Podcasts about Gwangju Biennale

Delaine Le Bas works in a transdisciplinary way: she combines visual, performative and literary practices to create an artistic oeuvre that encompasses all areas of life. In her works she deals with many facets, political as well as private and emotional, which involve belonging to the Rom*nja people, their history and rich cultural heritage.Within her work, Delaine Le Bas transforms her surroundings into monumental immersive environments filled with painted fabrics, theatrical costumes and sculptures. Her art draws on the rich cultural history of the Roma people and mythologies, focusing on themes of death, loss and renewal.Le Bas reflects on her identity, grief and the intertwining of art and life as she says: 'My whole life is just one whole thing. I don't think it's divided off, really.... What I'm like and what I dress like, and then what I do. It's like one big piece of work.'English-Romani artist Delaine Le Bas lives and works across the UK and Europe. Born in 1965 in Worthing, she graduated from Central St Martin's and her work explores themes of nationhood, land, belonging, and gender through various media such as embroidery, painting, collage, sculpture, installation, and performance. Describing the intertwined nature of her identity and her work, Le Bas has stated “…as a Romani, my viewpoint has always been that of the outsider and this position of the 'other' is reflected in the materials and messages within my work. We live in a culture of mixed values and garbled messages. My works are crafted from the disregarded and disparate objects of the car boot sale and the charity shops."Le Bas has played a significant role in the building of a Roma/Traveller contemporary art movement and aesthetic. Her work has been featured in the 52nd and 58th Venice Biennales and the Gwangju Biennale in 2012. She co-curated the first Roma Biennale, 'Come out Now!', in Berlin in 2018. She was Delaine Le Bas was nominated for the 2024 Turner Prize, with an exhibition at Tate Britain, and is currently artist-in-residence at The White House, Dagenham; a contemporary and community art space operated by Create London. https://www.whitehouseart.org/delaine-le-basStranger in Silver Walking on Air by DELAINE LE BAS, is a new solo exhibition running until 27th September 2025, at The White House, Dagenham: https://createlondon.org/event/atchin-tan-by-delaine-le-bas/Step into an immersive exhibition that transforms The White House on the Becontree Estate into a dreamlike space of shifting, layered imagery with textile, sculptural objects, glasswork and interactive installations.From 31st May - 2nd August 2025, Newcastle Contemporary Art proudly presents +Fabricating My Own Myth – Red Threads & Silver Needles, a solo exhibition by artist Delaine Le Bas, who continues her exploration of linguistics, mythology, and Gypsy Roma Traveller narratives through the tactile power of textiles, language, and storytelling: https://www.visitnca.com/exhibitions/delaine-le-basFollow @DeDeLeBasVisit: https://www.delainelebas.com Hosted on Acast. See acast.com/privacy for more information.

At the start of September, a massive chunk of the international art world descended on South Korea for a bounty of high-profile art offerings. The marquee event was Frieze Seoul, in its third edition, at the Coex convention center in the luxe Gangnam district, running alongside the long-established Korea International Art Fair. But they represented just one element of the action. All over Seoul, museums and galleries were opening big shows, angling for attention. Samsung's Leeum museum hosted an Anicka Yi blowout and a superb show of young artists curated by Rirkrit Tiravanija. The beauty giant Amorepacific welcomed Elmgreen & Dragset at a museum in the basement of its David Chipperfield–designed headquarters, while Gagosian set up shop with a Derrick Adams exhibition on the ground floor. Up above, local heavyweights came out swinging—PKM with Yoo Youngkuk, Pace with the potent pairing of Lee Ufan and Mark Rothko, and Jason Haam with Urs Fischer. Celebrities were everywhere. Parties were everywhere. No one seemed to be sleeping. Everyone was on the move. And the festivities were not confined to Seoul. The esteemed Gwangju Biennale inaugurated its 15th edition in that southern city the day after the fairs opened, a sharp, tough show curated by the Frenchman Nicolas Borriaud that ran alongside more than 30 national pavilions. And along the country's southern coast, the latest Busan Biennale also drew crowds, with more than 60 artists selected by its curators, Vera Mey and Philippe Pirotte. There was so much happening that it was impossible to see it all—even with a dedicated driver—which many VIPs had—and even if you were willing to forgo moments of rest. This week, Artnet Pro editor Andrew Russeth is joined by London-based reporter and co-author of the Asia Pivot newsletter Vivienne Chow to discuss the art, the food, and everything in between.

At the start of September, a massive chunk of the international art world descended on South Korea for a bounty of high-profile art offerings. The marquee event was Frieze Seoul, in its third edition, at the Coex convention center in the luxe Gangnam district, running alongside the long-established Korea International Art Fair. But they represented just one element of the action. All over Seoul, museums and galleries were opening big shows, angling for attention. Samsung's Leeum museum hosted an Anicka Yi blowout and a superb show of young artists curated by Rirkrit Tiravanija. The beauty giant Amorepacific welcomed Elmgreen & Dragset at a museum in the basement of its David Chipperfield–designed headquarters, while Gagosian set up shop with a Derrick Adams exhibition on the ground floor. Up above, local heavyweights came out swinging—PKM with Yoo Youngkuk, Pace with the potent pairing of Lee Ufan and Mark Rothko, and Jason Haam with Urs Fischer. Celebrities were everywhere. Parties were everywhere. No one seemed to be sleeping. Everyone was on the move. And the festivities were not confined to Seoul. The esteemed Gwangju Biennale inaugurated its 15th edition in that southern city the day after the fairs opened, a sharp, tough show curated by the Frenchman Nicolas Borriaud that ran alongside more than 30 national pavilions. And along the country's southern coast, the latest Busan Biennale also drew crowds, with more than 60 artists selected by its curators, Vera Mey and Philippe Pirotte. There was so much happening that it was impossible to see it all—even with a dedicated driver—which many VIPs had—and even if you were willing to forgo moments of rest. This week, Artnet Pro editor Andrew Russeth is joined by London-based reporter and co-author of the Asia Pivot newsletter Vivienne Chow to discuss the art, the food, and everything in between.

The May 1980 clash between government forces and the people of Gwangju marks a key turning point toward democracy in South Korea.  The nation's sixth largest city, the citizens of Gwangju suffered immeasurably for the uprising. The city lost development support and its citizens were cast as traitors and North Korean sympathizers.  The decision to select Gwangju to host a major international art exhibition, or what became known as the Gwangju Biennale, was an effort to address the injustices of the past.  Author of The Cultural Politics of Urban Development in South Korea: Art, Memory and Urban Boosterism in Gwangju, HaeRan Shin discusses the challenge of reconciling urban development with the memory of the Gwangju Uprising.  

