Podcast appearances and mentions of Hayward Gallery

Emily is the co-host of this episode about art, transgression, female desire and the male gaze through photo montage, as cultural commentary and self-exploration. We re-visit the exhibition "Danger Came Smiling" at Hayward Gallery. A punk goddess whose image was used in the Buzzcocks' EP Orgasm Addict (1977), Linder is an under-exposed contemporary artist. 99p glue, a scalpel, vintage magazines, and she “travel(s) in time”, to bring back cyber domestic goddesses and anachronistic deepfakes. Her work seems to be at its peak, and always timely, as she enters her 7th decade on earth.Support us: here.Check out Linder on social media: @lindersterling.Listen to Linder's band Ludus.More about the exhibition here: Hayward Gallery.

We are back with a new episode of the Ecosystem Member podcast! Thank you for tuning in.Our guests for this episode are Heather Ackroyd and Dan Harvey, who make up the incredible artist duo Ackroyd & Harvey. I first came across their work at the Dear Earth exhibition at the Hayward Gallery in London (which also featured past guest Jenny Kendler) and as we discuss in the episode, re-engaged with their work through their Beuys' Acorns project, which just had a major planting that we talk about at the Sainsbury Centre in Norwich. If this is the first time you are hearing about Ackroyd & Harvey, they are an internationally acclaimed artist duo that create work at the intersection of art, activism, architecture, biology, ecology and history. Their work often involves natural materials such grass and light - through a process called photographic photosynthesis - or the bones of a juvenile Minke Whale. Over their multi-decade collaboration with each other, nature, activists, scientists and other artists, their work has been shown at the Tate Modern and Royal Academy in London, The Central Academy of Fine Arts in Beijing, and Ballroom Marfa in Texas among dozens of other prestigious locations. In 2019, they also co-founded Culture Declares Emergency in response to the climate and ecological emergency.The reason I titled this episode ‘Natural Collaboration' is evident in the podcast. Over the years, Ackroyd & Harvey have created their own little ecosystem that evolves over time and brings into their circle not just nature and the more-than-human world, but other artists, scientists and activists of all stripes. It is a great example of the compelling conversations that can be had when we collaborate with others, especially as we face the climate crisis.In this episode, we dig into their various collaborations and spend a lot of time on their photographic photosynthesis process, which happened almost by chance as you'll hear about in the episode. We also talk about their connection to place and the challenge of working with living materials, including the more-than-human animals and creatures that find their way to the pieces. Our conversation comes to a close around the Beuys' Acorns project, which has extended Joseph Beuys' original 7,000 Oaks project over many more decades, helping it stay a point of discussion for new generations.If you haven't subscribed to our newsletter and Substack, please visit ecosystemmember.com. On the homepage, you'll find a link to pages about all of our episodes, including this one, so you can see some of the work we discuss and find links to the rest. In addition to alerts about the latest podcast episodes, I'll occasionally send out a post profiling an artist I really enjoy or an exhibition I get the chance to attend, along with a rare opinion piece about what's going on in the worlds of art and nature. That is all at ecosystemmember.com. Without further delay, here is the latest episode of the Ecosystem Member podcast with the artist duo Ackroyd & Harvey. LinksGrass House by Ackroyd & Harvey Ackroyd & Harvey Website Ackroyd & Harvey Prints and Drawings for Sale "Reclaiming the Commons Through Art" from Atmos featuring Ackroyd & HarveyPhoto Credit for Podcast Cover Art: Manuel Vason

Diese Folge des Secession Podcast: Members präsentiert die Künstler*innen Helmut und Johanna Kandl im Gespräch mit Kathrin Becker, der Direktorin des KINDL – Zentrum für zeitgenössische Kunst in Berlin. Johanna Kandl ist seit 1984 Mitglied und war von 1999 bis 2003 und von 2006 bis 2007 im Vorstand der Secession. Das Gespräch wurde am 11. Oktober 2024 in der Secession aufgenommen. HELMUT & JOHANNA KANDL Seit 1997 verheiratet und gemeinsame Arbeit, vor allem bei partizipativen und Rechercheprojekten. Leben und arbeiten in Wien und Berlin. https://www.hjkandl.at Helmut Kandl (geb. Schäffer) Geboren 1953 in Laa an der Thaya. Er verfolgt einen zum Angewandten hin offenen Kultur- und Kunstbegriff, der sich von der Schaffung von Kulturvermittlungseinrichtungen (GALERIE BRÜNNERSTRASSE, „FLUSS – NÖ Fotoinitiative“, Kunsthalle Krems) über Wohnprojekte Amtsstraße 28 bis zur Beschäftigung mit dem Kochen erstreckt. Im Bereich Recherche und  Dokumentation verwendet er vorrangig die Medien Fotografie und Video, oft unter Einbeziehung von Archiven und privater Fotografie. Johanna Kandl Geboren in Wien. Arbeitet im Bereich Recherche und Dokumentation in den Medien Malerei und Video. Der Fokus der letzten Jahre liegt auf historischen und zeitgenössischen Malmaterialien und ihrem sozioökonomischen Kontext. Studium Konservierung und Technologie Akademie der bildenden Künste Wien, Malereistudium an der Akademie der bildenden Künste Wien und der Akademija Likovna Umetnosti Beograd. Professur an der Universität für angewandte Kunst Wien 2005-2013. Im Vorstand der Secession von 1999 bis 2003 und von 2006 bis 2007. Einige Ausstellungen (hk Helmut Kandl, Jk Johanna Kandl, hjk helmut & Johanna Kandl, P Personale) 1996 Centre National de la Photographie, Paris, Antagonism, (hk); 1999 Wiener Secession (jk, p), 2003 Kunstverein Basel Painting on the Move, (jk); 2007 Hayward Gallery, London, The painting of Modern Life, (jk); 2010 Pavillon Populaire, Montpellier, Aires de jeux, champs de tensions: figures de la photographie urbaine en Europe depuis 1970, (hk), 2017, Deichtorhallen Hamburg Wunder, 2010 (hjk), Albertina Wien (Österreich. Fotografie 1970−2000, (hk); 2019 Belvedere Wien Womit gemalt wird und warum, (jk,p), 2021 Kunsthaus Graz, Palette, (hjk, P); NÖ Landesgalerie, Krems, Viva Archiva, (hjk, P) Berlin, After the butcher, Was sind alle Kornblumen…, 2023 (hjk, P) Kunst im Öffentlichen Raum 2024 Ringturmverhüllung Mit den besten Zutaten, (jk, P); Willi-Resetarits-Hof, Wien, Wandmalerei Be a Mensch (jk, P) Kathrin Becker arbeitet seit Februar 2020 als künstlerische Direktorin des KINDL – Zentrum für zeitgenössische Kunst. Bis 2019 war sie Leiterin des Video-Forums des Neuen Berliner Kunstvereins (n.b.k.) und dessen Geschäftsführerin und Kuratorin. Sie studierte Kunstgeschichte und Slawistik an der Ruhr-Universität Bochum und an der Staatlichen Leningrader Universität. Themen ihrer kuratorischen Arbeit sind interkulturelle und transnationale Fragestellungen, die Rolle der bildenden Kunst in der Gesellschaft sowie der Komplex der Exklusion und Inklusion in zeitgenössischen Kulturen. Secession Podcast: Members ist eine Gesprächsreihe mit Mitgliedern der Secession. Das Dorotheum ist exklusiver Sponsor des Secession Podcasts. Programmiert vom Vorstand der Secession. Jingle: Hui Ye mit einem Ausschnitt aus Combat of dreams für Streichquartett und Zuspielung (2016, Christine Lavant Quartett) von Alexander J. Eberhard. Schnitt: Paul Macheck Produktion: Bettina Spörr

Robbie Collin and Louisa Buck join Tom Sutcliffe to review the fourth Bridget Jones film Mad About the Boy staring Renée Zellweger, the Oscar nominated animation Memoir of a Snail and pioneering artist Linder's Danger Came Smiling retrospective at the Hayward Gallery in London.Presenter: Tom Sutcliffe Producer: Claire Bartleet

Ep.231 Lina Iris Viktor is a Liberian- artist who lives and works in Italy. Influenced by architecture, archaeology, West African sculptural traditions, ancient Egyptian iconography, classical astronomy and European portraiture, her paintings, sculptures, performances, photography and water-gilding with 24-carat gold produce a charged materiality that address philosophical ideas of the finite and the infinite, the microcosm and macrocosm, evanescence and eternity. Her use of gold, marble, bronze, wood and volcanic rock establish an intimate and intangible timelessness whilst her focus on black as ‘materia prima' challenges the sociopolitical and historical preconceptions surrounding ‘blackness' and its universal implications. By interweaving disparate materials, methods and visual lexicons associated with contemporary and ancient art forms, Viktor authors an idiosyncratic mythology that threads through deep time, knitting together a diasporic past with an expansive present in order to divine future imaginaries. Viktor received her BA in film at Sarah Lawrence College and studied photography at The School of Visual Arts in New York. Solo exhibitions include Sir John Soane's Museum, London (2024); Fotografiska Museum of Photography, Stockholm & Tallinn(2020); Autograph, London (2019); and New Orleans Museum of Art (2018), among others. Group exhibitions include the Museum of the African Diaspora [MoAD],San Francisco (2024); Hayward Gallery, London (2022); North Carolina Museum of Art, Raleigh (2020); Somerset House, London (2019); Ford Foundation, New York(2019) ); Ford Foundation, New York (2019); Crocker Art Museum, Sacramento (2018); Kentucky Museum of Art and Craft, Louisville (2016); Spelman Museum of Fine Art, Atlanta (2016); and Cooper Gallery, Harvard University, Cambridge (2016). Photo credit ©2024 Courtesy of LVXIX Atelier.   Sir John Soane Museum https://www.soane.org/exhibitions/lina-iris-viktor-mythic-time-tens-thousands-rememberings Museum of the African Diaspora (MoAD https://www.moadsf.org/exhibitions/liberatory-living Pilar Corrias https://www.pilarcorrias.com/exhibitions/419-lina-iris-viktor-solar-angels-lunar-lords/ Hayward Gallery https://www.youtube.com/watch?v=Z1ZHUFirMRM&ab_channel=SouthbankCentre New Orleans Museum of Art https://noma.org/exhibitions/lina-iris-viktor-a-haven-a-hell-a-dream-deferred/ Fotografiska Stockholm https://stockholm.fotografiska.com/en/exhibitions/lina-iris-viktor Autograph https://autograph.org.uk/online-image-galleries/lina-iris-viktor-some-are-born-to-endless-night-dark-matter-exhibition-highlights Elephant https://elephant.art/lina-iris-viktors-distinct-mythology-a-photo-diary-from-the-artists-home-on-the-amalfi-coast/ Apollo Magazine https://www.apollo-magazine.com/lina-iris-viktor-soane-museum-review/ An Other https://www.anothermag.com/art-photography/15758/lina-iris-viktor-interview-mythic-time-sir-john-soane-museum-exhibition Artnet https://news.artnet.com/art-world/lina-iris-viktor-2379189 British Vogue https://www.vogue.co.uk/gallery/lina-iris-viktor-sir-john-soane Something Curated https://somethingcurated.com/2023/03/21/interview-lina-iris-viktor-on-the-libyan-sibyl-beauty-as-a-tool-for-truth/ The Art Newspaper https://www.theartnewspaper.com/2022/08/03/a-brush-with-lina-iris-viktor New York Times https://www.nytimes.com/2022/08/04/arts/design/in-the-black-fantastic-london.html

