Podcasts about international art exhibition

In the third and final live episode of Parola Progetto from New York, we sit on the couch at SalottoNYC with a protagonist of contemporary art: Massimiliano Gioni.A visionary curator, artistic director of the New Museum in New York, and director of the Trussardi Foundation in Milan, Massimiliano takes us on a journey into the profession of contemporary art curation.From his teenage passion for pop art to groundbreaking projects like the 2013 Venice Biennale, we explore the world of a professional who has redefined contemporary curatorial practice. We'll uncover the meaning of “uncomfortable art” and how the museum can become a gymnasium for navigating complexity.---------The links of this episode:- The New Museum in New York https://www.newmuseum.org- The Trussardi Foundation https://www.fondazionenicolatrussardi.com- The 55th International Art Exhibition entitled "Il Palazzo Enciclopedico (The Encyclopedic Palace)", curated by Massimiliano Gioni https://www.labiennale.org/en/il-palazzo-enciclopedico- "Arte di frontiera: New York graffiti" by Francesca Alinovi https://bit.ly/4ifyuuB- Lucy R. Lippard, author of the book "Pop Art" (1966) https://en.wikipedia.org/wiki/Lucy_R._Lippard- “What Do Pictures Want?” by W.J.T. Mitchell https://press.uchicago.edu/ucp/books/book/chicago/W/bo3534152.html- “Solaris” by Stanisław Lem https://en.wikipedia.org/wiki/Solaris_(novel)- “Jules et Jim” by Henri-Pierre Roché https://en.wikipedia.org/wiki/Jules_and_Jim

For the 27th episode of "Reading the Art World," host Megan Fox Kelly speaks with Eva Respini, author of “Simone Leigh,” published by DelMonico Books in association with the Institute of Contemporary Art/Boston. Eva Respini's book offers a deep dive into the groundbreaking work of contemporary artist Simone Leigh, whose multidimensional artistry challenges conventions, and sparks meaningful conversations about race, gender, and identity. Through Eva's expertise, we'll uncover the complexities of Leigh's art, and gain a deeper understanding of its cultural significance. Eva served as the Curator and Co-Commissioner for the 2022 US Pavilion's presentation of Simone Leigh at the 59th International Art Exhibition of La Biennale di Venezia. It marked the first time a Black woman represented the United States at the Biennale, and Leigh won the 2022 Golden Lion for her groundbreaking work. Eva organized the highly successful mid-career survey of Simone Leigh's works, which opened at the ICA/Boston in April 2023 and will tour across the United States through 2025. In addition to the insightful writing from multiple perspectives of 22 contributing scholars and collaborators of Leigh's, the book is beautifully illustrated with plates that feature Leigh's critically acclaimed work for the Biennale and works made throughout her career. See an album of Simone Leigh's Biennale exhibition. Eva Respini is Deputy Director and Director of Curatorial Programs at the Vancouver Art Gallery. Between 2015-2023, Respini was Deputy Director and Barbara Lee Chief Curator at the Institute of Contemporary Art Boston (ICA/Boston). Prior to her tenure at the ICA/Boston, she served as Curator at the Museum of Modern Art for more than a decade in the department of photography. She currently teaches a seminar on curatorial practice at Harvard University's Graduate School of Design. Other universities where she has taught and lectured include School of Visual Arts, Columbia University; Yale University's School of Art; and the School of Visual Arts, New York. Eva has published numerous books and catalogues and her writing appears in museum publications and periodicals. She received a BA and MA in art history from Columbia University and was a 2014 fellow at the Center for Curatorial Leadership. "Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkellyPurchase “Simone Leigh” at Delmonico Books.Music composed by Bob Golden

Filmmaker Saodat Ismailova traces stories of spirituality, dissent, and environmental extraction around the Aral Sea from post-Soviet Uzbekistan and Central Asia, via Melted into the Sun (2024). Uzbekistan is at the crossroads of diverse material histories and migratory legacies. Part of ‘Central Asia' - first defined by the Prussian geographer Alexander von Humboldt in 1843 - the region was governed by the Uzbek branch of the Soviet Russian Communist Party in the 20th century, until the Union's collapse in 1990. As one of the first gener­ations of post-Soviet Central Asian contemporary artists, Saodat Ismailova often draws on shared traditions and transnational connections with groups including Uyghurs in China, to Arabic communities further west, distinguishing between migration and displacement in her practice. From her documentary, Aral: Fishing in an Invisible Sea (2004), to her more recent works on Chillpiq, we discuss the cultural importance of water in this double landlocked country; the Aral Sea, now the Aral Desert, was one of the world's largest lakes until the Soviet government steadily diverted its water sources, reducing it to 10% of its original size. Her most recent film focusses on Al-Muqanna (The Veiled One), an 8th century textile dyer and alchemist who became a ‘protosocialist' political revolutionary in now-Iran. We consider the syncretism of religions and faiths including Islam, Zoroastrianism and Mazdakism, Buddhism, and Christianity, as evidence of cosmopolitan coexistence within empires, and how this figure was appropriated in 20th century communist propaganda. Saodat shares her interests in