Soft and weak, like water. Inspired by Gwangju Biennale. 水聲來自：片瀨江之島；維多利亞港；鐮倉海岸。 訂閱我的Patreon聽更多內容：https://www.patreon.com/SomethingfromKiki

“Cross Dimension Broadcast" explores mysticism in the application of Taiwan contemporary art creation. In a pairing format, the programme on the one hand invites contemporary Taiwanese artists working on related themes, and corresponding mysticism practitioners or researchers on the other, to talk about the sensory and mystical techniques they apply in their creation and practices. S1EP1: Interview with contemporary artist Ting-yu LIANG This episode features artist Ting-Yu LIANG, who is currently enrolled in the PhD program of the Department of Fine Arts at the Taipei National University of the Arts. His research and art practices focus on project-based art, the methodology of ghostly discourses, enquiry-based structures and related topics. His works also lay emphasis on transformational justice in history, the panpsychism and the writing of aboriginal history in the recent trend of non-human turn. The works “The Beheaded Stream Art Project”, as well as “The History of Yen” and “Volcanoes” cooperated with the artistic group Engineering of Volcano Detonating are currently exhibiting in the 2022 Taiwan Biennale “Love and Death of Sentient Beings” at the National Taiwan Museum of Fine Arts. S1EP2: Interview with Psychical Researcher Wong Ling This episode features Wong Ling, the principal researcher and former president of the Taiwan Society for Psychical Research (https://tsfpr-official.webnode.tw/). He was taking part in “The Beheaded Stream Art Project” by artist Ting-Yu LIANG and collaborating with art group Engineering of Volcano Detonating. This episode invites Wong Ling to talk about his conceptualizations of spiritual world, spiritual entities and evil spirits, and to share his reflection on artistic participation. S1EP3: Interview with Psychical Researcher Wong Ling (Part 2) This episode features Wong Ling, the principal researcher and former president of the Taiwan Society for Psychical Research (https://tsfpr-official.webnode.tw/). He was taking part in “The Beheaded Stream Art Project” by artist Ting-Yu LIANG and collaborating with art group Engineering of Volcano Detonating. This episode continues the last conversation on two types of spiritual entities (nature deities VS evil spirits constructed by mass media), and discusses about the famous female Taiwanese ghost, CHEN Shou-Niang, the methodology of perceiving and communicating with spirits, the afterlife world, and the principles of fortune telling. S1EP4: Interview with Artist Yin-Ju CHEN This episode features artist Yin-Ju CHEN, who was trained both in Taipei National University of the Arts and in San Francisco Art Institute. Her works utilize mystical techniques, including astrology, sacred geometry, alchemy, and shamanic culture. Yin-Ju is a highly successful international artist, having exhibited at the Sydney Biennale, Berlin, Rotterdam, Taipei Biennale, among others. Most recently, she had a show at the Gwangju Biennale, as well as a solo exhibition last year at the Institute of Contemporary Arts at NYU Shanghai. Her website: http://www.yinjuchen.com S1EP5｜Waiting in Harmony with Emotions: Interview with Astrologist Amber Tang This episode features astrologist Amber Tang, who has a seventeen-year background in studying and practicing Western astrology. She also has expertise in energy healing and holds certifications in Angelic Reiki, Usui Reiki, and Nepalese singing bowls. Amber took part in artist Yin-Ju Chen's art project, Liquidation Maps (2014), where she used astrological charts to reexamine the tragic massacres of modern history.  In this episode, Amber will share her experience and thoughts on participating in the art project, as well as discuss in depth the principles and applications of Western astrology. Website: https://linktr.ee/ambermanifest S1EP6｜Belief Manufactures Narratives, Events, and Objects: Interview with Artist Shi-Chin WU This episode (and the next one) explores the techniqu...

Korea24 – 2022.02.22. (Tuesday) News Briefing: President Moon Jae-in says Ukraine's sovereignty and territorial integrity must be respected, asserting that the world must seek a peaceful resolution to the urgently developing situation through dialogue. (Eunice KIM) In-Depth News Analysis: On Monday evening, the four major presidential candidates held their first of three TV debates hosted by the National Election Commission(NEC). In the two-hour event, the candidates clashed over economic policies in the pandemic era and the future direction of the economic policies of a new government. Economics Professor Yang Jun-suk from the Catholic University of Korea and International Macroeconomics Professor Kim Sung-hyun from Sungkyunkwan University joins us to give their thoughts on the debate. Korea Trending with Jung Ye-won: 1. Medical research is showing that receiving a second COVID-19 vaccine booster shot may not be necessary for most people. ("부스터샷 접종자, 몇 년간 추가 접종 필요 없어") 2. The Korea Forest Service (KFS) has been looking at bringing forward the date of South Korea’s Arbor Day, but is facing difficulties due to opposition from the public. (올해도 식목일은 4월 5일…산림청 "3월로 옮기기 어려울 듯") 3. New data has shown that the domestic film market fell behind the international market in South Korea for the first time in 11 years. (한국 영화 11년 만에 외화에 밀려…지난해 점유율 30%) Touch Base In Seoul: Last December, Dr. Sook-Kyung Lee was appointed the Artistic Director of the 14th Gwangju Biennale, which will open next year, becoming the first Korean to lead the event in 15 years. Dr. Lee is currently the senior curator of International Art at the Tate Modern in London and is a highly respected figure in the industry with over 20 years of experience. She joins us on the line to tell us about her story, and her plans for Gwangju. Morning Edition Preview with Richard Larkin: - Tomorrow’s Korea Times features a report by Park Han-sol about veteran Korean singer Na Hoon-a and his new album to celebrate the 55th anniversary of his musical debut. - In tomorrow’s Korea Herald, Park Ga-young writes about the Sejong Center for the Performing Arts and their plan to revitalize its cultural complex.