The first episode of 2025 of A brush with… features a conversation with Linder, who discusses her influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped her life and work. Born Linda Mulvey in Liverpool in 1954, she is best known for her photomontages, made from images found in books and magazines across six decades. They bring together sex and sexual politics, glamour and grit, satire and seduction. Since emerging in the punk era of the late 1970s—a culture whose DIY approach and unflinching attitude to society her work embodies—Linder has reinvigorated a radical tradition of avant-garde art-making while developing a singular voice. She reflects on the particularities of her native Britain while also addressing global struggles and themes, including feminism and class politics. She discusses her use of the scalpel as a “magic wand” in cutting up print material, her journey to Delphi and recent use of ancient Greek and Roman imagery, her fascination with Ithell Colquhoun and other Surrealists, the impact of reading Germaine Greer and the Brontës, how she has used the Playboy magazines once owned by the Brutalist architects Alison and Peter Smithson in a new body of work, and how she connects the Indian musical instruments, the dilruba and taus, with Barbara Hepworth. Plus, she answers our usual questions, including the ultimate: “What is art for”?This episode contains descriptions of abuse and sexual violence.Linder: Danger Came Smiling, Hayward Gallery, London, 11 February-5 May; a version of the show, curated by Hayward Gallery Touring, will travel across the UK in 2025 and 2026: Inverleith House, Royal Botanic Gardens, Edinburgh, 23 May-19 October; Glynn Vivian Art Gallery, Swansea, 7 November 2025-8 March 2026; Grundy Art Gallery, Blackpool, 27 June-20 September 2026. Hosted on Acast. See acast.com/privacy for more information.

Our host, Adrian Ellis, sits down with Elaine Bedell, OBE, CEO of Southbank Centre to discuss what it means to lead Europe's largest  centre for the arts. Guest bioElaine Bedell has been CEO of Southbank Centre since 2017. Southbank Centre is the largest arts centre in Europe and the UK's 5th most visited attraction. Over 20 million people a year visit the 11-acre site, which houses 3 performing arts venues, including the Royal Festival Hall, as well as the Hayward Gallery and the National Poetry Library, 14 bars and restaurants, a food market and the Southbank skatepark. Before this, Elaine enjoyed a 25-year career in media, with roles including Controller of Entertainment at the BBC and ITV Director of Entertainment and Comedy, where she commissioned shows including Strictly, X Factor and Top Gear. She's been a Trustee of the V&A Museum and was the Executive Chair of the Edinburgh International TV Festival.  Elaine's also a published novelist and has won a BAFTA. She was awarded an OBE in the 2024 New Year's Honours for Services to Business and the Arts. ReferencesSouthbank Centre: https://www.southbankcentre.co.uk/Venues at Southbank Centre: https://www.southbankcentre.co.uk/venues/Aurora orchestra: https://www.auroraorchestra.com/Elaine's recent interview with the Brunswick Group: https://review.brunswickgroup.com/article/southbank-centre-ceo-elaine-bedell/LinkedInElaine Bedell: linkedin.com/in/elaine-bedell-obe-7bb172103Southbank Centre: https://www.linkedin.com/company/southbank-centre/posts/

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

Episode Page The latest episode of the Ecosystem Member podcast is with the amazing interdisciplinary artist and environmental activist, Jenny Kendler. Many of you listening are probably familiar with Kendler's work thanks to her most recent solo project on Governors Island being reviewed and featured on the front page of The New York Times. The exhibition included nine sculptures that used materials from the ocean itself to raise awareness about endangered marine ecosystems. In the episode we talk about the piece “Other of Pearl”, which is made up of 12 oyster half shells where the oyster shell was grown around a bio-based figures of Greek and Roman antiquities. The exhibition is a perfect example of Kendler's work, which aims decenter the human to make space for the full biodiversity of Earth. Some of the other pieces we discuss include 'Birds Watching', which inverts the gaze of birdwatching using the eyes of endangered and/or threatened birds due to climate change, and 'Music for Elephants', which uses a player piano with ivory keys playing music created from data on elephant poaching that is driven by the ivory trade. As a podcast that aims to examine the relationship humans have with nature and the more-than-human world, her work is an incredible example of how art can ask big questions about that relationship. While the conversation focuses on her artistic work - which has been shown around the world at London's Hayward Gallery, Storm King Art Center, the Smithsonian Museum of Natural History, the MCA Chicago and public locations as diverse as urban riverwalks, remote deserts and tropical forests - we also talk about her own relationship with nature and the more-than-human world. The topic being particularly relevant as she was just named an Artistic Fellow for the Center for Humans and Nature after spending 10 years as the artist-in-residence with the environmental non-profit NRDC, the Natural Resources Defense Council. She also sits on boards for 350.org and artist residency ACRE, and is a co-founder of Artists Commit, an artist-led effort to raise climate-consciousness in the art world. We talk a lot about specific pieces in this episode, so make sure to visit the podcast episode page at ecosystemmember.com/podcast, or watch the episode on Spotify or YouTube to see the work we're discussing. Thanks to Jenny for taking time to chat openly about her work and background, and thanks to you for listening. If you enjoy this episode, please make sure to subscribe on your preferred podcast platform and if you are so inclined leave us a five star review. These are signals to the platform that the podcast has value and increases its visibility to potential listeners. Links Jenny Kendler's Website Jenny Kendler's Instagram Jenny Kendler in The New York Times Thomas Nagel / What is it like to be a bat? Billion Oyster Project Dr Ayana Elizabeth Johnson's Climate Action Venn

Believe it or not, this is the first episode dedicated to an exhibition at the Hayward Gallery, a brutalist building Joana and Emily love so much.And what better way to start than with the immersive experience of Haegue Yang's solo show? Even the threshold between the hall and the exhibition space is a happening in “Leap Year”, the first survey of the South Korean artist in the UK, open from 9 October 2024 to 5 January 2025.This episode was recorded during the week, late in the afternoon, rather than in our usual time (the early hours of a quiet Sunday) so it may be infused with a certain chaotic energy. Or was it the sensory fest of Yang's art? Tune in to decide for yourself.To know more about the exhibition: https://www.southbankcentre.co.uk/whats-on/haegue-yang-leap-year/Follow Haegue yang on Instagram: @yanghaegueTo see images of the exhibition go to our Instagram account: @exhibitionistas_podcastIf you want to support us, go to: https://www.patreon.com/c/exhibitionistaspodcast/membershipMusic by Sarturn.

Curator Jo-Lene Ong walks through historic marketplaces across Taiwan, Paris, Devon, London, and Manchester, exchanging island mentality for more archipelagic thinking, via Steph Huang's sculptural installation, I Am in a Pretty Pickle (2024). Through works combining sculpture, sound, and film, contemporary artist Steph Huang explores mass production, consumption, and waste. She often focusses on the transcultural and historical dimensions of food industries, and the implications of such markets on our natural environment. Roaming the street markets of cities in Taiwan, where she was born, and London, where she lives and works, she also draws from their vernacular architectures, and different local cultures. Steph's first exhibition at Tate Britain in London sits near the river Thames, a boat ride away from Billingsgate, the UK's largest inland fish market; and in Manchester, at its historic Market Buildings, once part of the Victorian Smithfield Fish Market. Curator Jo-Lene Ong connects sculptural works like I Am in a Pretty Pickle (2024), with the Situationist International's practice of the dérive, repurposing objects collected through exploration. We situate her interest in wonder and playful approach to media with the likes of Haegue Yang, currently on view at the Hayward Gallery in London, and Rasheed Araeen, entwining the roles of cook and artist. We look at the traces of maritime trades and food industries on our everyday lives, and our relationship with ocean ecosystems, highlighting the legacies of colonialism in contemporary capitalism and climate crises. From esea contemporary's previous exhibitions of artists like Jane Jin Kaisen, Jo-Lene moves towards her particular interest in transmission, and more ‘watery ways of being' beyond borders, referencing Astrida Neimanis' hydrofeminism (2017) and looking to Sharjah Biennale 16 in 2025. We discuss ‘island travel' and ‘archipelagic thinking' as central to Steph's artistic, and Jo-Lene's curatorial, practices. Jo-Lene shares how her relationship with identity has been shaped by working in different contexts, from Malaysia, to Amsterdam, and the UK. We discuss the relative in/visibility of East and Southeast Asian (ESEA) identities in these different places - histories of Indonesia and the Dutch East Indies, and Malaysia, a British colony between the 1820s and 1957 - as well as the overlaps between Hokkein and Taiwanese languages, as variants or dialects of Chinese. Steph Huang: There is nothing old under the sun runs at esea contemporary in Manchester until 8 December 2024. The exhibition is part of the Mark Tanner Sculpture Award (MTSA)'s National Touring Programme, first exhibited at Standpoint in London in 2024. The exhibition will tour to Cross Lane Projects in Kendal in March 2025. An exhibition book of the same number launches at esea contemporary on 30 November 2024. Art Now: Steph Huang: See, See, Sea runs at Tate Britain in London until 5 January 2025. For more about archipelagos and Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠ For more from esea contemporary, hear Musquiqui Chihying, a recent artist-in-residence, on Too Loud a Dust (2023) at Tabula Rasa Gallery during London Gallery Weekend in 2023: pod.link/1533637675/episode/29b9e85442a30e487d8a7905356541dd PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