oriental classical music, and improvision within maqam and raga, as living archives ‘deadened' by notation, alongside archaeology, and the number 40. We discuss her collaborative practice with Davra Collective at documenta in Kassel. From her first residency with Fabrica, to her participation in the Venice Biennale in 2013 as part of the Central Asian Pavilion, Saodat explains her long connection with Italy, ‘the start of her life in Europe'. Saodat Ismailova's film, Melted into the Sun (2024), is on view as part of Nebula, produced by Fondazione In Between Art Film, which runs at Complesso dell'Ospedaletto in Venice until 24 November 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Zoroastrianism, listen to Dr. Talinn Grigor on Persian Revival architecture, and Parsi patronage in India, via the Vatcha Adaran Zoroastrian Fire Temple in Bombay (Mumbai) (1881). On music, memory, and history, hear Barbican curator Eleanor Nairne on Julianknxx's Chorus in Rememory of Flight (2023), and Professor Paul Gilroy, on The Black Atlantic (1993-Now). Find out more about textiles and embroidery across Central and South West Asia and North Africa with Rachel Dedman, curator of Material Power: Palestinian Embroidery at Kettle's Yard in Cambridge and the Whitworth in Manchester: On an ⁠UNRWA Dress from Ramallah, Palestine (1930s)⁠, on EMPIRE LINES. On the exhibition more widely, in this gowithYamo article. Hear Nil Yalter, awardee of the Golden Lion for Lifetime Achievement at the Venice Biennale in 2024, and fellow Paris-practicing artist, at Ab Anbar during London Gallery Weekend 2023, with ⁠Exile is a Hard Job (1974-Now)⁠. WITH: Saodat Ismailova, filmmaker and artist who lives and works between Tashkent, Uzbekistan and Paris, France. She is the initiator of the educational program CCA Lab, Tashkent Film Encounters, and the DAVRA research group, which is dedicated to studying, documenting, and disseminating Central Asian culture and knowledge. 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

Welcome to the first of our episodes from the 60th International Art Exhibition - La Biennale di Venezia.Today, I am delighted to hand the mic to my dear friend the arts writer Dale Berning Sawa, who met with John Akomfrah at the preview of The British Council commission Listening All Night To The Rain. You'll also hear from me in this episode and Dale shares a reflection on her first Venice experience and conversation with the artist on this special occasion. You can also enjoy Dale's review of Listening All Night To The Rain and images from the exhibition, in Shade Art Review. today.Listening All Night To The Rain continues artist and filmmaker John Akomfrah's investigation into themes of memory, migration, racial injustice and climate change with a renewed focus on the act of listening and the sonic. The exhibition, conceived as a single installation with eight interlocking and overlapping multi-screen sound and time-based works, is seen as a manifesto that encourages the idea of listening as activism and positions various progressive theories of acoustemology: how new ways of becoming are rooted in different forms of listening. Encouraging visitors to experience the British Pavilion's 19th century neoclassical building in a different way, Akomfrah's commission interprets and transforms the fabric of the space in order to interrogate relics and monuments of colonial histories.John Akomfrah initially came to prominence in the early 1980s as part of the Black Audio Film Collective (BAFC), a collective founded in 1982. An early film by BAFC, titled Handsworth Songs (1986), explored the events around the 1985 riots in Birmingham and London. In recent years, Akomfrah's work has evolved into ambitious, multi-channel installations presented in galleries and museums worldwide. In 2017, he won the Artes Mundi prize, the UK's biggest award for international art. He has previously participated in the 58th Venice Viennale with Four Nocturnes, commissioned for the inaugural Ghana Pavilion in 2019, and Vertigo Sea (2015) as part of the 56th International Art Exhibition. The British Council commission Listening All Night To The Rain at the Venice Biennale 2024 runs from Saturday 20 April to Sunday 24 November 2024. Read Shade Art Review Shade Art Review 20% discount codeShade Podcast InstagramShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEditing and mixing by Tess DavidsonDale Berning SawaBritish PavilionVenice Biennale Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Talk Art live at the Venice Biennale, presented by Burberry. Recorded at the St Regis Library, we meet leading artist Sir John Akomfrah CBE RA and Tarini Malik, the curator of the British pavilion 2024.The British Council is delighted to present Listening All Night To The Rain by John Akomfrah at the 60th International Art Exhibition of La Biennale di Venezia 2024.The exhibition runs from 20 April to 24 November 2024.Exploring post-colonialism, environmental devastation and the politics of aesthetics, Listening All Night To The Rain is Akomfrah's boldest and most ambitious commission to date.The exhibition draws its title from 11th century Chinese writer and artist Su Dongpo's poetry, which explores the transitory nature of life during a period of political exile. Organised in a series of song-like movements, or ‘cantos', the exhibition brings together eight interlocking and overlapping multimedia and sound installations into a single and immersive environment that tells stories of migrant diasporas in Britain. It is the result of decades