associative thinking and interest in the irrational view of the world. As the director of the Jindřich Chalupecký Society, Kottová has been working for three years in addition to organizing the Jindřich Chalupecký Award on an intensive support program for the contemporary Czech art scene and its international contextualization, including through a foreign exhibition program. For example, she prepared an exhibition Don't Worry, Boy (2017) at the ForumBOX in Helsinki, which worked mainly with the authors who went through the Jindřich Chalupecký Award and Ripple Effect (together with Fatoş Üstek) in Futura, Prague. In 2018, he is preparing a laureate exhibition by Barbora Kleinhamlová (CJCh 2016) at the SAVVY Contemporary in Berlin or a solo exhibition by Kateřina Vincourová at the Katzen Ar...

Francis is a member of Al-anon and is sharing her story at the 2011 Fellowship of the Spirit conference held in Utah Email: sobercast@gmail.com Support Sober Cast: https://sobercast.com/donate Sober Cast has 900+ episodes available and many podcast players only list the last 100. Visit SoberCast.com to access all the episodes where you can easily find topics or specific speakers using tags or search.

En este nuevo episodio del podcast de TR hablamos del belga Francis Alÿs, uno de los artistas contemporáneos más destacados a nivel mundial y con quien tuvimos el gusto de conversar en su último paso por la Argentina. Nacido en Amberes, Bélgica en 1959, vive y trabaja en la Ciudad de México desde 1986. Es reconocido fundamentalmente por sus acciones, en las cuales usa métodos poéticos y alegóricos para abordar las realidades políticas y sociales, como las fronteras nacionales, el localismo y la globalización, las áreas de conflicto y la comunidad. Sus piezas abarcan desde actividades mínimas hasta obras de gran escala que convocan a la participación comunitaria para poder ser llevadas a cabo, donde la culminación de muchos actos pequeños alcanza proporciones míticas. En este episodio hablamos acerca de sus obras más conocidas y de Patagonia 2004 –2006. A Story of Deception, un proyecto realizado en la Argentina comisionado y expuesto por el MALBA. Si querés saber más sobre Francis Alÿs , visita su página web: http://francisalys.com/ Mi nombre es Evelyn Marquez, curadora y gestora cultural, y te invito a suscribirte a nuestro podcast de arte contemporáneo en el canal de iTunes, en Spotify y YouTube. Encontranos también en Facebook  (@temporadaderelampagos ) y en Twitter  (@TRelampagos)!! Si te interesó, compartilo para ayudarnos a seguir creciendo! Nos encontramos en el próximo episodio!!

Bio: Carol Conde + Karl Beveridge are Toronto-based artists whose practice has impacted the arts ecology here and elsewhere, in ways that could not easily be overstated. Their work consistently takes up themes of labour, social justice, representation, and the power and possibility of art to make meaningful change. They have worked closely with workers, unions, activists, and a range of social justice oriented arts collectives and community organizations. Their work appropriates figures of Western Canonical art and weaves together staged photographic images of actual artists, activists, actors, and workers to expose issues including: gender inequality in the home, the workplace and in the artist’s studio, the global water crisis, the 2008 crash, and Canada’s shameful relationship to resource extraction and indigenous rights. Apart from this, they’ve helped to organize artist unions, to establish the Worker’s Heritage and Arts Centre in Hamilton and they were founding members of Mayworks, the festival where this podcast began its life. Recording Notes: This interview was recorded at the dinner table in the artists’ home, not so far from Factory Theatre in downtown Toronto. You can at points hear their pets and the jangle of Carol’s several silver bracelets. The much despised Toronto air show. Along the walls hung cases of buttons and ribbons bearing union and activist slogans and insignias, and in Karl’s modest living room studio they showed me some of the coming projects they are at work on. Elements of this episode's sound design were contributed by Cale Weir. Check out his work here: https://taxhaven.bandcamp.com/ Links: Artist: Official Website: http://condebeveridge.ca/ References: Donald Judd: http://www.theartstory.org/artist-judd-donald.htm Carl Andre: http://www.artnet.com/artists/carl-andre/ Art & Language: https://www.flashartonline.com/article/art-language/ NSCAD in the 70s: https://en.wikipedia.org/wiki/NSCAD_conceptual_art Amiri Baraka: https://www.poetryfoundation.org/poets/amiri-baraka Paula Cooper Gallery: https://www.paulacoopergallery.com/ Lucy Lippard: https://exhibits.stanford.edu/women-art-revolution/feature/lucy-lippard Judy Chicago: http://www.judychicago.com/ The Fox Magazine: https://www.guggenheim.org/blogs/findings/this-short-lived-70s-magazine-shaped-conceptual-art United Steelworkers: https://www.usw.ca/ Radio Shack Strike: http://www.virtualreferencelibrary.ca/detail.jsp?Entt=RDMDC-TSPA_0017040F&R=DC-TSPA_0017040F&searchPageType=vrl D’Arcy Martin: http://aurora.icaap.org/index.php/aurora/article/view/24/35 Ian Burn: http://www.nytimes.com/1993/10/09/obituaries/ian-burn-53-artist-writer-and-founder-of-an-artists-union.html CARFAC: http://www.carfac.ca/ A Space: http://www.aspacegallery.org/ General Idea: https://canadianart.ca/reviews/general-idea-ago/ Workers Arts and Heritage Centre: http://wahc-museum.ca/ Florencia Berinstein: http://www.aspacegallery.org/index.php?m=programdetails&id=59 Plug In: https://plugin.org/ Fuse Magazine: https://canadianart.ca/news/fuse-magazine-folds-after-38-years/ Jack Pollacks Gallery: https://en.wikipedia.org/wiki/Jack_Pollock Carmen Lamanna Gallery: https://canadianart.ca/features/carmen-lamanna/ Young Lords: https://libcom.org/library/palante-brief-history-young-lords David Fennario: http://www.cbc.ca/news/canada/montreal/david-fennario-the-good-fight-takes-an-artistic-look-at-playwright-s-life-1.2836551 CAW Freelancer Local: https://en.wikipedia.org/wiki/Canadian_Freelance_Union Ai WeiWei: http://www.moonmoonmoonmoon.com/ Francis Alÿs: http://francisalys.com/ Theaster Gates: https://art21.org/artist/theaster-gates/