We meet Ekow Eshun, leading curator, writer and broadcaster to discuss his new book The Strangers.In the western imagination, a Black man is always a stranger. Outsider, foreigner, intruder, alien. One who remains associated with their origins irrespective of how far they have travelled from them. One who is not an individual in their own right but the representative of a type. What kind of performance is required for a person to survive this condition? And what happens beneath the mask?In answer, Ekow Eshun conjures the voices of five very different men. Ira Aldridge: nineteenth century actor and playwright. Matthew Henson: polar explorer. Frantz Fanon: psychiatrist and political philosopher. Malcolm X: activist leader. Justin Fashanu: million-pound footballer. Each a trailblazer in his field. Each haunted by a sense of isolation and exile. Each reaching for a better future.Ekow Eshun tells their stories with breathtaking lyricism and empathy, capturing both the hostility and the beauty they experienced in the world. And he locates them within a wider landscape of Black art, culture, history and politics which stretches from Africa to Europe to North America and the Caribbean. As he moves through this landscape, he maps its thematic contours and fault lines, uncovering traces of the monstrous and the fantastic, of exile and escape, of conflict and vulnerability, and of the totemic central figure of the stranger.Described as a ‘cultural polymath', Ekow Eshun has been at the heart of international creative culture for several decades, curating exhibitions, authoring books, presenting documentaries and chairing high-profile lectures. His work stretches the span of identity, style, masculinity, art and culture. Ekow rose to prominence as a trailblazer in British culture. He was the first Black editor of a major magazine in the UK (Arena Magazine in 1997) and continued to break ground as the first Black director of a major arts organisation, the Institute of Contemporary Arts in London (2005-2010).As Chairman of the commissioning group for the Fourth Plinth in Trafalgar Square, he leads one of the world's most famous public art projects.In July 2022, Ekow curated In the Black Fantastic at the Hayward Gallery in London a landmark exhibition of visionary Black artists exploring myth, science fiction and Afrofuturism. His most recent exhibition, The Time Is Always Now, is a landmark study of the Black figure and its representation in contemporary art. The show opened at the National Portrait Gallery, London and is travelling to multiple venues in the USA, including The Philadelphia Museum of Art.Eshun's writing has appeared in publications including the New York Times, Financial Times, The Guardian, The Observer, Esquire and Wired. His latest book is a work of creative non fiction called The Strangers, published by Penguin in September 2024.Follow @EkowEshun or www.ekoweshun.co.uk/Buy The Strangers, his new book from Waterstone's. Learn more:https://www.penguin.co.uk/books/319734/the-strangers-by-eshun-ekow/9780241472026 Hosted on Acast. See acast.com/privacy for more information.

Oriana speaks with artist Nando Messias about the hypervisibility of their trans-feminine identity, the risks this entails and how it informs their work in the medium of performance. Importantly, Messias's work also allows them to live out their fantasies, including performing Pina Bausch's choreography, wearing the gown and going to the ball.  Nando Messias is a Brazilian-born, London-based performance artist, actor, and academic working between art, dance, theater, and queer theory. Their performances combine beauty with a fierce critique of gender, visibility, and violence. Messias has performed in the UK and internationally, at venues such as The Royal Court, Hayward Gallery, V&A, Tate Britain, Roundhouse, Royal Vauxhall Tavern, and ICA.  Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show.Artworks mentioned: The O Show: Without sacrificing her femininity (2018) by Oriana Fox, featuring Nando MessiasSissy's Progress (2014-15) by Nando Messias The Pink Supper (2019) by Nando Messias and Biño SauitzvySissy! (2009-2011) by Nando MessiasThe Powers That Be (2015) by CassilsCredits:Produced, edited and hosted by Oriana FoxOriginal theme song written and performed by Paulette HumanbeingBackground music loop by Teddybeast6Photo of Nando Messias by Sofia Natoli Special Thanks to Gavin Butt, Lara Perry, Sven Van Damme, Katie Beeson and Janak Patel***Would you like to see your name in the above credits list? In a couple of short steps, you can make that happen by supporting this podcast via Patreon.***Send us a textVisit www.theoshow.live for regular updates or follow us on Instagram.

Talk Art Live, recorded at Apple Covent Garden. We meet Rebecca Lucy Taylor aka Self Esteem to celebrate her first new music in 3 years, the new single Big Man featuring Moonchild Sanelly.Recorded in front of a live audience of 400 art lovers, we explore her rise to fame over the past few years, what it was like playing the Sally Bowles lead in Cabaret on London's West End and her love of art and how artists continue to inspire her creative process while recording her third album. We discuss her admiration for artists including Lindsey Mendick, Marina Abramović, Tracey Emin, Cindy Sherman, Corbin Shaw and Jenny Holzer. Her passion for visiting museums like Yorkshire Sculpture Park, Hayward Gallery and artist degree shows, responding to Tony Soprano and masculine archetypes in her new imagery and what it feels like to be permanently hanging on the walls in the National Portrait Gallery collection in a portrait by photographer Karina Lax.Rebecca Lucy Taylor, known professionally by her stage name Self Esteem, is an award winning English singer-songwriter. Nominated for the Mercury Music Prize for her last hit album, Prioritise Pleasure, Self Esteem had sell-out tours at ever-growing venues across the UK and played the largest gigs of her career including Glastonbury – in recognising herself and others, Rebecca Taylor has made countless people feel esteemed.We love Self Esteem SO much! You can stream her new single, which is without doubt THE song of the summer BIG MAN, and also listen to her award-winning album PRIORITISE PLEASURE now at Spotify, Apple or wherever you listen to your music!!! View her new video for BIG MAN here: https://www.youtube.com/watch?v=mteCEloA1bsFollow @SelfEsteemSelfEsteem on Instagram and @SelfEsteem___ on Twitter. Hosted on Acast. See acast.com/privacy for more information.

This week: Just Stop Oil's Stonehenge protest. On Wednesday, two activists sprayed orange powder paint made from cornflour on to three of the boulders at Stonehenge, prompting outrage and some support. Before this latest action, in an article for the July/August print edition of The Art Newspaper, John Paul Stonard had argued that Just Stop Oil's museum-based protests add up to “one of the most successful campaigns of civil disobedience in history”. He reflects on whether the latest protests reinforce this conviction. At the Hayward Gallery in London, the Bahamian-born, US-based artist Tavares Strachan has just opened his first major survey exhibition. We go to the gallery to talk to him. And this episode's Work of the Week is Janus Fleuri by Louise Bourgeois, made in 1968. It is one of the highlights of Unconscious Memories, a show in which Bourgeois's sculptures and installations are installed alongside the historic works in the Galleria Borghese in Rome. We speak to Cloé Perrone, the co-curator of the exhibition.Tavares Strachan: There Is Light Somewhere, Hayward Gallery, London, until 1 September.Louise Bourgeois: Unconscious memories, Galleria Borghese, Rome, 21 June-15 September.Subscription offer: a free eight-week trial of a digital subscription to The Art Newspaper. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

Who are the rising talents in the art world poised for greatness? Discover them in ‘Up Next', Artnet's popular series of profiles introducing you to key visionaries on the verge of stardom. This month, we're airing two special Art Angle episodes spotlighting two figures shaping their fields in innovative ways. Subscribe to The Art Angle wherever you get podcasts to hear both episodes, and visit News.Artnet.com to catch the latest up-and-comers we're celebrating in ‘Up Next'. Yung Ma is an international curator who has held positions at some of the world's most prestigious art institutions. In 2021 he was appointed senior curator at London's Hayward Gallery, and previously held positions at M+ in Hong Kong, and the Centre Pompidou in Paris. He served not once, but twice, as the co-curator of the Hong Kong Pavilion at the Venice Biennale, and was the artistic director of the Seoul Mediacity Biennale in 2021. It's fair to say that Ma knows better than most what audiences want from museums, and his track record organizing acclaimed exhibitions of artists like Cao Fei, and a recent retrospective of Mike Nelson proves that he knows how to deliver. Artnet's London correspondent Vivienne Chow spoke to Ma about the changing tides within the realm of museums and his personal experiences at the forefront of contemporary art.

Who are the rising talents in the art world poised for greatness? Discover them in ‘Up Next', Artnet's popular series of profiles introducing you to key visionaries on the verge of stardom. This month, we're airing two special Art Angle episodes spotlighting two figures shaping their fields in innovative ways. Subscribe to The Art Angle wherever you get podcasts to hear both episodes, and visit News.Artnet.com to catch the latest up-and-comers we're celebrating in ‘Up Next'. Yung Ma is an international curator who has held positions at some of the world's most prestigious art institutions. In 2021 he was appointed senior curator at London's Hayward Gallery, and previously held positions at M+ in Hong Kong, and the Centre Pompidou in Paris. He served not once, but twice, as the co-curator of the Hong Kong Pavilion at the Venice Biennale, and was the artistic director of the Seoul Mediacity Biennale in 2021. It's fair to say that Ma knows better than most what audiences want from museums, and his track record organizing acclaimed exhibitions of artists like Cao Fei, and a recent retrospective of Mike Nelson proves that he knows how to deliver. Artnet's London correspondent Vivienne Chow spoke to Ma about the changing tides within the realm of museums and his personal experiences at the forefront of contemporary art.