of extensive research by the artist and his team, using historical records to contextualise our experience of the present day.Listening All Night To The Rain weaves together newly filmed material, archive video footage and still images, with audio and text from international archives and libraries. The exhibition tells global stories through the ‘memories' of people who represent migrant communities in Britain and examines how multiple geopolitical narratives are reflected in the experiences of diasporic people more broadly.Each gallery space layers together a specific colour field, influenced by the paintings of American artist Mark Rothko, in order to highlight the ways in which abstraction can represent the fundamental nature of human drama.Listening All Night To The Rain positions various theories of acoustemology: the study of how the sonic experience mirrors and shapes our cultural realities. Akomfrah draws on an acute acoustic sensitivity influenced by a variety of formative experiences, from protests to club culture in 1970s-80s London. Each of Akomfrah's ‘cantos' is accompanied by a specific soundtrack, which layers archival material with field recordings, speeches and popular and devotional music. Extending the sense of hybridity in the filmic collages, Akomfrah's use of sound encourages us to consider the breadth of cultural identity in Britain more broadly.Follow @Smoking_Dog_Films, @AkomfrahJohn @TariniMalik, @BritishArts Presented by @BurberryThanks @Lisson_Gallery and @LaBiennaleLearn more at Lisson: https://www.lissongallery.com/artists/john-akomfrah Hosted on Acast. See acast.com/privacy for more information.

Artist Yinka Shonibare CBE RA, and Hans Ulrich Obrist and Tamsin Hong of The Serpentine Galleries, coat London's historic statues and public monuments with fresh layers of history. For over 30 years, Yinka Shonibare CBE RA has used Western European art history to explore contemporary culture and national identities. With his iconic use of Dutch wax print fabric - inspired by Indonesian batik designs, mass-produced in the Netherlands (and now China) and sold to British colonies in West Africa - he troubles ideas of ‘authentic' ‘African prints'. Painting these colourful patterns on his smaller-scale replicas of sculptures of British figures like Winston Churchill, Robert Clive, and Robert Milligan, he engages with contemporary debates raised in Black Lives Matter (#BLM) and the toppling of slave trader Edward Colston's statue in Bristol. Suspended States, the artist's first London solo exhibition in over 20 years, puts these questions of cultural identity and whiteness, within the modern contexts of globalisation, economics, and art markets. Wind Sculptures speak to movements across borders, other works how architectures of power affect refuge, migration, and the legacies of imperialism in wars, conflict, and peace today. With his Library series, we read into Wole Soyinka, Bisi Silva, and canonised 17th, 18th, and 19th century artists like Diego Velázquez, focussing on Yinka's engagement with Pablo Picasso, modernism, and ‘primitivism'. Hans Ulrich Obrist and Tamsin Hong highlight the connection between the Serpentine's ecological work, and Yinka's new woodcuts and drawings which consider the impact of colonisation on the environment. As a self-described ‘post-colonial hybrid', Yinka details his diasporic social practices, including his Guest Project experimental space in Hackney, and G.A.S. Foundation in Nigeria, and collaborations with young artists and researchers like Leo Robinson, Péjú Oshin, and Alayo Akinkubye. Yinka Shonibare: Suspended States runs at the Serpentine Galleries in London until 1 September 2024. Yinka is also an Invited Artist, and participant in Nigeria Imaginary, the official Nigerian Pavilion, at the 60th Venice Biennale, which runs until 24 November 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Dutch wax fabric and ‘African' textiles, listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath and British Textile Biennial 2021, and the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx by Araminta de Clermont (2010)⁠. For more about Nelson's Ship in a Bottle (2010), listen to historicity London, a podcast series of audio walking tours, exploring how cities got to be the way they are. On bronze as the ‘media of history', hear artist Pio Abad on Giolo's Lament (2023) at the Ashmolean Museum in Oxford. And on the globalisation of ‘African' masks, listen to Tate curator Osei Bonsu in the episode about Ndidi Dike's A History of A City in a Box (2019). For more about the Blk Art Group, hear curator Dorothy Price on Claudette Johnson's And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Hear curator Folakunle Oshun, and more about Yinka Shonibare's Diary of a Victorian Dandy (1998), in the episode on Lagos Soundscapes by Emeka Ogboh (2023), at the South London Gallery. Read about Nengi Omuku in this article about Soulscapes at the Dulwich Picture Gallery in London. And for other artists inspired by the port city of Venice, hear John Akomfrah of the British Pavilion (2024) on ⁠Arcadia (2023)⁠ at The Box in Plymouth. WITH: Yinka Shonibare CBE RA, British-Nigerian artist. Hans Ulrich Obrist, Artistic Director, and Tamsin Hong, Exhibitions Curator, at the Serpentine Galleries in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

Interview with the American conceptual artist not only about her live transmission of life in Slovakia. Invitation to Slovak project at the Biennale Arte 2024, the 60th International Art Exhibition in Venice.