Electronic: Modelling the digital present and tools for the future Speakers: Seb Chan and Sahej Rahal Seb Chan is the Chief Experience Officer (CXO) at the Australian Centre for the Moving Image where he is responsible for a holistic, multi-channel, visitor-centred design strategy for the institution. Until August 2015, he was Director of Digital & Emerging Media, at Cooper Hewitt Smithsonian Design Museum in New York. There he led the museum's digital renewal and its transformation into an interactive, playful new museum reopened after a 3-year rebuilding and reimagining. His team's work won awards from the American Association of Museums and Museums and the Web, One Club, D&AD, Fast Company Innovation by Design, Core77 Design Awards, and has been featured in Slate, The Verge, Fast Company and elsewhere. A sculptor, coder, painter and performer, Sahej Rahal is a graduate of the Rachana Sansad Academy of Fine Art, Mumbai. He has been a recipient of a number of residencies including Bar1, Bangalore, 2011; FUTUR foundation, Zurich, 2011; INLAKS Shivdasani Foundation sponsored residency at KHOJ international artists' association, New Delhi, 2013. Rahal has presentd work in major solo and group projects, including recently at Akademie Schloss Solitude & ZKM Center for Art and Media, Stuttgart, Germany in 2018, at the Vancouver Biennale and Australian Centre for Contemporary Art in 2019, in the 2020 Gwangju Biennale, and as part of Transmediale.

http://work.deaccession.org/ (Julia Weist) is a visual artist who explores how the process of record keeping reveals crucial social truths around shared systems of knowledge and power. In our conversation, Weist talks about her interest in how non-artists document their lived experiences, shares her experience as an artist in residence within city government, and considers the nature of public space and digital space, all illustrated by some of the phenomenal project work that Weist has created. Her work is in the permanent collection of the City of New York, the Museum of Modern Art, the Brooklyn Museum and the MIT List Visual Art Center among other collections. Weist's public artworks include Public Record (2020, New York City), View-Through (2017, Miami) and Reach (2015, Queens). Her work has recently been exhibited at the Queens Museum, New York; the Hong-Gah Museum, Taiwan; The Luminary, St. Louis; The Shed, New York; nGbK, Berlin; Kunstinstituut Melly, Rotterdam; the Gwangju Biennale and many other venues. She is the recipient of a Camargo Foundation Fellowship, a Jerome Foundation Fellowship, the Net-based Audience Prize from Haus Der Elektronischen Künste Basel and grants from the New York State Council on the Arts and the NYC Department of Cultural Affairs. In 2019 she was named Public Artist in Residence for New York City's Department of Records and Information Services.

18 May marks a watershed event in South Korea's ultimately successful pro-democracy movement - the 1980 Gwangju Uprising. As we come up on its 41st anniversary, I speak to Natasha Ginwala, co-Artistic Director, alongside Defne Ayas, of the 13th Gwangju Biennale (1 April 2021 - 9 May 2021). Against the backdrop of Gwangju's position as a cultural event with a revolutionary ethos, we unpack the philosophy driving this pandemic edition of the Biennale - notably through the work of Catherine Malabou, Yuk Hui, Maya Indira Ganesh, Djamila Ribeiro and others - and how it is incarnated in the works exhibited and practices platformed. We talk about how a biennale is mounted during a global quarantine, what the significance of organic and artificial or machinic intelligence is during an age of unreason as well as how the ghosts of history cause new political ruptures through the phenomenon of recursivity. We also touch upon the role of a biennale as a recorder of change and its paradoxical implication in the very orders it aims to challenge. Click here to access the Image+ Guide and view the images and material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-7. You can explore and experience the 13th Gwangju Biennale through: - Its official website: https://13thgwangjubiennale.org/ - A downloadable guidebook [https://13thgwangjubiennale.org/pdf/13thGB-Guidebook-ENG-DEF.pdf] - Instagram page [https://www.instagram.com/mindsrisingspiritstuning/] Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Intern: Aastha Anupriya Images: The 13th Gwangju Biennale Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair, Jayant Parashar. References: Okwui Enwezor, 'The Politics of Spectacle: The Gwangju Biennale and the Asian Century', Spectacle East Asia (Issue 15), Fall 2010. Gi-Wook Shin, 'Introduction', Contentious Kwangju: The May 18th Uprising in Korea's Past and Present, eds. Gi-Wook Shin and Kyung Moon Hwang, Rowman and Littlefield Publishers, 2003. 'Stronger Than Bone', 13th Gwangju Biennale, Gwangju Biennale Foundation and Archive Books, Berlin, 2021. Catherine Malabou, What Should We Do With Our Brain?, trans. Sebastian Rand, Fordham University Press, 2008. Yuk Hui, 'Cosmotechnics as Cosmopolitics', e-flux Journal #86, 2017. Vladan Joler & Kate Crawford, 'Anatomy of an AI System: The Amazon Echo as an anatomical map of human labor, data and planetary resources', anatomyof.ai, 2018. Mark Fisher, 'Capitalist Realism: Is There No Alternative?', Zero Books, 2009. Djamila Ribeiro, 'Black Feminism for a New Civilizational Framework', Sur: International Journal on Human Rights, trans. Murphy MacMahon, December 2016. Maya Indira Ganesh, 'Between Flesh: Tech Degrees of Separation', Minds Rising, 13th Gwangju Biennale, August 2020.

Education: Alternatives and the Academy with Emily Floyd and Gridthiya Gaweewong This program is part of ACCA’s 2021 Lecture Series, Experimental Institutionalism: Contemporary Art and Curatorial Ecologies and features two short lectures by Emily Floyd and Gridthiya Gaweewong, followed by a conversation with ACCA’s Artistic Director and CEO Max Delany. 'Loose Objects and Situated Knowledge', a lecture by Emily Floyd: Emily Floyd’s practice activates spatial and material strategies of child-centred learning, exploring possibilities and limitations for navigating the casualised realm of Contemporary Art’s critical classroom. Emily will discuss the concept of Loose Objects, an institutional experimentalism used in Montessori classrooms, referring to objects that can be moved around and manipulated by children as they play and explore. Like utopian artworks, Loose Objects play the role of itinerant, post-human educators; freely circulating across institutional frameworks. Yet, what happens when these haptic distractions can no longer deflect from the flaking paint on the kindergarten walls? 'What’s missing with the Art School in Thailand (and beyond)?' a lecture by Gridthiya Gaweewong: Gridthiya Gaweewong founded arts organisation Project 304 in 1996, and is currently Artistic Director of the Jim Thompson Art Center, Bangkok. Her curatorial projects have addressed issues of social transformation confronting artists from Thailand and beyond since the Cold War. Gaweewong has organized exhibitions and events including Underconstruction, Tokyo (2000 – 2002), Politics of Fun at the Haus der Kulturen der Welt, Berlin (2005), the Bangkok Experimental Film Festival (1997–2007) (co-founded with Apichatpong Weerasethakul), Saigon Open City in Saigon, Vietnam (2006-07) (with Rirkrit Tiravanija) and Unreal Asia, Oberhausen International Short Film Festival (2010). Gaweewong is on the curatorial team for the 2018, 12th Gwangju Biennale, Imagined Borders. She is also the head curator of ICI’s traveling exhibition Apichatpong Weerasethakul: The Serenity in Madness. Read more about the speakers, their lectures and the series here: https://acca.melbourne/program/experimental-institutionalism-education/