This episode, we are hugely excited to be joined by the artist Igshaan Adams. Born in Bonteheuwel, a suburb in Cape Town, South Africa in 1982, Igshaan draws upon his background to contest racial, sexual and religious boundaries. This intersectional topography remains visible throughout his practice. Speaking about his work, Igshaan has said: "I'm interested in the personal stories recorded on the surface. What is recorded is not necessarily always a factual account but can be what is imagined – a combination of myth-making and meaning-making." Igshaan has had solo exhibitions around the world, including at The Art Institute of Chicago, the Hayward Gallery in London, and the Iziko South African National Gallery in Cape Town, just to name a few. Plus, this June, we can look forward to a new solo exhibition at the Hepworth Wakefield (which, as someone from the UK, Will is especially excited about). Igshaan has also participated in numerous international group shows, including the Islamic Arts Biennale (2023) in Jeddah, the Venice Biennale, and – where Will had the pleasure of getting to meet Igshaan in person, the São Paulo Bienal. He is also included in the show Unravel: The Power and Politics of Textiles in Art at the Barbican Gallery in London. It will run from the 13th of February to the 26th of May 2024. Igshaan is represented by blank projects, Thomas Dane Gallery, and Casey Kaplan. https://blankprojects.com/Igshaan-Adams https://www.thomasdanegallery.com/artists/363-igshaan-adams/profile/ https://caseykaplangallery.com/artists/igshaan-adams/

This is a free preview of a paid episode. To hear more, visit www.thegallerycompanion.comShortlisted for the Independent Podcast Awards 2023. Subscribe to receive exclusive weekly content at www.thegallerycompanion.comYou know when you're looking at art and somehow it manages to convey feelings or sensations that are going on for you at that particular moment in time? I had that experience over and over again this week as I walked round the new exhibition at the Hayward Gallery in London. It's called When Forms Come Alive and is a show exploring the history of contemporary sculptural forms from the past 60 years that are static and yet have some sort of dynamic tension in them. The different levels of energy emanating from the objects is palpable.In this week's episode I'm talking about the concept of ‘form is feeling', and how sculpture has the power to convey emotions and sensations, and I take a closer look at the work of three artists featured in this exhibition: Olaf Brzeski, Michel Blazy and Senga Nengudi.If you'd like to access the full podcast you can subscribe to it on my Substack publication at thegallerycompanion.com. A subscription gets you a podcast and email from me every Sunday and access to a lovely community of artists and art lovers from around the world.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.

Welcome to the Dior Talks podcast series dedicated to the eighth edition of Dior Lady Art, hosted by Paris-based journalist Katya Foreman. For this highly-anticipated edition, 12 artists from around the world were invited to transform the iconic Lady Dior handbag into a unique piece of art. With his 360-degree vision of the art world, as a gallerist and curator, our latest guest, the renowned Chinese contemporary artist Xu Zhen, combines installation, video, painting and performance in a singular, inventive universe that explores subjects ranging from socio-political taboos to consumerism and the principles of the art market. The artist's fascinating works subvert – not without irony – notions of artisanship and originality (relative to mass production), as well as concepts of ownership and globalization in the digital age. He thwarts and questions their effects on the art market, making visible certain dissonances and the resulting absence of logic. For Dior, the conceptual artist, who has exhibited at a number of prestigious art institutions and biennales internationally, including the Venice Biennale, MoMA PS1 in New York and the Hayward Gallery in London, wanted to reflect on the value and meaning of discourse. Inspired by his “Metal Language” series – and made of transparent plexiglass and mirror-effect printed fabric – his two versions of the Lady Dior are adorned with golden and silver phrases and exclamations applied on a reflective surface to evoke a screen. The words are edged with gold and silver chains, like speech bubbles, serving as symbols of the emptiness of a languagethat no longer has any real functionality.Tune in to the episode to learn more about the artist's playful and thought-provoking concept behind the bags.

À l'occasion de son exposition Critical Mass au Musée Rodin, l'artiste Antony Gormley dialogue avec Guitemie Maldonado, historienne de l'art et professeure aux Beaux-Arts de Paris, autour de sa pratique de sculpteur. Antony Gormley est né à Londres en 1950. Depuis plus de quarante ans, il explore les relations de l'homme à l'espace qui l'entoure à travers le corps humain. Il présente actuellement l'exposition Critical Mass au Musée Rodin (jusqu'au 3 mars 2024), dans laquelle ses œuvres dialoguent avec celles d'Auguste Rodin, invitant les visiteurs à s'interroger sur les deux sculpteurs et leur volonté commune d'utiliser le rôle du corps en tant que sujet de la sculpture mais aussi comme objet et outil de questionnement. Antony Gormley a exposé dans de nombreux musées à travers le monde, dont le Louisiana, Humlebæk (1989); la Konsthall de Malmö (1993); la Hayward Gallery, Londres (2007), le Kunsthaus de Bregenz (2010); le musée national de l'Ermitage, Saint-Pétersbourg (2011); les Deichtorhallen de Hambourg (2012); le Philadelphia Museum of Art (2019); la Royal Academy of Arts, Londres (2019); la National Gallery, Singapore (2021); le Voorlinden Museum, Wassenaar (2022); et le Lehmbruck Museum, Duisburg (2022). Il a participé à la Biennale de Venise en 1982 et 1986, et à la documenta de Kassel en 1987. Parmi ses sculptures monumentales installées dans l'espace public, on peut citer L'Ange du Nord à Gateshead (1998), Quantum Cloud (2000) au bord de la Tamise à Londres, Un autre endroit (2005) sur la plage de Crosby, À l'intérieur de l'Australie (2002–03) sur le lac salé Ballard et Exposure (2010) à Lelystad, au nord-est d'Amsterdam. En France, ses sculptures Cloud Chain (2012) et WITNESS VII et WITNESS VIII (2021) sont installées de façon permanente respectivement aux Archives nationales et à l'École du Louvre. Antony Gormley a reçu le Turner Prize en 1994, le South Bank Prize, dans la catégorie arts plastiques, en 1999 et le prix Bernhard Heiliger pour la sculpture en 2007. Nommé officier dans l'ordre de l'Empire britannique en 1997, il a été élevé au rang de chevalier pour services rendus aux arts en 2014. Entré à la Royal Academy en 2003 et au conseil d'administration du British Museum en 2007, Antony Gormley est membre honoraire du Royal Institute of British Architects et docteur honoris causa de l'université de Cambridge. Guitemie Maldonado est historienne de l'art et professeure aux Beaux-Arts de Paris.  Avec le soutien de la galerie Thaddaeus Ropac.Penser le Présent est réalisé avec le soutien de Société Générale.  Amphithéâtre d'HonneurJeudi 1 février 2024 Crédit photo : © Droits réservés

Curator and filmmaker Ashish Ghadiali connects climate science, contemporary art, and activism, cultivating a radical, cultural ecology in the countryside of south-west England, in their multidisciplinary exhibition, Against Apartheid. As environmental crises disproportionately affect Black and brown communities, and the resulting displacement often racialised, should we consider these states of ‘climate apartheid'? And could contemporary art help to bridge the gap between science and academics, and everyday action guidance? Against Apartheid, a multidisciplinary exhibition in Plymouth, puts these practices, histories, and geographies in conversation, from vast wallpapers charting global warming, to an intimate portrait of Ella Kissi-Debrah, and plantation paylists collected by the Barbadian artist Annalee Davis, linking land ownership in Scotland and the Caribbean from the 19th century Abolition Acts. Other works affirm how historic ecologies of empire – African enslavement, the middle passage, and the genocide of Indigenous peoples - continue to shape our present and future, in the geopolitics of international borders, migration, and travel. Activist and filmmaker Ashish Ghadiali talks about his work as ‘organisation', not curation, and how we can resist the individualisation that prevents effective collective political action. From his background in film, he suggests why museums and exhibitions might be better places for screenings than cinemas, outside of the market. We discuss why both rural countryside and urban city landscapes should be considered through the lens of empire, drawing on ‘post-plantation' and anti-colonial thinkers like Paul Gilroy, Françoise Vergès, Sylvie Séma Glissant, and Grada Kilomba. We relocate Plymouth's global history, a focus since #BLM, reversing the notion of the particular and ‘regional' as peripheral to the capital. We explore the wider arts ecology in south-west England, and how local connections with artists like Kedisha Coakley at The Box, and Iman Datoo at the University of Exeter and the Eden Project in Cornwall, also inform his work with global political institutions like the UN. Against Apartheid runs at KARST in Plymouth until 2 December 2023, part of Open City, a season of decolonial art and public events presented by Radical Ecology and partners across south-west England. For more, join EMPIRE LINES at the Black Atlantic Symposium - a free series of talks and live performances, celebrating the 30th anniversary of Paul Gilroy's formative text - which takes place from 24-26 November 2023: eventbrite.co.uk/e/black-atlantic-tickets-750903260867?aff=oddtdtcreator Part of JOURNEYS, a series of episodes leading to EMPIRE LINES 100. For more on Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary on EMPIRE LINES: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about climate justice, listen to artist Imani Jacqueline Brown on What Remains at the End of the Earth? (2022) at the Hayward Gallery on EMPIRE LINES: pod.link/1533637675/episode/639b20f89d8782b52d6350513325a073 WITH: Ashish Ghadiali, Founding Director of Radical Ecology and Co-Chair of the Black Atlantic Innovation Network (BAIN) at University College London (UCL). He is the Co-Chair and Co-Principal Investigator of Addressing the New Denialism, lead author on a publication on climate finance for COP28, and a practicing filmmaker with recent credits including Planetary Imagination (2023) a 5-screen film installation, for The Box, Plymouth, and the feature documentary, The Confession (2016) for BFI and BBC Storyville. Ashish is the curator of Against Apartheid. ART: ‘Radical Ecology, Ashish Ghadiali (2023)'. PRODUCER: Jelena Sofronijevic. EDITOR: Nada Smiljanic.

Hiroshi Sugimoto is famed for mixing wit and commentary with exquisitely tuned craftsmanship and bold conceptual thinking. The Japanese artist is the subject of a new exhibition at London's Hayward Gallery. We speak to Sugimoto, plus the show's curator, Ralph Rugoff, and the director of photography gallery Black Box Projects, Kathlene Fox-Davies. See omnystudio.com/listener for privacy information.