Interview with the American conceptual artist not only about her live transmission of life in Slovakia. Invitation to Slovak project at the Biennale Arte 2024, the 60th International Art Exhibition in Venice.

Artist Zineb Sedira records cultural and postcolonial connections between Algeria, France, Italy, and the UK from the 1960s, featuring films, rugs, and radical magazines from her personal archive. Dreams Have No Titles (2022) is Zineb Sedira's love letter to cinema, the classic films of her childhood in Paris, coming of age in Brixton in London, and ‘return' to Algiers - three cities between which the artist lives and practices. Born in 1963, the year after Algeria achieved independence from French colonial rule, her and her family's diasporic story is central to her practice. Zineb recalls her first encounters with 'militant cinema', and international co-productions like the Golden Lion-winning The Battle of Algiers (1966). She shares her decision to represent France at the 59th Venice Biennale in 2022, controversial reactions from French media and society, and solidarity from her radical contemporaries and women, like Françoise Vergès, Sonia Boyce, Latifa Echakhch, Alberta Whittle, and Gilane Tawadros. We discuss the legacy of her work in the selection of Julien Creuzet, the first person of Caribbean descent and from the French overseas territories to represent France at the Venice Biennale in 2024. Zineb shares how personal histories contribute to collective memory, subverting ideas of ‘collection', and using museum and gallery spaces to make archives more accessible. With orientalist tapestries and textiles - her ‘feminist awakening' - we discuss how culture can both perpetuate political and colonial hierarchies, and provide the possibility to ‘decolonise oneself'. From her academic research in the diaspora, Zineb suggests how she carried much knowledge in her body as lived experience, detailing her interest in oral histories (and podcasts!), as living archives. With Nina Simone, Miriam Makebe, and Archie Shepp, performers at the Pan-African Festival in Algiers (1969), she shows her love of jazz and rock music, played with her community of squatters and fellow students from Central Saint Martins. Finally, we see how the meaning of her participatory works change as they travel and migrate between global audiences, and institutions and funding in Algiers today, via aria, her research residency for artists. Zineb Sedira: Dreams Have No Titles runs at the Whitechapel Gallery in London until 12 May 2024. A free Artist and Curator Talk (with some of Zineb's ‘tribe') takes place at the Gallery on 11 April 2024. and the film version of the work shows at Tate Britain in London until September 2024. Zineb Sedira: Let's Go On Singing! ran at the Goodman Gallery in London until 16 March 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Souffles, Tricontinental, and the Casablanca Art School (1962-1987), listen to curator Morad Montazami at Tate St Ives in Cornwall. For more about Baya, read into: Baya: Icon of Algerian Painting at the Arab World Institute, Institut du Monde Arabe (IMA), in Paris. Kawkaba: Highlights from the Barjeel Art Foundation, part of Modern and Contemporary Art of the Arab World. at Christie's London. And for another artist inspired by the port city of Venice, tune in to Nusra Latif Qureshi's 2009 work, Did You Come Here To Find History?, with curator Hammad Nasar. WITH: Zineb Sedira, Paris and London-based artist, who also works in Algeria. Working between the media of photography, film, installation and performance, she was shortlisted for the 2021 Deutsche Börse Photography Foundation Prize. Dreams Have No Titles was first commissioned for the French Pavilion at the 59th Venice Biennale in 2022. 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

Hulda Guzman in the studio, 2023 Hulda Guzmán (b. 1984, Santo Domingo, Dominican Republic) depicts her tropical surroundings as she explores perspective and reality. Situated between Impressionistic landscape, psychological autobiography, Mexican muralism, Caribbean folk traditions, endearing comedy, and magical realism, Guzmán's work engenders an emphatic compassion for the united forces of the living, celebrated through the act of painting. Guzmán received a BA from Altos de Chavón School of Design in the Dominican Republic and went on to study photography and mural painting at the National School of Visual Arts, Mexico. Her work is included in the permanent collections of the Baltimore Museum of Art, MD; Dallas Museum of Art, TX; Denver Art Museum, CO; He Art Museum (HEM), Guangdong, CN; Institute of Contemporary Art, Miami, FL; Los Angeles County Museum of Art (LACMA), CA; Museu de Arte de São Paulo (MASP), São Paulo, Brazil; Pérez Art Museum Miami, FL; and San Francisco Museum of Modern Art (SFMOMA), CA, among