Korea24 – 2021.04.15. (Thursday) - News Briefing: At an expanded meeting of economic ministers on Thursday, President Moon Jae-in called the semiconductor sector a key national strategic industry and pledged measures to keep South Korea's status as a leader in the global supply network for chips. (Koo Heejin) - In-Depth News Analysis: Dr. Lee Han-sung, Professor of internal medicine at Severance Hospital, and Dr. Alice Tan, an internist at MizMedi Women’s Hospital, share their assessments on the current situation of COVID-19 infections in South Korea as well as the health concerns over the vaccines involving blood clots. They also discuss Seoul Mayor Oh Se-hoon’s suggestion for rapid testing kits. - Korea Trending with Lee Ju-young: Prosecutors seek the death penalty for the mother charged with killing her adopted 16-month-old daughter(정인이 양모 사형 구형…“팔 비틀어 부러뜨린 듯한 상처도”), twin sisters accused of cheating lash out at reporters("무례하다" 취재진에 '손가락 욕' 날린 숙명여고 쌍둥이), and local scientists create a fabric that acts as muscle(5g만 팔에 붙여도 ‘힘이 번쩍’…부착형 ‘근육옷감’ 개발). - Explore Korea: Andy St. Louis covers the 13th Gwangju Biennale(광주비엔날레) that is showing works from 68 different artists from 40 countries. He talks about how this year's exhibition "Minds Rising, Spirits Tuning(떠오르는 마음 맞이하는 영혼)," aims to interlink intelligence and alternative systems of knowledge. - Morning Edition Preview with Mark Wilson-Choi: Mark shares a piece from the Korea Times that talks about a police officer going above the call of duty to help homeless residents in Seoul. He also shares a Korea Herald piece that talks about the travel patterns of each generation in South Korea.

https://artsfuse.org/224483/visual-arts-review-letter-from-new-york-goya-grief-and-grievance/https://www.newmuseum.orgMassimiliano Gioni  is the Edlis Neeson Artistic Director of the New Museum and the director of the Trussardi Foundation, a nomadic museum in Milan  which organizes exhibitions by contemporary artists in forgotten buildings, public monuments and abandoned palazzos across the city.  He has curated numerous international exhibitions and biennials including the 55th Venice Biennale (2013), the 8th Gwangju Biennale (2010), the first New Museum Triennial (co-curated with Lauren Cornell and Laura Hoptman in 2009), the 4th Berlin Biennale (co-curated with Maurizio Cattelan and Ali Subotnick in 2006) and Manifesta 5 (co-curated with Marta Kuzma in 2004).At the New Museum Massimiliano Gioni has curated  both solo  and group exhibitions. In 2018 in London at The Store X Gioni organized “Strange Days – Memories of the Future”, an anthology of video works originally presented at the New Museum. In 2019 he curated “The Warmth of Other Suns,” a collaboration between the New Museum and the Phillips Collection in Washington DC, and at Museo Jumex in Mexico City he curated “Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, Even”, the first exhibition to bring in dialogue the works of Marcel Duchamp and Jeff Koons – with nearly 500,000 viewers, the exhibition was the most visited in the museum's history.  Since 2015 he has organized the presentations of the Tony and Elham Salame Collection at the Aishti Foundation in Beirut. Gioni has contributed to many publications and magazines including Artforum, Flash Art (for which he served as US editor from 1999 to 2003), Frieze, Parkett, Tate Etc., among others. He co-founded the “Wrong Gallery” with Maurizio Cattelan and Ali Subotnick, with whom he has directed the independent art magazines “The Wrong Times” and “Charley”. He is the commissioning editor of “2000 Words,” a series of monographic books published by the Dakis Joannou Collection/Deste Foundation, with which he has frequently collaborated, co-curating numerous exhibitions in Athens.      

Korea24 – 2021.01.04 (Monday) - News Briefing: New COVID-19 cases in South Korea hit more than one-thousand again as clusters at a Seoul detention center and nursing facilities around the country continue to spread. Despite the surge, authorities assessed that the current situation is generally being managed thanks to increased testing and social distancing. (Sam Len) - In-Depth News Analysis Part 1: Dr. Alice Tan, an internist at MizMedi Women’s Hospital, gives her thoughts on the nation's extension of the current social distancing measures for an additional two weeks, though some restrictions have been adjusted. She also gives her take on the government's assessment that the nation is slowly passing the beak of the 3rd wave of COVID-19 infections. - In-Depth News Analysis Part 2: Michael Baker, Professor of Public Health at the University of Otago, Wellington, discusses how the pandemic situation is in other parts of the world. He also shares his insight on vaccine inoculation and the emergence of new strains of the coronavirus. - Korea Trending with Lee Ju-young: President Moon vows to phase out all diesel passenger trains with low-carbon eco-friendly models by 2029(KTX-이음), public outrage intensifies surrounding the death of a toddler(정인이 사건), and SEVENTEEN is slated to appear on the popular American late-night talk show, "The Late Late Show with James Corden" this week(세븐틴 6일 제임스 코든쇼 첫 출연). - Sports: Yoo Jee-ho from Yonhap News Agency talks about Son Heung-min scoring his 100th goal with Tottenham Hotspur, the V-League postponing weekend matches after a cameraman tests positive for COVID-19, KBO star Kim Ha-seong signing with MLB's San Diego Padres, and KBL's LG Sakers acquiring Terrico White. - Morning Edition Preview with Mark Wilson-Choi: Mark shares a piece from the Korea Times that talks about two French artists joining this year's Gwangju Biennale, and a story in the Korea Herald that features clarinetist Kim Han, Kumho Art Hall's 2021 artist-in-residence.