This week: it's the second year of Paris +, the event that has taken over from Fiac as the leading French art fair. How is Art Basel's French flagship faring amid geopolitical turmoil and economic uncertainty, and is Paris still on the rise as a cultural hub? We speak to Georgina Adam, an editor-at-large at The Art Newspaper, and Kabir Jhala, our deputy art market editor, who are in Paris, to find out. The largest ever exhibition of the work of the Japanese photographer Hiroshi Sugimoto opened last week at the Hayward Gallery in London, before travelling to Beijing and Sydney next year. We talk to its co-curator Thomas Sutton. And this episode's Work of the Week is La femme-cheval or the Horse-Woman, a painting made in 1918 by the French artist Marie Laurencin. She is the subject of a major survey, called Sapphic Paris, opening this week at the Barnes Foundation in Philadelphia in the US. Cindy Kang, who co-curated the exhibition, tells us more about this landmark work in Laurencin's life.Paris +, 20-22 October.Hiroshi Sugimoto: Time Machine, Hayward Gallery, London, until 7 January 2023; UCCA Center for Contemporary Art, Beijing, 23 March-23 June 2024; The Museum of Contemporary Art, Sydney, Australia, 2 August-27 October 2024.Marie Laurencin: Sapphic Paris, Barnes Foundation, Philadelphia, US, 22 October-21 January. Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Extraordinary Creatives Podcast, Ceri Hand speaks with visionary artist Jenkin van Zyl about his journey from suburban life to the vibrant club and squat party culture of London. Jenkin is a multi-talented artist who creates immersive worlds that challenge binary oppositions and celebrate otherness. He shares the challenges he has faced in funding and managing large-scale projects, and offers valuable advice to emerging artists. He also talks about his experience exhibiting at the prestigious Hayward Gallery and how artists can embrace their unique worldview to live differently. Jenkin's new project explores the intersection of fantasy, horror, and contemporary politics. This inspiring conversation is not to be missed! KEY TAKEAWAYS Jenkin van Zyl describes his style as a fusion of artistry and intensity, drawing inspiration from theatrical ballet and horror elements. Jenkin's creative journey started in London squat parties and queer club culture, where he explored and expressed complex ideas about masculinity and identity through unique costuming. Jenkin emphasizes the importance of discovering your authentic voice and surrounding yourself with honest, supportive confidants who can provide straightforward guidance. Jenkin's work is characterized by its expansive creativity, incorporating filmmaking, sculptural works, drawings, performance, and writing, often presented in installation and world-building contexts. Jenkin faces challenges in funding and developing the scale of his projects, as well as balancing the multifaceted demands of being an artist, including project management, marketing, and navigating the art industry's underfunding and limited resources. BEST MOMENTS "I describe myself as a filmmaker, but that kind of inevitably spills out into kind of sculptural works, drawings, performance, writing." "I think there is a sense of otherness that is applied onto queer bodies and the otherness of monsters that has been emphasised over the years, I think is interesting." "I think it's about having kind of confidence in your worldview and nurturing the parts of that that are like super unique and necessary." "I think it's about going and making sure that I was doing as much stuff that had like physical material to kind of refresh and recharge." "I think it's really important at points in the work that we make to kind of not focus on the overwhelming state of crisis, but to apply CPR to the embers of things that are really important to salvage the world of humanity." ABOUT THE HOST Meet Ceri Hand, the driving force behind countless creative success stories. A creative coach, entrepreneur, and dynamic speaker, she's committed to empowering creatives to realise their dreams and make a meaningful impact through her creative coaching, mentoring and training company www.cerihand.com. With three decades in the arts under her belt, Ceri has ridden the highs, the lows, and everything in between. Now, she's here to help you achieve your goals, your way. Find out how we can support you to become extraordinary here: https://linktr.ee/cerihandThis show was brought to you by Progressive Media

Multimedia artist and activist Imani Jacqueline Brown maps out the long history of extractivism in southern America, constellating 18th century settler colonialism, oil and gas extraction, and contemporary environmental crises. South of the Mississippi River sits the US state of Louisiana, a place transformed from ‘Plantation County' in the 1700s, to an ‘apartheid state', and today, ‘Cancer Alley', for its polluted land and water. Colonial legacies have contributed to contemporary environment problems - including Hurricane Katrina - and continue to shape community planning and housing, a phenomenon known as ‘extractivism'. Artist Imani Jacqueline Brown pushes back against the ‘segregation' of human/nature, and Black humans from humanity, in her multidisciplinary practice. The artist shares how culture is too ‘entangled' with public political action, and her ‘grassroots research' in permit applications awarded to fossil fuel businesses like Texaco (now Chevron) and the Colonial Pipeline Company. The artist describes how she has collaborated to map enslaved peoples' burial grounds, as marked by magnolia trees, highlighting pan-African traditions of ecological regeneration. Drawing on her work with Follow the Oil and Occupy Museums, Brown suggests that culture and capitalism are often closely linked - and the unique power of repackaging these projects in the form of artistic constellations. What Remains at the End of the Earth? (2022) is on view at Dear Earth: Art and Hope in a Time of Crisis, which runs at the Hayward Gallery in London until 3 September 2023, part of the Southbank Centre's Planet Summer. WITH: Imani Jacqueline Brown, artist, activist, writer, and researcher from New Orleans, now based in London. She is a research fellow at Forensic Architecture. ART: ‘What Remains at the End of the Earth?, Imani Jacqueline Brown (2022)'. IMAGE: Installation View. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

Danielle goes on a studio visit with the artist and fashion designer, Richard Malone. Richard was born in Ireland in 1990. He studied at Central Saint Martins and after graduating became a name to watch on the London fashion scene in the 2010s. His work has been recognised for its sensitivity towards the environment. As well as being awarded the prestigious LVMH Grand Prix scholarship  and Deutsche Bank's Award for Fashion, he has won the Woolmark Prize for creating a fully biodegradable collection. The intervening years have seen his practise become more art-focused and this year he was the winner of The Golden Fleece Award for Visual Art, Ireland's largest and most prestigious award for contemporary art. As well as his working-class upbringing in Wexford, rural Southeast Ireland, his work explores ideas of queerness,and otherness through sculpture, performance, textiles and installation. For 2023, he created a dance performance for the opening of the Hayward Gallery's Dear Earth - Art and Hope in a Time of Crisis exhibition, and has a large site-specific piece on display at the Summer Exhibition at the Royal Academy of Arts. Danielle visited Richard at his studio in London to discuss his "radical and optimistic" work.Further reading: Richard Malone on InstagramHayward GalleryRoyal Academy of Arts 

Russell & Robert meet leading artist Lindsey Mendick, recorded in front of an intimate live audience at Jupiter Artland, Edinburgh. We explore Lindsey's major new solo exhibition 'Sh*tfaced', her first solo show in Scotland. Running until 1st October 2023, this multi-layered exhibition of new ceramics, film and sculptural installations is presented across all of Jupiter Artland's galleries.Lindsey Mendick's work is one of confession, where taboo topics and uncomfortable truths are revealed with candour and humour. Her work is characterised by an intense attention to detail and verisimilitude, whereby everyday scenes – a nightclub, a kitchen, a bedroom – are expertly crafted in ceramic and staged in larger-than-life tableaux.Mendick has transformed Jupiter's Ballroom Gallery and Steadings Gallery into a diptych of nightlife; one that draws inspiration from the gothic novella The Strange Case of Dr Jekyll and Mr Hyde with all its troubling contentions of virtue, appearance, public shaming and masking. Like an anxiety dream come to life, there is a sobering mirroring of contemporary binge drinking culture and gender-based shaming presented in the work, although the anticipated judgemental tone is noticeably absent. By subverting the genre of morality tale, Mendick's work opens a space where our public and private faces can be encountered without prejudice.Lindsey Mendick graduated from Royal College of Art in 2017 and is currently based in Margate. Her work has been shown in solo exhibitions at Carl Freedman Gallery, Margate. Her work was also included in the major exhibition, Strange Clay: Ceramics in Contemporary Art at the Hayward Gallery, London. With her partner, the artist Guy Oliver, Mendick initiated Quench Gallery in Margate to provide vital support for early career artists through exhibitions and mentoring.This is second Talk Art episode with Lindsey - to listen back to the first, you can find it in the archive Season 8, Episode 4 (recorded in 2020). Also found within Talk Art's new book: The Interviews.Visit LINDSEY MENDICK: SH*TFACED from 15th July - 1st October 2023. View more details: https://www.jupiterartland.org/art/lindsey-mendick-sht-faced/Follow @LindseyMendick and @JupiterArtlandJupiter Artland is an award-winning contemporary sculpture garden located just outside Edinburgh. Founded in 2009 by philanthropist art collectors Robert and Nicky Wilson, Jupiter Artland has grown into one of Scotland's most significant arts organisations, with an international reputation for innovation and creativity – in 2016 this was recognised by a nomination for ArtFund's Museum of the Year. Set over 100 acres of meadow, woodland and indoor gallery spaces, Jupiter Artland is home to over 30 permanent and unique site-specific sculptures from artists Phyllida Barlow, Christian Boltanski, Charles Jencks, Tracey Emin and Antony Gormley, as well as a seasonal programme of carefully curated exhibitions and events from a plethora of artists, both emerging and established. Hosted on Acast. See acast.com/privacy for more information.