others. Guzmán has been featured in the Dominican Republic's pavilion at the 58th International Art Exhibition at the Venice Biennale. Guzmán has shown with Stephen Friedman Gallery, London, UK; Alexander Berggruen, NY; Anat Ebgi, Los Angeles, CA; Dio Horia Gallery, Mykonos; Arte BA, Buenos Aires; Galería Machete, Mexico City; Gallery Ariane Paffrath Dusseldorf; and at institutions such as the Denver Art Museum, CO; Museo de Arte Moderno, Santo Domingo; the Pérez Art Museum Miami, FL; Museo de Arte de São Paulo, Brazil; Museo de Arte y Diseño Contemporáneo, Costa Rica; and Art Museum of the Americas, Washington, DC. The artist lives and works in Santo Domingo, Dominican Republic. Hulda Guzmán, Hojas de fuego, 2023, acrylic gouache on linen, triptych overall: 48 1/8 x 88 1/2 in. (122.2 x 224.8 cm.), each: 48 1/8 x 29 1/2 in. (122.2 x 74.9 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni Hulda Guzmán, Pets. Are they real?, 2023, acrylic gouache on linen, 48 x 29 5/8 in. (121.9 x 75.2 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni Hulda Guzmán, Eddy y Bo 1, 2023, acrylic gouache on linen, 60 x 37 in. (152.4 x 94 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with multimedia artist and filmmaker Lynn Hershman Leeson. This was recording during a visit to her show, About Face, at San Francisco's Altman Siegel Gallery. The show covered the last five decades of Lynn's career and work exploring the role of technology in the human condition. Lynn's work is showing now at the SF Altman Siegel Gallery until July 8. CLICK HERE to visit the Viewing Room. Visit Lynn's Website: www.LynnHershman.comFollow Lynn on Social Media: Instagram @Lynn.l.Leeson  of visit her Facebook Profile  About Artist  Lynn Hershman Leeson:Lynn Hershman Leeson has been internationally acclaimed for her art and films. Cited as one of the most influential media artists, Hershman Leeson is widely recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. Over the last fifty years she has made pioneering contributions to the fields of photography, video, film, performance, artificial intelligence, bio art, installation and interactive as well as net-based media art. Lynn Hershman Leeson is a recipient of a Siggraph Lifetime Achievement Award, Prix Ars Electronica Golden Nica,  and a John Simon Guggenheim Memorial Foundation Fellowship. In 2017 she received a USA Artist Fellowship, and  the San Francisco Film Society's “Persistence of Vision” Award. In 2022, she was awarded a  special mention from the Jury for her participation in the 59th International Art Exhibition of La Biennale di Venezia – The Milk of Dreams. In 2023, Pratt Institute of Art in NY awarded her with an Honorary Doctorate. Creative Capital awarded her with their Distinguished Artist Award in 2023. SFMOMA acquired the museum's first NFT from Hershman Leeson in 2023.Her six feature films – Strange Culture, Teknolust, Conceiving Ada, !Women Art Revolution: A Secret History, Tania Libre, and The Electronic Diaries are all in worldwide distribution and have screened at the Sundance Film Festival, Toronto Film Festival and The Berlin International Film Festival, among others. She was awarded the Alfred P. Sloan Foundation Prize for writing and directing Teknolust.!Women Art Revolution received the Grand Prize Festival of Films on Art.Artwork by Lynn Hershman Leeson is featured in the public collections of the Museum of Modern Art, The San Francisco Museum of Modern Art, The Zentrum fur Kunst und Medientechnologie, the Los Angeles County Museum of Art, The Tate Modern, The National Gallery of Canada, and the Walker Art Center in addition to many celebrated private collections.--About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

In association with the Douglas Hyde Gallery of Contemporary Art, Temple Bar Gallery + Studios presents an artist talk with representatives of Ireland at Venice, Eva Rothschild (2019) and Niamh O'Malley (2022). The conversation, mediated by Kate Strain of Kunstverein Aughrim, reflects on their exhibitions for the Irish Pavilion as Ireland's representatives of the 58th and 59th La Biennale di Venezia. Eva Rothschild was born in Dublin and lives and works in London. She represented Ireland at the 58th International Art Exhibition, La Biennale di Venezia, Venice, Italy, with The Shrinking Universe (2019), and presented for the Irish tour at Visual Carlow (2020), and at Void, Derry (2021). Niamh O'Malley was born in Mayo and lives and works in Dublin. She represented Ireland at the 59th International Art Exhibition, La Biennale di Venezia, Venice, Italy, with Gather (2019), and presented for the Irish tour at The Model, Sligo and Temple Bar Gallery + Studios (2023). The Irish Tour of Ireland at Venice is supported by the Arts Council as part of its commitment to promote the visual arts to Irish audiences.