La exposición ofrece una lectura crítica del archivo visual reunido durante los diez años de vida del Laboratorio Arte Alameda de México D.F, espacio dedicado a la exhibición, documentación e investigación de las prácticas que utilizan y ponen en diálogo la relación entre arte y tecnología en la Ciudad de México. (Ready) Media está centrado en la práctica artística relacionada con medios y tecnología, así como las preguntas estético-políticas que dicha práctica ha provocado en México desde inicios del siglo XX. Comisario: Gustavo Romano Coordinación del proyecto: Tania Aedo y Karla Jasso Artistas: Iván Abreu, María José Alós y Artemio Narro, Francis Alÿs y Rafael Ortega, Oscar Rodrigo Alonso Inclán, Víctor Alzina, Rocío Aranda de la Figuera y Uriel López España, Antonio Arango, Adrián Arce, Diego Rivera y Antonio Zirión, Marcela Armas, Ensamble Áspero, Peter Avar, Ulises Barreda, Iñaki Bonillas-DJ Sondera, Alfredo Borboa, Bruno Bresani, Germán Bringas & Julio Clavijo, Tania Candiani, Domenico Capello, Ulises Carrión, Ricardo Castillo, Rocío Cerón y Bishop, Mayra Isabel Céspedes Vaca, Arcángel Constantini, Ángel Cosmos, Juan José Díaz Infante y Arturo Márquez, Antonio Coello, Cremance, Jessica Cruz, Ximena Cuevas, Manuel de Elías, Mario de Vega, Juan Carlos de la Parra, Ana de la Rosa y Lorena Rossette, Paulina del Paso, Iván Edeza, Manuel Enríquez, Felipe Ehrenberg, Carolina Esparragoza, Gilberto Esparza, Generación Espontánea, Antonio Fernández Ros, Nuria Fragoso, Fernando Frías, Arthur-Henry Fork, Arturo Fuentes, Guillermo Galindo, Andrés García Franco, Anni Garza Lau, Guillermo Gómez-Peña, Juan José Gurrola, Ariel Guzik, Alejandra Hernández, Alejandra Islas, Enrique Ježik, Jesse Lerner y Rubén Ortiz, Los Lichis, Erika Loic, Fernando Llanos, Israel Martínez, Sara Minter, José Manuel Mondragón, Taniel Morales, Manrico Montero, Ricardo Nicolayevsky, Txema Novelo, Gabriel Orozco, Andrés Padilla Domene, Elena Pardo, Punto pig, Phantom Power, Iván Puig, Grace Quintanilla, Daniel Reyes, Jorge Reyes y Lidia Camacho, Roberto Reyes, Juan José Rivas, Víctor Manuel Rivas-Dávalos, Manuel Rocha Iturbide, Gregorio Rocha, Alfredo Salomón, Luz María Sánchez, Guillermo Santamarina, Juan Sebastián, Rodrigo Sigal, Rogelio Sosa, Rosario Sotelo, Wilfrido Terrazas, Adriana Trujillo, Naomi Uman, Luis Emilio Valdés, Mauricio Valdez, Bruno Varela, Verbobala, Juan Pablo Villegas. http://www.laboralcentrodearte.org/es/exposiciones/ready-media