 ‘Dear Earth' is the show at the Hayward Gallery on London's south Bank that represents a coming together of 15 global artists who are responding to the crisis our planet is facing.   We talk to Rachel Thomas, the chief curator and two of the artists exhibiting there, Ackroyd & Harvey.  Ackroyd & Harvey have contributed a series of portraits of environmental activists made from seedling grass. Rachel tells us about the other exhibits there, including the moving and enchanting film ‘The Future: Sixes and Sevens' by Cornelia Parker, depicting small children talking about their fears and hopes.  Other works include photographs and film of the devastated Kichwa Territory in Peru by Richard Mosse, John Gerrard's ‘Surrender', a digital installation of a flag which heralds visitors into the show, Jenny Kendler's large scale sculpture of birds' eyes – many of the birds are in danger of extinction or already extinct -  and the five-metre-high ‘Living Pyramid' at the show's heart by 93-year-old Agnes Denes. We also hear about the Hayward's beautiful roof garden created by Grounded Ecotherapy, set up to help recovering addicts, alcoholics and people with mental health problems.  The garden was commissioned 11 years ago and now contains 250 species of wild indigenous plant – more than any other roof terrace in the world.  It's a devastating but beautiful exhibition, conceived to convey hope, start conversations and explore solutions via the artists' lens.

New Season 17!!! For the first episode of our NEW SEASON we meet the legendary photographer and activisit AJAMU X, at his studio on Railton Road, South London.Ajamu X (1963, Huddersfield, UK) is a photographic artist, scholar, archive curator and radical sex activist best known for his imagery that challenges dominant ideas around black masculinity, gender, sexuality, and representation of black LGBTQ people in the United Kingdom.He is the co-founder of rukus! Federation and the rukus! Black Lesbian, Gay, Bisexual, Trans, Queer + Archive and one of a few leading specialists on Black British LGBTQ+ history, heritage, and cultural memory in the UK. In 1997, Ajamu was the Autograph x Lightwork artist-in-residence in Syracuse, USA developing a series of self-portraits during his residency. He studied at the Jan van Eyck Akademie, Maastricht, The Netherlands, and is currently an PhD candidate at Royal College of Art, London. In 2022 Ajamu was canonised by The Trans Pennine Traveling Sisters as The Patron Saint of Darkrooms in his hometown Huddersfield and he received an honorary fellowship from the Royal photographic society.Ajamu's works have been shown in exhibitions in museums, galleries, and alternatives spaces across globally since the 1990s, his recent solo exhibitions include Archival Senoria at Cubitt Gallery, 2021. As well as included in several thematic group Very Private? at Charleston House, 2022; Fashioning Masculinities, Victoria and Albert Museum, 2022; Kiss My Genders, Hayward Gallery, 2019; Get Up, Stand Up Now, Somerset House, 2019; On our Backs: The Revolution Art of Queer Sex Work, Leslie Lohman Museum, 2019. Ajamu's works are held in collections including Tate, London; Gallery of Modern Art, Glasgow; Autograph, London; Neuberger Museum of Art, New York amongst others. His second monograph AJAMU: ARCHIVE was published in 2021.Ajamu X: The theoretical provocations, politics, and aesthetic qualities of my work unapologetically celebrate black queer bodies, the erotic, sex. pleasure and play. The work also poses the imagination/fiction in opposition to the constant framing of our complex and nuanced experiences from with a sociological framework, which constitutes a paradigm based on deficit. As a fine art studio-based and darkroom led photographer working with both digital/large format cameras and early analogue printing processes, my practice privileges process over outcome. The tangible/tactile sensuous elements of fine art photography are essential to my visual-photographic philosophy.In tandem with this, the work explores the ‘thingness; of the photographic print as well as the sensual, material attributes of both print and image, without allowing the usual flattening -out of the photographic image to simple notions of representation to enter the frame.Follow @AjamuStudios and visit his major solo exhibition in London: https://autograph.org.uk/exhibitions/ajamu-the-patron-saint-of-darkroomsAjamu: The Patron Saint of Darkrooms runs until Saturday 2nd September 2023, Free entry! @AutographABP Gallery address: Autograph, Rivington Place, London EC2A 3BA, UK Hosted on Acast. See acast.com/privacy for more information.

We meet legendary artist MIKE NELSON!!!Nelson's installations take the viewer on enthralling journeys into fictive worlds that eerily echo our own.Constructed with materials scavenged from salvage yards, junk shops, auctions and flea markets, the immersive installations have a startling life-like quality.Weaving references to science fiction, failed political movements, dark histories and countercultures, they touch on alternative ways of living and thinking: lost belief systems, interrupted histories and cultures that resist inclusion in an increasingly homogenised and globalised world.Utterly transforming the spaces of the Hayward Gallery, the exhibition features sculptural works and new versions of key large-scale installations, many of which are shown here for the first time since their original presentations.Nelson represented Great Britain at the 54th Venice Biennale in 2011 and has shown in leading galleries around the world. He has also been featured in numerous international exhibitions, including the 13th Biennale of Sydney, the 8th Istanbul Biennial and the 13th Lyon Biennale.Follow @HaywardGalleryVisit Mike's major solo exhibition EXTINCTION BECKONS at Hayward Gallery, runs until 7th May 2023: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/mike-nelson-extinction-beckons Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Mike Nelson about his influences—from the worlds of literature, film, music and, of course, art—and the cultural experiences that have shaped his life and work. Nelson, born in 1967 in Loughborough in the UK, is one of the most significant British sculptors and installation artists of this century. He has spent the past three decades assembling materials gathered in junkyards, flea markets, online auctions, even street-corner fly tips into often labyrinthine sculptural environments. He creates distinctive spaces that suggest fictional (and often science-fictional) narratives, while alluding to diverse histories, obscure countercultural or political movements and current affairs as well as his own biography. He discusses the early influence of Graham Sutherland and Francis Bacon, his elation at discovering the work of Paul Thek, how fiction—and science-fiction writers like Stanislaw Lem, J.G. Ballard and the Strugatsky brothers—liberated his approach to art making, and the enduring influence of film-makers including Jean-Luc Godard and Sergei Parajanov.Mike Nelson: Extinction Beckons, Hayward Gallery, London, until 7 May. Hosted on Acast. See acast.com/privacy for more information.

The British artist has represented Great Britain at the Venice Biennale, shown work at the Lyon, Sydney and Istanbul biennales and exhibited at some of the world's finest galleries. We explore his new survey at London's Hayward Gallery, ‘Extinction Beckons', which is a bold and exciting collection of installations.

Reviews of the new immersive show David Hockney: Bigger & Closer (not smaller & further away) at Lightroom in London and Korean film Broker, with Larushka Ivan Zadeh and Ekow Eshun. Installation artist Mike Nelson on the art in his new retrospective at the Hayward Gallery in London and the challenge of reconstructing such epic work. Plus AI writing. Neil Clarke, Editor of The American science fiction and fantasy magazine Clarkesworld, on suspending new submissions after being swamped by AI-generated stories, and why AI could be a serious challenge the way we think about literature. Presenter: Tom Sutcliffe Producer: Sarah Johnson Photo: David Hockney with his work at Lightroom. By Justin Sutcliffe

This week's episode is such a treat. Over the summer I devoured Ekow Eshun's amazing book 'In the Black Fantastic', the catalogue of the exhibition of the same name at the Hayward Gallery which, sadly, I didn't get to see. But even just the book was an incredible feast for the imagination, as was his concept of the Black Fantastic. If you enjoyed our podcast on Afrofuturism, you're going to love this one. It was such an honour to chat with Ekow, and I think you are really going to enjoy this journey into the Black Fantastic. As always, do let me know what you think!   Please consider supporting the podcast by visiting www.patreon.com/fromwhatiftowhatnext and becoming a patron.

Frieze Masters presents this conversation with Tyler Mitchell & Zoé Whitley in partnership with Gagosian (@gagosian). Their conversation explores Mitchell's new exhibition, Chrysalis, at Gagosian, and a special commission for this year's edition of Frieze Masters that reflects on his conceptual and editorial photography practices. His work is rooted in reinterpreting the tropes employed in both the Western canon of portraiture and the contemporary fashion magazine.  "Sitting at the metaphorical edges of these pictures is this idea of what was socially denied and what was not psychologically available to Black folks; this idea of hypervigilance and the ability to exist freely or not exist freely in public space, specifically in America. These works glean into that tone...Chrysalis is about cocooning away from the world." –Tyler Mitchell  Tyler Mitchell (@tylersphotos) is an artist, photographer and filmmaker based in Brooklyn. Zoé Whitley (@zoe.whitley) is Director of the Chisenhale Gallery, London, having previously worked as a curator for the V&A, Tate and Hayward Gallery.  Find images of artwork discussed here. About the Frieze Masters Podcast  Exploring themes of identity, originality, geopolitics and Blackness through a historical lens, the new Frieze Masters Podcast is now available. Bringing together some of today's most celebrated artists, art historians and curators, the podcast launches with the Talks programme from the 2022 edition of Frieze Masters – one of the world's leading art fairs – and offers compelling insight into the influence of historical art on contemporary perspectives and creativity.     www.frieze.com  @friezeofficial 

It revolutionised domestic chores, signified modernity and has been made into packaging, textiles, electrical machinery but plastic has also contributed to our throw-away society. Clay is turned into bricks, cookware and used in industrial processes including paper making, cement production, and chemical filtering and increasingly contemporary artists are taking up the material. As exhibitions at the V&A Dundee and the Hayward Gallery in London display the different qualities and associations of these materials Lisa Mullen is joined by ceramic artist Lindsey Mendick, curators Cliff Lauson and Johanna Agerman Ross, and Kirsty Sinclair Dootson who studies materials in visual culture. Plastic: Remaking Our World is at the V&A Dundee. It features product design, graphics, architecture and fashion from the collections of the V&A and Vitra Design Museum, and other collections. It is the first exhibition produced and curated by V&A Dundee, the Vitra Design Museum and maat, Lisbon, with curators from V&A South Kensington. Strange Clay: Ceramics in Contemporary Art is at the Hayward Gallery in London until 8 January 2023 and features 23 international artists. You can find a collection of programmes exploring Art, Architecture, Photography and Museums on the Free Thinking programme website https://www.bbc.co.uk/programmes/p026wnjl Producer: Torquil MacLeod

Woody De Othello (b. 1991) is a Miami-born, California-based artist whose subject matter spans household objects, bodily features, and the natural world. Everyday artifacts of the domestic tables, chairs, television remotes, telephone receivers, lamps, air purifiers, et cet era—are anthropomorphized in glazed ceramic, bronze, wood, and glass. Othello's sense of humor manifests across his work in visual puns and cartoonish figuration. “I choose objects that are already very human,” says Othello. “The objects mimic actions that humans perform; they're extensions of our own actions. We use phones to speak and to listen, clocks to tell time, vessels to hold things, and our bodies are indicators of all of those.” Othello's scaled-up representations of these objects often slump over, overcome with gravity, as if exhausted by their own use. This sophisticated gravitational effect is a central formal challenge in his work. Informed by his own Haitian ancestry, Othello takes interest in the supernatural objects of Vodou folklore, nkisi figures, and other animist artifacts that inspire him. Woody's work is part of epic new group show at Hayward Gallery, London: Strange Clay: Ceramics in Contemporary Art runs from 26 Oct 2022 –⁠ 8 Jan 2023.Learm more here: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/strange-clay-ceramics-contemporary-artFollow @WoodyOthello on Instagram and his official website: http://woodyothello.com/Special thanks to @Hayward.Gallery and Karma NY and Jessica Silverman, SF. Hosted on Acast. See acast.com/privacy for more information.