River systems and the molecular body Margarida Mendes Curator, researcher and activist Lisbon, 12 November 2020 Can we actually trace the exact perimeter of a river’s molecular cartography and the extent of the consequences that these systems of catalytic flux have within and outside living bodies? River systems and their surrounding infrastructures are enormous hydrogeological, chemical and electromagnetic systems that connect their surrounding inhabitants and ecosystems through an irreverent flux of discharges and motions that humans attempt to tame through flowage rights and coastal restoration projects. Hence, aquatic and riverine infrastructures are essential points of departure for system analysis and reflection about the bodies and ecosystems, from the molecular through to the planetary scale. In attempting to understand the connection between river flux, noise, toxicity, and industrialization, I will focus on the habitats of the Mississippi and the Tagus rivers, questioning how the level of background noise and chemical imbalance may be connected with endocrinological disruptions. By investigating the chemical and vibrational continuity between bodies and the environment, I will speculate how different ontologies and mechanisms for sensing and registry might be needed, in order to provide a deeper debate about ecosystems under distress. Margarida Mendes Margarida Mendes's research explores the overlap between cybernetics, ecology and experimental film, investigating environmental transformations and their impact on societal structures and cultural production. She is interested in exploring alternative modes of education and political resilience through her collaborative practice, programming, and activism. She was part of the curatorial team of the 11th Gwangju Biennale (2016), 4th Istanbul Design Biennial (2018), and 11th Liverpool Biennial (rescheduled for 2021). In 2019 she launched the exhibition series Plant Revolution! which questions the interspecies encounter while exploring different narratives of technological mediation and in 2016 curated Matter Fictions, publishing a joint reader with Sternberg Press. She is a consultant for environmental NGOs working on marine policy and deep sea mining and has directed several educational platforms, such as escuelita, an informal school at Centro de Arte Dos de Mayo - CA2M, Madrid (2017); The Barber Shop project space in Lisbon dedicated to transdisciplinary research (2009-16); and the ecological inquiry curatorial research platform The World In Which We Occur/Matter in Flux, (2014-18). She is a PhD candidate at the Centre for Research Architecture, Visual Cultures Department, Goldsmiths, University of London with the project “Deep Sea Imaginings” and is a frequent collaborator on the online channel for exploratory video and documentary reporting Inhabitants-tv.org. http://goldsmiths.academia.edu/MargaridaMendes https://soundcloud.com/margaridamendes http://www.twwwo.org Organised by CADA

Give yourself compassion to learn who you are and make sure that you dream Some pretty great advice from this amazing conversation with mathematician turned independent curator & writer Fatoş Üstek. Her list of accolades is HUGE and this is just a small preview: listed in the celebratory Apollo 40 under 40 Thinkers section in 2018 ; included in Evening Standard's Progress 1000 London's most influential people in 2018 and 2017; Artlyst Power 100 list 2018, and 2017; Artsy The Top 20 Most Influential Young Curators in Europe and nominated for ICI Gerrit Lansing Independent Curatorial Vision Award in 2016. She was Director of Liverpool Biennial (2019-20), a jury member for Turner Prize Bursaries 2020, Arts Foundation Futures Award 2021, Scotland in Venice 2022, Dutch Pavilion 2022, and as an external member of the acquisitions committee for the Arts Council Collection (2018-2020). She is the curator of Do Ho Suh's largest UK commission (2018-2020). She was formerly Director and Chief Curator of DRAF (David Roberts Art Foundation), curated miart Talks 2018; Art Night, East London, 2017 and fig-2 50 exhibitions in 50 weeks, ICA, 2015. She acted as Associate Curator for the 10th Gwangju Biennale, 2014. Ustek is a contributing editor to Extra Extra Magazine, a founding member of the Association of Women in the Arts (AWITA); trustee of Art Night; board member of Urbane Kunste Ruhr; advisory panel for Jan van Eyck Academie; member of the International Association of Art Critics (AICA) UK; and an ICI alumni. Recently, Ustek delivered keynote lectures at London City Hall, Tate Modern, Leicester University and presented papers in conferences held in the UK, Europe, and South America. She publishes regularly in exhibition catalogues and art magazines and was the co-founding Editor of Nowiswere (2008-12a). Find out more here. I LIKE NETWORKING is the mentoring and networking program for womxn and non-binary people in the creative industries. Please share, leave a review and subscribe if you enjoyed it to make sure you don't miss any episodes and to give us a BOOST! Some of the links mentioned in this episode: MUBI Stefan Zweig The Queen's Gambit Leviathan The Riddle of the Labyrinth Joni Mitchell

Özge Ersoy ile Kore'deki Gwangju Biennale ve Hong Hong Asia Art Archive kamu programlarını konuştuk.

In this episode Jared speaks with Zach Blas, an artist, filmmaker and writer whose videos and mixed media installations draw queer readings on American mythologies around tech, psychedelia and the Californian Ideology, expanding these through the language of science fiction.Born in West Virginia, studying in California, and now at home in London where he is a Lecturer in the Department of Visual Cultures at Goldsmiths, Zach has presented work for the likes of de Young Museum, San Francisco, the Walker Art Center, Minneapolis, the Gwangju Biennale, Whitechapel Gallery, London and more.