The exhibition proposes a critical reading of the visual archive compiled throughout the ten years of life of Laboratorio Arte Alameda from Mexico City—a space committed with the exhibition, documentation and research of the practices that engage and dialogue with the relationship between art and technology in the city. The core axis of (Ready) Media revolves around art practices using media and technology, as well as the aesthetic-political questionings that said practice has aroused in Mexico since the early years of the twenty-first century. Curator: Gustavo Romano Artist: Iván Abreu, María José Alós y Artemio Narro, Francis Alÿs y Rafael Ortega, Oscar Rodrigo Alonso Inclán, Víctor Alzina, Rocío Aranda de la Figuera y Uriel López España, Antonio Arango, Adrián Arce, Diego Rivera y Antonio Zirión, Marcela Armas, Ensamble Áspero, Peter Avar, Ulises Barreda, Iñaki Bonillas-DJ Sondera, Alfredo Borboa, Bruno Bresani, Germán Bringas & Julio Clavijo, Tania Candiani, Domenico Capello, Ulises Carrión, Ricardo Castillo, Rocío Cerón y Bishop, Mayra Isabel Céspedes Vaca, Arcángel Constantini, Ángel Cosmos, Juan José Díaz Infante y Arturo Márquez, Antonio Coello, Cremance, Jessica Cruz, Ximena Cuevas, Manuel de Elías, Mario de Vega, Juan Carlos de la Parra, Ana de la Rosa y Lorena Rossette, Paulina del Paso, Iván Edeza, Manuel Enríquez, Felipe Ehrenberg, Carolina Esparragoza, Gilberto Esparza, Generación Espontánea, Antonio Fernández Ros, Nuria Fragoso, Fernando Frías, Arthur-Henry Fork, Arturo Fuentes, Guillermo Galindo, Andrés García Franco, Anni Garza Lau, Guillermo Gómez-Peña, Juan José Gurrola, Ariel Guzik, Alejandra Hernández, Alejandra Islas, Enrique Ježik, Jesse Lerner y Rubén Ortiz, Los Lichis, Erika Loic, Fernando Llanos, Israel Martínez, Sara Minter, José Manuel Mondragón, Taniel Morales, Manrico Montero, Ricardo Nicolayevsky, Txema Novelo, Gabriel Orozco, Andrés Padilla Domene, Elena Pardo, Punto pig, Phantom Power, Iván Puig, Grace Quintanilla, Daniel Reyes, Jorge Reyes y Lidia Camacho, Roberto Reyes, Juan José Rivas, Víctor Manuel Rivas-Dávalos, Manuel Rocha Iturbide, Gregorio Rocha, Alfredo Salomón, Luz María Sánchez, Guillermo Santamarina, Juan Sebastián, Rodrigo Sigal, Rogelio Sosa, Rosario Sotelo, Wilfrido Terrazas, Adriana Trujillo, Naomi Uman, Luis Emilio Valdés, Mauricio Valdez, Bruno Varela, Verbobala, Juan Pablo Villegas. Co-production: LABoral Centro de Arte y Creación Industrial & MEIAC Museo Extremeño e Iberoamericano de Arte Contemporáneo. http://www.laboralcentrodearte.org/en/exposiciones/ready-media

In this CIRCUIT CAST; host Mark Amery talks abut Francis Alÿs' REEL-UNREEL, recently at the Adam Art Gallery and also on the artists website. Guests are Martin Patrick (writer, academic) and Bronwyn Holloway-Smith (artist). Mid-show we cross to Christchurch where Phil Dadson is preparing a new version of his interactive work the Bodytok Quintet. Phil also talks about the aesthetics of early video and the recent CIRCUIT symposium. To finish CIRCUIT Director Mark Williams makes his biannual pod appearance to wrap up the CIRCUIT symposium and announce two exciting new CIRCUIT initiatives for artists. Image: Francis Alÿs (in collaboration with Julien Devaux and Ajmal Maiwandi), still from Reel-Unreel, 2011. Video documentation of an action. Courtesy the artist and David Zwirner, New York/London.

Andrés Montenegro is studying the work of Francis Alÿs, Santiago Sierra and Tania Bruguera as part of his PhD at the University of Essex and is being supported by the Institute for Studies on Latin American Art (ISLAA) to travel to New York to take part in a discussion on the grotesque at the prestigious 101st Annual Conference of the College Art Association. Find out more about ISLAA's support for work at Essex here: http://bit.ly/essex_islaa

Francis Alÿs’ idiosyncratic work resists classification. Encompassing lists, plans, and drawings, performances (including public parades and solitary walks) and collections of objects sourced from flea markets, his work is inclusive and plural and is often inspired by and located in the streets of Mexico City, where the artist lives and works. ‘Sleepers II’ is formed out of the colourful ecology of these streets documenting people and dogs asleep on streets, benches and bus stops. While the work could easily lend itself to social commentary the artist’s celebratory approach to his subject undermines such an interpretation. Embracing the disorder and openness of Mexico City, Alÿs has commented that: "'Sleepers' records the way dreaming might have a role in a possible rethinking of our conviviality."

In this special lecture, Boris Groys, responds to the Francis Alÿs exhibition at Tate Modern with the provocative and counter-intuitive insight that has made him one of the most important thinkers and art critics today.

Francis Alÿs’s practice encompasses political issues such as borders and migration, poetics of the everyday (as seen in his objects and small-format paintings), and gestures signalling an interest in precariousness and performativity.

Some look saintly, some look cross ... Adrian Searle visits Francis Alÿs's tribute to Saint Fabiola at the National Portrait gallery