THIS WEEK on the GWA Podcast, we interview one of the most esteemed young painters working in the world right now, LOUISE GIOVANELLI! Giovanelli's paintings bridge art history and modern pop-cultural narratives and explore the tensions between representation/ abstraction, fiction/ reality, historic/ contemporary, painting/ digital sphere. Retaining the meticulousness of renaissance paintings and coalescing it with 80s and 90s music videos, Giovanellis's delicate and electrically luminous scapes offer a language rooted in history yet feel completely otherworldly. On a screen they feel like one thing, but meet them in the flesh, and they become real, with dabs of white oil paint SPARKLING off the canvas. For me, they are time-based. Sit with these paintings and it's like their surfaces are constantly moving. Born in the 90s and now based in Manchester, Giovanelli has quickly risen up the ranks as one of Britain's leading young painters. Having completed her BA at Manchester School of Art, and her MA at the Stadeschule in Frankfurt with professor Amy Silman in 2020, Louise Giovanelli has since exhibited all over the world, including at Grimm Gallery, the Hayward Gallery's Mixing it Up, Manchester Art Gallery, and more recently, at White Cube in London. Giovanelli's paintings are theatrical and stage-like. She creates a language that feels like a heightened version of reality that looks to renaissance painting and film stills and encompasses photography, classical sculpture, architecture and painting. They feel almost too good to be true, full of mystery and enigma. As the artist has said herself – ‘These curtains, once thrown back, offer this promise to enter another realm – and once closed, contain that promise. The painting hangs in a suspended state, leaving us wondering whether the show is over, or in fact just beginning.' -- ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY CHRISTIES: www.christies.com

Robert Bound, Francesca Gavin and Ossian Ward get to the root of the Hayward Gallery's new exhibition.See omnystudio.com/listener for privacy information.

Ben Luke talks to Lina Iris Viktor about her influences—including writers, film-makers, musicians, and, of course, other artists—and the cultural experiences that have shaped her life and work. Born in the UK in 1987, the Liberian-British artist works in painting, sculpture, photography, performance and installation. She creates works that reflect on her own identity amid broader themes—history and geopolitics, astrophysics and maths, ancient myths and belief systems—to explore universal implications of blackness. Among much else, she discusses her love of Rebecca Horn's Concert for Anarchy (1990); the influence of Chris Ofili, Louise Nevelson and Seydou Keïta; her enduring engagement with the writing of Jun'ichirō Tanazaki and Sylvia Plath; and her response to the films of Ingmar Bergman and Carl Dreyer. And, as usual, we find out about her life in the studio, and ask the ultimate question: what is art for?In the Black Fantastic, Hayward Gallery, London, until 18 September; Rite of Passage: Lina Iris Viktor with César, Louise Bourgeois, Louise Nevelson and Yves Klein, LGDR, London, until 17 September See acast.com/privacy for privacy and opt-out information.

This week WGSN Business Development Manager Sam Boakye and Insight Strategist Mel Larsen talk to British writer, curator and broadcaster Ekow Eshun about his new exhibition "In The Black Fantastic" now showing at London's Hayward Gallery. Ekow has been described as a ‘cultural polymath' by The Guardian, he is chairman of the Fourth Plinth Commissioning Group, overseeing the most prestigious public art programme in the UK, and the former Director of the ICA, London. He is the author of critically lauded books Black Gold of the Sun, Africa State of Mind, and, most recently In the Black Fantastic. At WGSN part of our STEPIC methodology that we use in our trend forecasting includes looking at culture and creativity, and so in that vein we invited Ekow on the show to talk about the exhibition and accompanying book. We spoke more widely about themes of The Black Fantastic vs Afrofuturism, the power of speculative film and fiction, the relevance of artists from Chris Ofili to Beyonce in expressing the Black experience and the concept of double consciousness.

In this episode I am in conversation with Ekow Eshun. Ekow is a writer and the curator of In the Black Fantastic, currently on show at the Hayward Gallery, London.In the Black Fantastic is a new exhibition of 11 contemporary artists from the African diaspora, who draw on science fiction and myth to question our knowledge of the world. Although the exhibition encompasses themes within Afrofuturism, Ekow and I discuss why and how he is drawing from ideas distinct from this movement.We explore the works on display including the epic themes of exploration and renewal present throughout the show. Ekow also shares his process of personal development throughout the three year curation process, which started prior to the BLM uprisings of 2020.In the Black Fantastic is showing until September 18 2022 at Hayward Gallery, London.If you'd like to support this independent, award winning podcast through Patreon or shout me a coffee via Ko-fi I would be delighted! Thank you!Producer & Host Lou MensahMusic by Brian Jackson from the legendary duo Gil Scott Heron & Brian Jackson. Check out his new album 'This is Brian Jackson' here Additional sound and mixing by CA Davis. Check out his new film 'Inhuman Figures' at the Smithsonian here Hosted on Acast. See acast.com/privacy for more information.

From Beyonce to Octavia Butler, from Chris Ofili to Jordan Peele, the speculative and the mythical have been used as powerful tools to shape Black art, film, music and writing. Ekow Eshun, who has curated a new exhibition on this theme at the Hayward Gallery, joins Shahidha Bari along with DJ/turntablist NikNak and New Generation Thinker Louisa Egbunike to discuss how this idea of the Black Fantastic relates to and in some ways challenges Afrofuturism. In the Black Fantastic runs at the Hayward Gallery, London until 18th September 2022. The exhibition is accompanied by a book and by a season of films at the BFI, including Djibril Diop Mambéty's 1973 film Touki Bouki which you can hear being discussed by Matthew Sweet and guests in another edition of Free Thinking available on BBC Sounds. NikNak is touring the UK with Sankofa, her latest multi-media project and album, from 12th-18th July. Details can be found on the Sound UK website. Producer: Torquil MacLeod

Curator Ekow Eshun on creating In The Black Fantastic: the UK's first major exhibition dedicated to the work of Black artists who use fantastical elements to address racial injustice and explore alternative realities. With works from 11 contemporary artists from the African diaspora, it delves into myth, science fiction, traditions, and the legacy of Afrofuturism to address colonialism, racial politics and identity. Encompassing painting, photography, video, sculpture and mixed-media installations, the exhibition features artists including Nick Cave, Hew Locke, Chris Ofili and Lina Iris Viktor. Dubbed the Queen of the Qanun, Maya Youssef is a composer and virtuoso of the Syrian instrument. The qanun is typically played by men, but Maya broke the mould as a young musician growing up in Damascus. Her new album ‘Finding Home' deals with emotions dealing with the loss of her homeland as well as being inspired by coping with lockdowns, and weaves a musical tapestry of traditional Syrian music with Western classical and jazz. Maya performs live in the studio. The artist Colin Davidson is best known for his portraits of high profile figures including Bill Clinton, Brad Pitt and the Queen. A new exhibition of his work spans his whole career, including some works painted while he was still at school. Kathy Clugston joins Colin Davidson on a walk around the exhibition to hear about his process when capturing famous faces and why he never imagined he'd be a portrait painter. Presenter: Elle Osili-Wood Producer: Kirsty McQuire Image: Lina Iris Viktor, Eleventh, 2018. Pure 24 karat gold, acrylic, ink, copolymer resin, print on matte canvas. © 2018. Courtesy the Artist. From In The Black Fantastic at London's Hayward Gallery.

You're listening to Lingo Phoenix's word of the day for September 7. Beer Lover's Day Salami Day Buy a Book Day Today's word is exhibition, spelled e-x-h-i-b-i-t-i-o-n. exhibition /ˌeksəˈbɪʃən/ noun [countable] especially British English a show of paintings, photographs, or other objects that people can go to see The museum is staging an exhibition of Picasso's work. Hayward Gallery is mounting an impressive exhibition of new British artists. Crowds of people flocked to see the Picasso exhibition. She pretends that she knows all about the latest films and art exhibitions, but it's all a pose. There were several famous paintings at the exhibition. an exhibition of early American crafts Rumored to have had far less tickets available compared to the 2019 offering, the contest and exhibition fostered even more of the casual ambiance and sense of community that it has become known for. — Viju Mathew, Robb Report, 19 Aug. 2021 This year, for the first time, the concert will include a young children's art exhibition and young piano performers. — cleveland, 14 Aug. 2021 With your word of the day, I'm Mohammad Golpayegani. We love feedback. If you want to email us, our address is podcast@lingophoenix.com, or you can find me directly on Twitter and message me there. My handle is @MoeGolpayegani. Thanks for listening, stay safe, and we'll see you back here tomorrow with a new word.