We're back, starting with a short conversation with Tel Aviv based programmer and designer Ariel Malka, who develops experimental interactive projects. Next we hear TJB's audio performance, expressing the artist’s non-binary self as 40 droplets of water impacting a heated sheet of steel. Following that, we have our monthly conversation, which is about “Utopia,” the elusive and idyllic no-place of a happier and more just society. The idea of utopia has had many consequences throughout history, and much has been built and unbuilt around it. Participants in this conversation include a diverse group of researchers, artists and designers composed by Susana Delahante Matienzo (Cuban, based in Amsterdam), Giuliana Visco (based in Rome), and Ou Ning (based in China). Finally, our host Sylvain Souklaye chats with KMRU to introduce the work of Sarah Badr (FRKTL), whose new, untitled sound art piece closes the episode. This podcast series is produced by Sylvain Souklaye, with Dalida María Benfield and Chris Bratton. Ariel Malkahttp://ariel.chronotext.org/ TJB TJB, is a non-binary artist-philosopher whose work focuses upon the conception of the body, Being and the idea of a multiplicity of Self/s in performance. This work can be located within the framework of performance art and philosophical/phenomenological investigations that look to de/construct and challenge perception, alongside the assumed liminal barriers of body-based art. Xe is known for creating artworks that capture an altered space, environment, or period of time that regardless of scale, will often make intense, sometimes visceral, beautiful pieces that place the body in extremis. Living and working in the UK, TJB has been exhibiting work since 2001 and internationally since 2009 particularly through Europe and East coast USA. TJB is also the artistic director of Tempting Failure, which produces the London Biennial of International Performance Art, and curates a wide range of transgressive performance art practices. You can find out more about TJB at tjb.org.uk and they’d like to extend an invitation to all listeners to engage with their unique ongoing project In/Visible Exchange where TJB expands conversations away from social media via unique electronic zines based entirely on the questions sent to them.https://www.temptingfailure.com/ FRKTL is the solo experimental project of British-Egyptian audiovisual artist Sarah Badr. A classically trained multi-instrumentalist utilizing live sampling and improvisation, vocal manipulation, field recordings, and generative rhythms, she composes immersive, hypnotic, and haunting explorations of sound. For the past decade, Badr’sinterdisciplinary art practice has expounded on world creation in four dimensions, augmenting photography and footage with computer-generated imagery and sound design. Her mixes and DJ sets seamlessly blend disparate genres, challenging preconceptions of spaces real and virtual. Badr studied Creative Computing (BSc) at Goldsmiths, University of London; and International Relations (BSc)and Law (LLB)at the London School of Economics. Raised between London, Cairo, New York, and Manama, Badr now lives and works between Riga, Cairo, Berlin, and London.FRKTL releases include Prose Edda (EP,2017); Qualia (LP, 2016); Descent / Fjäder(double single, 2013); Atom (LP, 2011);and B-Sides (mini-album, 2011). Her sixth release and third full-length solo album, Excision After Love Collapses, is due out later in 2020FRKTL.COM Ou Ning Ou Ning is a multi-disciplinary practitioner from China. He is an artist and filmmaker, who produced the documentary projects San Yuan Li (2003) and Meishi Street (2006). As a curator, Ou Ning initiated the biennial art and design exhibition “Get It Louder” (2005, 2007, 2010), and was the chief curator of the 2009 Shenzhen & Hong Kong Bi-city Biennale of Urbanism and Architecture in 2009. From 2011–2014, Ou Ning wrote and edited a literary bimonthly journal Chutzpah! His activism has involved living in a small village in Anhui Province and founding the Bishan Commune (2011–2016) and the School of Tillers (2015–2016). As a visiting professor, he has taught at the GSAPP, Graduate School of Architecture, Planning, and Preservation of Columbia University (2016–2017). He is a frequent contributor to various magazines and books and has lectured around the world. Giuliana ViscoGiuliana Visco received a degree in art history in 2002, obtained a DEA in HyperMedia, and a PhD in sociology at Università della Calabria. Visco’s heterogeneous academic career reflects the belief that multidisciplinary tools are pivotal for the understanding of today’s society, trends, and dynamics. Her professional life has had a continuous red thread: social and political activism focused in defense of young people’s, migrants’ and women’s rights. Visco has worked as a tutor on an AMIF project for unaccompanied young migrants. She now works with the not-for-profit, search and rescue ship “Mediterranea” located on the Mediterranean Central Sea. “Mediterranea” is an effort that assists people trying to enter Europe from Libya. Susana Pilar Delahante MatienzoSusana Pilar Delahante Matienzo was born in Cuba in 1984. From 1999–2008, she studied at the Fine Arts Academy “San Alejandro” and the Instituto Superior of Arts (ISA) in Havana, Cuba. She did postgraduate studies in New Media at Karlsruhe University of Arts and Design (HfG), Germany (2011-2013). Matienzo has participated in residency programs in Canada, Holland, Reunion Island, United States, Italy, Sweden, Austria, etc. She has had solo shows in Havana, Cuba, Venice, Italy, Skövde, Sweden, Fort de France, Martinique and Enschede, Netherlands. Susana took part in the 13th Havana Biennale; 56th Venice Biennale; 1st Biennale of Contemporary Art, Martinique; III Biennale at Reunion Island; and the 7th Gwangju Biennale, South Korea. See acast.com/privacy for privacy and opt-out information.

For episode 23, Lauren Wetmore spoke with Sophia al Maria, a Qatari-American artist, writer, and filmmaker based in London. Author of publications including Sad Sack, Virgin With A Memory, and her autobiography The Girl Who Fell To Earth, Al Maria has also written for Triple Canopy, Bidoun, and Harper's Magazine. Her work as an artist has been exhibited internationally at institutions including Tate Britain, Gwangju Biennale, and the New Museum in New York. She has written Litte Birds, a television series based on Anais Nin's erotic writings, which will premiere on Sky Atlantic in August 2020. This wide-ranging conversation takes on a speculative tone, coming from the pivotal point of three months into corona lockdown Al Maria says, “It's really important to hold steady. To kindle and keep alive those first moments of shock.” Touching on central interests in Al Maria's practice such as science fiction and popular culture, Wetmore and Al Maria also consider the implications of intimacy in our new touchless world, “remembering how important it is to keep that flame of erotic power alive, especially when it feels difficult and hard to fantasize.” In a difficult moment between the inaction of confinement and the ramping up of social unrest, Al Maria points towards strategies of hope. “I think linking social justice with environmental action or non-movement and non-consumption will make thinking about the future less harrowing.” Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. Thanks to InterAcess for their support in this episode and to Sophia Al Maria for her contribution. Look for us on Google Podcasts, Stitcher, iTunes, and other podcast apps. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

For episode 23, Lauren Wetmore spoke with Sophia al Maria, a Qatari-American artist, writer, and filmmaker based in London. Author of publications including Sad Sack, Virgin With A Memory, and her autobiography The Girl Who Fell To Earth, Al Maria has also written for Triple Canopy, Bidoun, and Harper’s Magazine. Her work as an artist has been exhibited internationally at institutions including Tate Britain, Gwangju Biennale, and the New Museum in New York. She has written Litte Birds, a television series based on Anais Nin’s erotic writings, which will premiere on Sky Atlantic in August 2020. This wide-ranging conversation takes on a speculative tone, coming from the pivotal point of three months into corona lockdown Al Maria says, “It’s really important to hold steady. To kindle and keep alive those first moments of shock.” Touching on central interests in Al Maria’s practice such as science fiction and popular culture, Wetmore and Al Maria also consider the implications of intimacy in our new touchless world, “remembering how important it is to keep that flame of erotic power alive, especially when it feels difficult and hard to fantasize.” In a difficult moment between the inaction of confinement and the ramping up of social unrest, Al Maria points towards strategies of hope. “I think linking social justice with environmental action or non-movement and non-consumption will make thinking about the future less harrowing.” Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. Thanks to InterAcess for their support in this episode and to Sophia Al Maria for her contribution. Look for us on Google Podcasts, Stitcher, iTunes, and other podcast apps. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

Curator, writer and educator Maria Lind has challenged international curatorship by treating the infrastructure of the arts as a creative field. Socially committed and driven by a belief in art as well as institutional transformation, she has headed numerous institutions worldwide including the Munich Kunstverein, the graduate programme at Bard College’s Centre for Curatorial Studies and the 11th Gwangju Biennale. Most recently she has been appointed Counsellor for Cultural Affairs at the Swedish Embassy in Moscow. V–A–C satellite curator Raimundas Malašauskas talks to Maria about what brought her to this position and where she expects to find herself in the near future.