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“I think history and tradition are super important, and this is the point because each generation is sort of translating to the next one. There is almost never a gap. So each generation is in a way interpreting and hopefully also adding something to what is transmitted and continued. And so this is why I think the younger generations now have tools that we didn't have at their age. They are probably able to interpret. And now we go back to the whole discussion about the necessity for sustainability and attention to social and environmental injustice. They probably have a vision or perspectives that we don't have. So in a way, in this transmission, we should be able to learn from them too.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think history and tradition are super important, and this is the point because each generation is sort of translating to the next one. There is almost never a gap. So each generation is in a way interpreting and hopefully also adding something to what is transmitted and continued. And so this is why I think the younger generations now have tools that we didn't have at their age. They are probably able to interpret. And now we go back to the whole discussion about the necessity for sustainability and attention to social and environmental injustice. They probably have a vision or perspectives that we don't have. So in a way, in this transmission, we should be able to learn from them too.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credits: Anselm Kiefer, Sylviane Sarfatiwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

photograph by Lori E. Seid Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. Recent solo exhibitions include The Mathematics of Consciousness, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY, and supported by a grant from the VIA Art Fund; Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous, Fondazione ICA Milano, Italy; and Charles Atlas: The past is here, the futures are coming and The Kitchen Follies, The Kitchen, New York. In 2017, the Hammer Museum, Los Angeles acquired Atlas' five-channel video installation with sound entitled The Tyranny of Consciousness, which won a prize in Viva Arte Viva, the 57th International Art Exhibition of the Venice Biennial. In September 2019, Atlas unveiled The Geometry of Thought, a new commission for Art on theMART that spanned across the 2.5 acre river fac;:ade of theMART in Chicago.Atlas' work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof - Museum fur Gegenwart, Berlin; Migros Museum fur Gegenwartskunst, Zurich; and De Hallen Haarlem, The Netherlands. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens.

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.We are living in a world that is extremely complex and complicated. So our lives have been halted, regardless of any geography, as a result of growing inequality (political, social, economical), and so on. We live now in a moment of deep shift. And I think that decolonization, decarbonization, social and environmental injustice, and gender equity, these are all terms that belong to daily vocabulary now. So we have to face and address these issues from both a personal and professional point of view, whatever our profession is.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.We are living in a world that is extremely complex and complicated. So our lives have been halted, regardless of any geography, as a result of growing inequality (political, social, economical), and so on. We live now in a moment of deep shift. And I think that decolonization, decarbonization, social and environmental injustice, and gender equity, these are all terms that belong to daily vocabulary now. So we have to face and address these issues from both a personal and professional point of view, whatever our profession is.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“I think we have become quite disconnected. We should become more connected to rethink how to communicate and how to learn from the past. And how to use this incredible cultural heritage that we have and how to make it alive and how to translate it into our own times. We want to expand the tools. So maybe to become a little bit more open and imaginative in creating bridges between different fields of knowledge, different methods of teaching and learning, and different ways to transmit knowledge.We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think we have become quite disconnected. We should become more connected to rethink how to communicate and how to learn from the past. And how to use this incredible cultural heritage that we have and how to make it alive and how to translate it into our own times. We want to expand the tools. So maybe to become a little bit more open and imaginative in creating bridges between different fields of knowledge, different methods of teaching and learning, and different ways to transmit knowledge.We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credits: Anselm Kiefer, Sylviane Sarfatiwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“We are living in a world that is extremely complex and complicated. So our lives have been halted, regardless of any geography, as a result of growing inequality (political, social, economical), and so on. We live now in a moment of deep shift. And I think that decolonization, decarbonization, social and environmental injustice, and gender equity, these are all terms that belong to daily vocabulary now. So we have to face and address these issues from both a personal and professional point of view, whatever our profession is.We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“We are living in a world that is extremely complex and complicated. So our lives have been halted, regardless of any geography, as a result of growing inequality (political, social, economical), and so on. We live now in a moment of deep shift. And I think that decolonization, decarbonization, social and environmental injustice, and gender equity, these are all terms that belong to daily vocabulary now. So we have to face and address these issues from both a personal and professional point of view, whatever our profession is.We should all learn to be sustainable in our daily life and find the beauty in what proves to be sustainable. And we really need to start shifting our way of looking at things because sometimes sustainability, which is a priority right now, doesn't really coincide with let's say the cheapest solution or the best economical solution. But we have to decide our priorities. So the priority now is sustainability. We have to start to think about that. If I think back to the most recent winners of the Pritzker Architecture Prize, I can see a lot of really groundbreaking innovative practices being brought to the forefront.