Talk Art is back for SEASON 13!!!! Woohooo!!!We meet leading artist Caroline Walker.Walker's paintings reveal the diverse social, cultural and economic experiences of women living in contemporary society. Drawing on her own photographic source material, Walker provides a unique window into the everyday lives of women. Blurring the boundary between objectivity and lived experience, Walker highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit. Walker explains: “The subject of my paintings in its broadest sense is women's experience, whether that is the imagined interior life of a glimpsed shop worker, a closely observed portrayal of my mother working in the family home, or women I've had the privilege of spending time with in their place of work. From the anonymous to the highly personal, what links all these subjects is an investigation of an experience which is specifically female.”Caroline Walker was born in 1982 in Dunfermline, Scotland. She lives and works in London.Blurring the boundary between objectivity and lived experience, the artist highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit.Previously encompassing locations such as Los Angeles, Palm Springs and the UK, Walker's scenes hint at the complexity of her subjects' lives whilst completely avoiding narrative resolution. Recent works have seen Walker cast her eye to her immediate surroundings in East London, reflecting on her wider community and the significance of encounters with anonymous individuals who are nevertheless integral to our daily existence. Often exploring the notion of ‘women's work', the artist captures specific spaces such as pharmacies, tailors, beauty salons, laboratories, bathhouses and modernist apartments.Walker presented a new body of large-scale paintings at the historic Fitzrovia Chapel in February 2022. The works were created following her residency at University College Hospital's maternity wing, during which the artist shadowed female midwives, nurses, doctors and cleaners. Sketches from the series were displayed by UCLH Arts at Street Gallery, London and the project was accompanied by an illustrated catalogue.Examples will also be included as part of a two-person presentation with Laura Knight at Nottingham Castle in March 2022.KM21, The Hague hosted ‘Windows', a significant solo exhibition of the artist's work in August 2021. An expansive show of Walker's preparatory studies and large-scale paintings titled ‘Women's Work' opened in May 2021 at Midlands Art Centre (MAC), Birmingham, UK. She features in the Hayward Gallery touring exhibition ‘British Art Show 9' in 2022. Walker's first solo show at Stephen Friedman Gallery, London will take place in April 2022, focussing on the artist's sister-in-law Lisa and her experience of motherhood. Walker obtained an MA in painting from Royal College of Art, London in 2009 and a BA (Hons) from Glasgow School of Art in 2004. Walker is also represented by GRIMM, Amsterdam / New York and Ingleby Gallery, Edinburgh. See acast.com/privacy for privacy and opt-out information.

New York, 1984: the iconic artist Andy Warhol meets the rising star Jean-Michel Basquiat. Their relationship as they work together on a landmark exhibition is at the heart of the world premiere of Anthony McCarten's new drama, The Collaboration, at the Young Vic theatre. The director Kwame Kwei-Armah tells Kirsty Wark how the drama pulls apart the creative, racial and sexual tensions between the two, and explores artistic reputations and rivalries. The artist Louise Bourgeois was already in her 70s in the 1980s and slowly getting the attention she deserved. An exhibition at the Hayward Gallery in London focuses on the decades that followed as she had a late burst of creativity using fabric and textiles. The curator of Woven Child Ralph Rugoff explains how the artist began to incorporate clothes from all stages of her life into her art, mining themes of personal trauma, memory, identity and reparation. The Somali-British poet Warsan Shire has been hailed as the voice of a generation, who has collaborated with the superstar Beyoncé. Her debut collection, Bless The Daughter: Raised By A Voice In Her Head is full of sounds and smells, exploring the lives of refugees and the relationship between mothers and daughters. While she is celebrated as an exciting poet of our time, Shire says she looks to Somalia's literary heritage for inspiration. Producer: Katy Hickman Photo credit: Jeremy Pope and Paul Bettany in 'Collaboration' (c) Marc Brenner. Concept and design by Émilie Chen.

Hello Autumn! We are so ready for you. It's been a disappointing summer weather-wise here in the UK, so we are very excited for a September full of art and exhibitions. New exhibitions include Doron Lamberg at Victoria Miro, Helen Frankenthaler at Dulwich Picture Gallery, Tacita Dean at Frith Street Gallery and Surrealist Female Artists at the Whitechapel. Our main story focuses on Poland, and a controversial ‘anti-cancel culture' art exhibition that was set to open at Ujazdowski Castle Center for Contemporary Art. We discuss some of the 30 artists included, and the protests surrounding it from Poland's anti-fascist league and various LGBTQ+ and Jewish organizers. We also look back on the lives of two artists who passed away recently: Dame Elizabeth Blackadder and Chuck Close, before turning to our Artist Focus: Cindy Sherman. Sherman is an American artist whose work consists primarily photographic self-portraits, depicting herself in many different contexts and as various imagined characters. We try to dig down to the ‘real' Cindy Sherman, if that's possible!SHOW NOTES: Charleston: https://www.charleston.org.uk/ A South London Makers Market: https://asouthlondonmakersmarket.co.uk/ Kate Emma Lee Ceramics: https://kateemmalee.com/ Mimi Dickson Paintings: https://www.etsy.com/uk/shop/mimidickson Harriet Shaw Rugs: https://www.instagram.com/harrietsayshi/?hl=en Doron Lamberg ‘Give Me Love' at Victoria Miro until 6 November 2021: https://online.victoria-miro.com/doron-langberg-london-2021/ Helen Frankenthaler ‘Radical Beauty' at Dulwich Picture Gallery from 15 September 2021 - 18 April 2022: https://www.dulwichpicturegallery.org.uk/whats-on/exhibitions/2021/may/helen-frankenthaler-radical-beauty/ ‘Mixing it up: Painting Today' at Hayward Gallery from 9 September to 12 December 2021: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/mixing-it-painting-today Tacita Dean at Frith Street Gallery from 17 September to 30 October 2021: https://www.frithstreetgallery.com/exhibitions/tacita-dean-4 Phantoms of Surrealism at the Whitechapel Gallery, until 12 December 2021: https://www.whitechapelgallery.org/exhibitions/phantoms-of-surrealism/ Ben Crase: https://www.instagram.com/_gummy_beats_/?hl=en Jenna Gribbon: https://www.instagram.com/jennagribbon/?hl=en Ania Hobson: https://www.aniahobson.com/ 100 Contemporary Female Artists You Need to Know: https://www.marylynnbuchanan.com/blog/100-contemporary-female-artists-you-need-to-know-2021 Dame Elizabeth Blackadder: https://www.theguardian.com/artanddesign/2021/aug/25/dame-elizabeth-blackadder-obituaryChuck Close: https://www.theguardian.com/artanddesign/2021/aug/20/chuck-close-obituary Polish State Museum has put on an anti-cancel culture exhibition: https://www.independent.co.uk/news/warsaw-polish-islamophobic-swedish-jews-b1909742.htmlhttps://news.artnet.com/art-world/ujazdowski-castle-exhibition-2003364 Beyoncé and Jay-Z Pose with Long-Unseen Basquiat in Tiffany Campaign: https://www.artnews.com/art-news/news/beyonce-jay-z-tiffany-basquiat-1234602125/ Cindy Sherman: https://www.theguardian.com/artanddesign/2011/jan/15/cindy-sherman-interview https://www.theguardian.com/artanddesign/2019/jun/08/cindy-sherman-interview-exhibition-national-portrait-gallery

Where have the past few months gone? After an un-intentional hiatus, we are back with some exhibition recommendations, new artist finds and juicy art world stories. We discuss long lost artworks that have just turned up in Germany and Italy, cue speculation a plenty. Liz provides an update on her NFT experimentation, whilst we also discuss the big elephant in the Crypto Art room - climate change. And hindsight is a bitch if you're Banksy, after he loses an E.U. copyright court case thanks, in part, to his own statement that ‘Copyright is for Losers'. Our Artist Focus for this episode is German-British painter Frank Auerbach. Born in Berlin, his parents sent him to Britain in 1939 under the Kindertransport scheme. We discuss the importance of his influences in his life, including his teacher David Bomberg, and friends that include Leon Kossof, Francis Bacon and Lucien Freud. His friendship in particular with Kossof has been the subject of multiple articles and exhibitions in itself. SHOW NOTES: Hilary Pecis ‘Piecemeal Rhythm' at Timothy Taylor Gallery until 26 June 2021: https://www.timothytaylor.com/exhibitions/hilary-pecis-piecemeal-rhythm/ Adrian Berg ‘Paintings 1964-2010' at Frestonian Gallery until 3 July 2021: https://www.frestoniangallery.com/exhibitions/ Michael Armitage ‘Paradise Edict' at the Royal Academy until 19 September 2021:https://www.royalacademy.org.uk/exhibition/michael-armitage ‘The Making of Rodin' at the Tate Modern until 21 November 2021:https://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-rodin Igshaan Adams ‘Kicking Dust' at The Hayward Gallery until 25 July 2021: https://www.southbankcentre.co.uk/whats-on/art-exhibitions/igshaan-adams-kicking-dust?eventId=868262 Conor Murgatroyd: https://www.conormurgatroyd.com/ Sasha Gordon: http://www.sasha-gordon.com/ Corbin Shaw: https://gutsgallery.co.uk/artists/35-corbin-shaw/ Sanya Kantarovsky: https://www.luhringaugustine.com/artists/sanya-kantarovsky#tab:thumbnails Donna Huanca: https://www.simonleegallery.com/artists/192-donna-huanca/ Lucas Arruda: https://www.davidzwirner.com/exhibitions/2017/lucas-arruda Lost for 70 Years, Kandinsky Watercolor to Sell in Germany: https://www.artnews.com/art-news/market/rediscovered-wassily-kandinsky-watercolor-auction-ketterer-kunst-1234593056/ Six Ancient Frescoes Stolen From Roman Villas Over the Decades Have Been Returned to Pompeii: https://news.artnet.com/art-world/six-ancient-frescos-returned-pompeii-1970702 NFTs Are Hot. So Is Their Effect on the Earth's Climate: https://www.wired.com/story/nfts-hot-effect-earth-climate/ The E.U. Rules Against Banksy in His Trademark Fight With a Greeting Card Company, Citing His Own Statement That ‘Copyright Is For Losers': https://news.artnet.com/art-world/banksy-trademark-full-colour-black-1971339 Brothers in paint: Frank Auerbach and Leon Kossoff: https://www.christies.com/features/Leon-Kossoff-and-Frank-Auerbach-a-brilliant-friendship-11509-1.aspx National Gallery Stories ‘Frank Auerbach': https://www.nationalgallery.org.uk/stories/frank-auerbach