DOVE BRADSHAW, born in New York in 1949, pioneered the use of Indeterminacy in 1969 by enlisting the unpredictable effects of time, weather, erosion, and indoor and outdoor atmospheric conditions on natural, chemical, and manufactured materials. She has created chemical paintings that change with the atmosphere, indoor erosion sculptures of salt and outdoor stone sculptures that weather. She has worked with crystals that receive radio transmissions from local, short wave, and weather stations, along with reception of radio tele-scope signals from Jupiter. In 1975 she was awarded a National Endowment for the Arts grant; 1985 the Pollock-Krasner award; 2003 a Furthermore Grant; in 2006 The National Science Foundation for Artists Grant. Her work has been shown regularly in the US, Europe, South America, Japan and South Korea, appearing in the 6th Gwangju Biennale. She is represented in the permanent collections of many major museums including the Metropolitan Museum of Art, Museum of Modern Art, New York, The National Gallery of Washington, The Art Institute of Chicago, The British Museum, Centre Pompidou, Paris, and the Marble Palace, Russian State Museum, St. Petersburg.

1021 Issue Maker with Danny Lee (#Gwangju #Biennale #designtrends #art #artshow #culturecity) Danny joins us to introduce the ongoing art event in Gwangju and also tells about the current design trends.

March 14, 2019 - Simultaneity presents an ongoing series based on the Korean Dansaekhwa monochrome movement by artist Suh Seung Won (b. 1941), a pioneer of geometric abstraction in Korean contemporary art. Expanding on a career across five decades, Suh’s Simultaneity series explores his continued meditations on the concurrence of time and space, expressed through interactions between geometric forms and the underlying surface. This exhibition primarily shows Suh’s works created between 1970 and the present, in which the rigid geometric forms found in his earlier works shift into more obscure, diaphanous patterns, creating new depths within the surface of the picture plane. This expansion of Suh’s previous abstractions produces works which appear monochrome from a distance, but upon closer examination are revealed to be composed of a variety of colors, allowing the artist to show the coexistence of the visible and the invisible aspects of reality. Suh seeks to enable the unseen to be seen through the use of the physical medium of paint to render the “world of nirvana”, the intangible phenomena beyond human awareness. The harmonious balance between space and form found in the Simultaneity series exposes a truth beyond the limits of visible human reality. For Suh Seung Won, these works explore the ways in which the consistency of time can be interpreted through the consistency of space in a unification of form, color and surface. Works by Suh Seung Won are included in the permanent collections of The National Museum of Modern and Contemporary Art (Korea), Seoul Museum of Art (Korea), The British Museum (UK), Hokkaido Museum of Modern Art (Japan), Shimonoseki Museum (Japan), and the Brooklyn Museum (US). His works have been featured in key international exhibitions, including “Five Korea Artists, Five Kinds of White” at the Tokyo Gallery (1975), “Korea: Facet of Contemporary Art” at the Tokyo Museum (1983), “Art Contemporain Coreén” at the Cordeliers Convent in Paris (1995), “The Facet of Korean and Japanese Contemporary Art” at the Gwangju Biennale (2000), and “Origin” at the Galerie Perrotin in Paris (2016). This exhibition is presented in collaboration with the Donghwa Cultural Foundation. ASIA WEEK ARTIST TALK: with Suh Seung Won Followed by: Special recorded commentary by Raphael Rubinstein Art critic and curator Raphael Rubinstein will address the work of Suh Seung Won in the context of 20th century abstraction and contemporary painting, noting how Suh has developed a distinct approach that highlights the perceptual, meditative qualities of abstraction in which the borders between figure and ground seem to dissolve. For more information, please visit the link below: https://www.koreasociety.org/arts-culture/item/1266-asia-week-artist-talk-with-suh-seung-won

Kim Sunjung, President and Chief Curator of the Gwangju Biennale. Three political events: 1. Gwangju Uprising (May 18, 1980) 2. Student protests in Korea (1980s) 3. End of Korean War (July 27, 1953)

Byron Kim is a painter based in Brooklyn who received a BA from Yale University in 1983 and attended Skowhegan School of Painting and Sculpture in 1986. He is a Senior Critic at Yale University. He has received numerous awards including the Alpert Award, and the Joan Mitchell Foundation Grant. He has participated in many international exhibitions including the 7th and 3rd Gwangju Biennale in Korea in 2000 and 2008. In addition to the National Gallery of Art’s collection, his work is in the permanent collection of the Albright-Knox Art Gallery in Buffalo, the Art Institute of Chicago, the Berkeley Art Museum, the Blanton Museum of Art in Austin, TX, the Hirshhorn Museum, the M+ Museum in Hong Kong; the Museum of Contemporary Art in La Jolla, the Museum of Contemporary Art in San Diego, the Pérez Art Museum in Miami, the Walker Art Center in Minneapolis, and the Whitney Museum of American Art. Byron and I met up at his current show titled Mud Root Ochre Leaf Star at James Cohen Gallery on the Lower East Side and spoke about so many things from his early days as a student to art’s relationship to the universe. He’s one of my favorite people and it was a real pleasure to have this conversation with him at the site of his powerful show.

The IMA presents a talk by Charles Esche, Director of the Van Abbemuseum, Eindhoven, The Netherlands. This is the forth presentation in a series of talks running throughout the year titled 'What Can Art Institutions Do?' Esche has been a leading voice in curatorial practice for two decades, and has been directing the Van Abbemuseum since 2004. In 2014, Esche was awarded Bard College’s Audrey Irmas Award for Curatorial Excellence. The prize honors multiple things including his endless commitment to rethinking what art can do and redefining what it can be. Esche has been involved in exhibitions such as Strange and Close at CAPC, Bordeaux (2011); An Idea for Living at the U3 Slovene Triennale (2011); the 2nd and 3rd RIWAQ Biennials in Ramallah, Palestine (2007/2009); the 9th International Istanbul Biennial (2005); and the 4th Gwangju Biennale, Republic of Korea (2002). He curated the 31st Sao Paulo Bienale which opened in the autumn of 2014.

THOMAS ALLEN HARRIS joins me to talk about the National Broadcast of his work: THROUGH A LENS DARKLY: Black Photographers and the Emergence of a People. The Producer, Director Writer was raised in the Bronx and Dar-Es-Salaam, Tanzania. He is the founder and President Chimpanzee Productions, a company dedicated to producing unique audio-visual experiences that illuminate the Human Condition and the search for identity, family, and spirituality. Chimpanzee's innovative and award-winning performance-based documentary films - VINTAGE – Families of Value, E Minha Cara/That's My Face, and Twelve Disciples of Nelson Mandela - have received critical acclaim at International film festivals such as Sundance, Berlin, Toronto, FESPACO, Outfest, Flaherty and Cape Town and have been broadcast on PBS, the Sundance Channel, ARTE, as well as CBC, Swedish broadcasting Network and New Zealand Television. Mr. Harris' video and installations – including Splash, Black Body, AFRO (is just a Hairstyle) Notes on a Journey Through The African Diaspora and ALCHEMY - have been featured at the Museum of Modern Art, the Whitney Museum of American Art Biennial, the Corcoran Gallery, Reina Sophia, London Institute of the Arts, Gwangju Biennale, and the Long Beach Museum of Art. Harris has received numerous awards and fellowships including a United States Artist Fellowship, Guggenheim Fellowship, Rockefeller Fellowship, two Emmy nominations as well as Sundance Film Institute Directors Fellowships and a Tribeca Film Institute Nelson Mandela Award. A graduate of Harvard College and the Whitney Independent Study Program, Harris has taught at a variety of institutions including University of California San Diego where he received tenure as an Associate Professor of Media Arts. A published photographer, curator, and write, Mr. Harris lectures widely on the use of media as a tool for social change.