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.And the very first lesson I learned is that we are there for the artists. And when I say artists, I mean also architects, of course. There would be no Biennale and probably no institution, no museum, without the artists. And to be able to deal with the artists, architects, curators, let's say the creative part of the process, you have to develop empathy and mutual respect and trust, but also you have to be very flexible and very decisive and firm when necessary. So it's quite easy to say, but it's not so easy to put it into practice, I must say.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.And the very first lesson I learned is that we are there for the artists. And when I say artists, I mean also architects, of course. There would be no Biennale and probably no institution, no museum, without the artists. And to be able to deal with the artists, architects, curators, let's say the creative part of the process, you have to develop empathy and mutual respect and trust, but also you have to be very flexible and very decisive and firm when necessary. So it's quite easy to say, but it's not so easy to put it into practice, I must say.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“There are a lot of women who influenced my life, starting with my mother. My mother is of those women who managed the house, our lives, our family. And she's still there with incredible intelligence, curiosity...She reads, and sometimes I have conversations with her about themes that relate to the Biennale, to art, to architecture, and I'm always surprised. How can she know all this? And sometimes there are even things that maybe I, I knew quite confidentially in my job, and I said, 'How did you get to know that? This is not public?' She said, 'Well, I read this in this newspaper, this in the other, and then I put the things together. It's quite clear.' You know, women have this power to analyze, to observe, then to elaborate, and act. I think history and tradition are super important, and this is the point because each generation is sort of translating to the next one. There is almost never a gap. So each generation is in a way interpreting and hopefully also adding something to what is transmitted and continued. And so this is why I think the younger generations now have tools that we didn't have at their age. They are probably able to interpret. And now we go back to the whole discussion about the necessity for sustainability and attention to social and environmental injustice. They probably have a vision or perspectives that we don't have. So in a way, in this transmission, we should be able to learn from them too.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“There are a lot of women who influenced my life, starting with my mother. My mother is of those women who managed the house, our lives, our family. And she's still there with incredible intelligence, curiosity...She reads, and sometimes I have conversations with her about themes that relate to the Biennale, to art, to architecture, and I'm always surprised. How can she know all this? And sometimes there are even things that maybe I, I knew quite confidentially in my job, and I said, 'How did you get to know that? This is not public?' She said, 'Well, I read this in this newspaper, this in the other, and then I put the things together. It's quite clear.' You know, women have this power to analyze, to observe, then to elaborate, and act. I think history and tradition are super important, and this is the point because each generation is sort of translating to the next one. There is almost never a gap. So each generation is in a way interpreting and hopefully also adding something to what is transmitted and continued. And so this is why I think the younger generations now have tools that we didn't have at their age. They are probably able to interpret. And now we go back to the whole discussion about the necessity for sustainability and attention to social and environmental injustice. They probably have a vision or perspectives that we don't have. So in a way, in this transmission, we should be able to learn from them too.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credits: Anselm Kiefer, Sylviane Sarfatiwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think the Pritzker Architecture Prize has the power to foster and enhance the discussion on the one end. And on the other end, it has also the power to involve a more global discussion. So it's not just limited to architects because ultimately architecture is what we live in and we use every day of our lives. So all of us should be involved in this discussion. It's really a common responsibility where the architect, who from my point of view is the translator and the interpreter and the catalyst of all this. So we should rethink what sustainability is and combine the art of architecture and the benefits to humanity and the built environment. This, I think, is a lesson for every single architect from all over the world.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“I think the Pritzker Architecture Prize has the power to foster and enhance the discussion on the one end. And on the other end, it has also the power to involve a more global discussion. So it's not just limited to architects because ultimately architecture is what we live in and we use every day of our lives. So all of us should be involved in this discussion. It's really a common responsibility where the architect, who from my point of view is the translator and the interpreter and the catalyst of all this. So we should rethink what sustainability is and combine the art of architecture and the benefits to humanity and the built environment. This, I think, is a lesson for every single architect from all over the world.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“So for me being born in a place like Naples helped me absorb and to be constantly open and curious about other cultures, simply because they were part of my own culture. So it's a challenging city, I must say. And it's incredible how you more easily communicate with other people when you are in a place that you feel is a public place, but it belongs to you. It belongs to everyone. It's a space for the community. So this was the first lesson that I learned studying architecture because then you start to read the places in a more organized, scientific way. And I think maybe this dimension passed into my DNA.So from my point of view, a prize is not just to establish the most beautiful building, the most expensive building, or the tallest building in the world. It's rather to foster the discussion to bring forward critical points to be discussed. To bring forward contradictions, to really enhance the discussion about what is relevant for our society or for society in a specific moment.So this, for me, is the role of a prize, to highlight critical issues and to foster the discussion, to face them, and to find solutions, to find new paths. So in the case of the Pritzker Prize, the mission has been very clear since the very beginning. So it's to acknowledge a living architect or architects for a body of built work that has produced a consistent and significant contribution to humanity and to the built environment through the art of architecture.