A rare opportunity to hear Hans Haacke, Do Ho Suh, Sheela Gowda, Camille Henrot and Roman Ondák talk about the relevance and personal importance of biennials for their work, sharing a connection as past or future participants of the Gwangju Biennale

Gediminas Urbonas is artist and educator, and co-founder (with Nomeda Urbonas) of Urbonas Studio – an interdisciplinary research program that advocates for the reclamation of public culture in the face of overwhelming privatization, stimulating cultural and political imagination as tools for social change. Often beginning with archival research, their methodology unfolds complex participatory works investigating the urban environment, architectural developments, and cultural and technological heritage. The Urbonases have established their international reputation for socially interactive and interdisciplinary practice exploring the conflicts and contradictions posed by the economic, social, and political conditions of countries in transition. Working in collaboration they develop models for social and artistic practice with the interest to design organizational structures that question relativity of freedom. They use art platform to render public spaces for interaction and engagement of the social groups, evoking local communities and encouraging their cultural and political imagination. Combining the tools of new and traditional media, their work frequently involves collective activities such as workshops, lectures, debates, TV programs, Internet chat-rooms and public protests that stand at the intersection of art, technology and social criticism. They are also co-founders of VILMA (Vilnius Interdisciplinary Lab for Media Art), and VOICE, a net based publication on media culture. They have exhibited internationally including the San Paulo, Berlin, Moscow, Lyon and Gwangju Biennales – and Manifesta and Documenta exhibitions – among numerous other international shows, including a solo show at the Venice Biennale and MACBA in Barcelona. Their work was awarded a number of high level grants and residency awards, including the Lithuanian National Prize (2007); a fellowship at the Montalvo Arts Center in California (2008); a Prize for the Best International Artist at the Gwangju Biennale (2006) and the Special Prize for the best national pavilion at the Venice Biennale (2007). Their writings on artistic research as a form of intervention to social and political crisis was published in the books Devices for Action (2008) by MACBA Press, Barcelona and Villa Lituania (2008) by Sternberg Press. Gediminas Urbonas is Associate Professor in Visual Arts at ACT – the MIT Program in Art, Culture and Technology.

ROUNDTABLE: The 9th Gwangju Biennale, described as an open-ended series of collaborations, will continue its evolving conversation with this talk chaired by Lorenzo Fusi, curator of the Biennial Exhibition at the 2012 Liverpool Biennial

The Global Contemporary: Kunstwelten nach 1989 Patrick D. Flores, Interview (April 2010) im Rahmen der Ausstellung The Global Contemporary. Art Worlds After 1989, ZKM | Museum für Neue Kunst [17.09.2011–19.02.2012] Patrick D. Flores, beratender Kurator der Ausstellung, ist Professor für Kunstgeschichte an der philippinischen Universität in Diliman und Kurator am Vargas Museum der philippinischen Universität, sowie außerordentlicher Kurator der philippinischen Nationalgalerie und der Nationalgalerie Singapurs. 2008 war er Kurator für die Grundsatzreferate bei der Gwangju Biennale. /// Patrick D. Flores is Professor of Art History, Theory, and Criticism at the University of the Philippines at Diliman, and is the Curator of the University of the Philippines Vargas Museum and Adjunct Curator of the National Art Galleries of the Philippines and Singapore. A recognized scholar in the fields of Philippine and Asian art, Flores has organized several national and international platforms, including Luz: Traces of Depiction at the National Museum of the Philippines (2006), and Under Construction: New Dimensions of Asian Art at the Japan Foundation Asia Center (2000-2003). In 2008, he was a curator for the Position Papers series at the Gwangju Biennale. Flores is the author of numerous articles and several books concerning Philippine art. Among his publications are: Painting History: Revisions in Philippine Colonial Art (Quezon City/Manila, 1998), Remarkable Collection: Art, History, and the National Museum, (Manila, 2008) and Past Peripheral: Curation in Southeast Asia, (Singapore, 2008).

This week: Duncan talks with Wangechi Mutu! With many thanks to the School of the Art Institute of Chicago's visiting artist program for making this interview possible. Wangechi Mutu (b.1972, Nairobi, Kenya) is an artist who lives and works in Brooklyn, New York. Originally from the Kenyan Kikuyu tribe, she was educated in Nairobi at Loreto Convent Msongari (1978-1989) and later studied at the United World College of the Atlantic, Wales (I.B., 1991). Mutu moved to New York in the 1990s, focusing on Fine Arts and Anthropology at the New School for Social Research and Parsons School of Art and Design. She earned a BFA from the Cooper Union for the Advancement of the Arts and Science in 1996, and then received an MFA from Yale University (2000). Mutu’s work has been exhibited at galleries and museums worldwide including the San Francisco Museum of Modern Art, the Miami Art Museum, Tate Modern in London, the Studio Museum in Harlem in New York, Museum Kunst Palast in Düsseldorf, Germany, and the Centre Pompidou in Paris. Her first solo exhibition at a major North American museum opened at the Art Gallery of Ontario in March 2010.[1]She participated in the 2008 Prospect 1 Biennial in New Orleans and the 2004 Gwangju Biennale in South Korea. Her work has been featured in major exhibitions including Greater New York at the P.S.1 Contemporary Art Center and The Museum of Modern Art in New York, Black President: The Art and Legacy of Fela Anikulapo-Kuti at the New Museum of Contemporary Art in New York and the Barbican Centre in London, and USA Today at The Royal Academy in London. On February 23, 2010 Wangechi Mutu was honored by Deutsche Bank as their first Artist of the Year. The prize included a solo exhibition at the Deutsche Guggenheim in Berlin. Titled My Dirty Little Heaven, the show traveled in June 2010 to Wiels Center for Contemporary Art in Brussels, Belgium. She is represented by Barbara Gladstone in New York, Susanne Vielmetter Los Angeles Projects in Los Angeles and Victoria Miro Gallery in London.