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“I think the Pritzker Architecture Prize has the power to foster and enhance the discussion on the one end. And on the other end, it has also the power to involve a more global discussion. So it's not just limited to architects because ultimately architecture is what we live in and we use every day of our lives. So all of us should be involved in this discussion. It's really a common responsibility where the architect, who from my point of view is the translator and the interpreter and the catalyst of all this. So we should rethink what sustainability is and combine the art of architecture and the benefits to humanity and the built environment. This, I think, is a lesson for every single architect from all over the world.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“I think the Pritzker Architecture Prize has the power to foster and enhance the discussion on the one end. And on the other end, it has also the power to involve a more global discussion. So it's not just limited to architects because ultimately architecture is what we live in and we use every day of our lives. So all of us should be involved in this discussion. It's really a common responsibility where the architect, who from my point of view is the translator and the interpreter and the catalyst of all this. So we should rethink what sustainability is and combine the art of architecture and the benefits to humanity and the built environment. This, I think, is a lesson for every single architect from all over the world.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“We need to invest a lot in education. Education of the future practitioners, but also the education of future clients. And by client, I don't mean only governments or investors. I mean each one of us, we should become responsible for our demands to architects and to whoever is involved in the building process. And this is why I see so much that education is the main tool to get there because we have to educate ourselves, first of all, and prepare the future generations. And the extent to which, as you say, it's not just beauty, but bringing people together in spaces that are inspiring because it can be a radical thing. It could create societies that are more equal in terms of public spaces. And right now that's being unequally distributed.I think we have become quite disconnected. We should become more connected to rethink how to communicate and how to learn from the past. And how to use this incredible cultural heritage that we have and how to make it alive and how to translate it into our own times. We want to expand the tools. So maybe to become a little bit more open and imaginative in creating bridges between different fields of knowledge, different methods of teaching and learning, and different ways to transmit knowledge.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“We need to invest a lot in education. Education of the future practitioners, but also the education of future clients. And by client, I don't mean only governments or investors. I mean each one of us, we should become responsible for our demands to architects and to whoever is involved in the building process. And this is why I see so much that education is the main tool to get there because we have to educate ourselves, first of all, and prepare the future generations. And the extent to which, as you say, it's not just beauty, but bringing people together in spaces that are inspiring because it can be a radical thing. It could create societies that are more equal in terms of public spaces. And right now that's being unequally distributed.I think we have become quite disconnected. We should become more connected to rethink how to communicate and how to learn from the past. And how to use this incredible cultural heritage that we have and how to make it alive and how to translate it into our own times. We want to expand the tools. So maybe to become a little bit more open and imaginative in creating bridges between different fields of knowledge, different methods of teaching and learning, and different ways to transmit knowledge.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Elaine Cameron-Weir, photo by Isabel Asha Penzlien    Elaine Cameron-Weir (b. 1985, Red Deer, Alberta, Canada). Elaine Cameron-Weir's contemplative objects made from carefully sourced materials allow us to consider the ways in which artifice and spectacle have been used to perpetuate systems of belief. Her major installation from the most recent Venice Biennale in 2022 invoked sites of provisional operations and religious reflection by transforming the gallery with modular steel subflooring, neon and electric flicker lights, and repurposed objects previously used for military and industrial purposes. In addition to the Venice Biennale, Cameron-Weir recently opened a solo exhibition at Hannah Hoffman in Los Angeles, CA. Other solo shows from the past two years include the SCAD Museum of Art (2022) and the Henry Art Gallery University of Washington (2021). Recently her work was on view at the University of California, Berkeley Art Museum as part of an important exhibition titled “New Time: Art and Feminisms in the 21st Century.” Other select solo exhibitions include "exhibit from a dripping personal collection," Dortmunder Kunstverein (2018); “Outlooks: Elaine Cameron-Weir,” Storm King Art Center, New York (2018) where the artist installed a steel mesh sphere for motorcycle stunts known as “globe of death” on the top of a hill; and “viscera has questions about itself,” New Museum, New York (2017). She has shown both in the U.S. and abroad, in group exhibitions at the Philadelphia Museum of Art; Remai Modern, Saskatoon; GAMeC, Bergamo; FUTURA, Prague; among many others. installation view, The Milk of Dreams, curated by Cecilia Alemani, 59th International Art Exhibition of La Biennale di Venezia, Venice, IT, April 23 - November 27, 2022 Photography by Andrea Rosetti Elaine Cameron-Weir Low Relief Icon (Figure 1), 2021 (detail) US military body transfer cases, aluminum, flicker bulbs, electrical wiring, conveyor belt, pewter, chain, pulleys, aircraft cable, hardware overall dimensions: 281 × 202 × 28 1/2 in (713.7 × 513.1 × 72.4 cm); case with candles: 26.5 × 89 × 28.5 in (67.3 × 226.1 × 72.4 cm) Elaine Cameron-Weir Right Hand Left Hand, Grinds a Fantasizer's Dust, 2021 (detail) concrete textile, funerary backdrop stand, neon tubing, transformers, spot lights, silk gauze 85.5 x 112 x 24 in 217.17 x 284.48 x 60.96 cm

In this episode, Adam and Budi speak with the Director and Contemporary Artist Brook Andrew.Brook's interdisciplinary art practice is driven by the collisions of intertwined narratives, often emerging from the mess of the “Colonial Wuba (hole)”. His practice is grounded in his perspective as an Australian Wiradjuri (Indigenous) and Celtic person. Brook's artworks, museum interventions, research, leadership roles, and curatorial projects challenge the limitations imposed by power structures, historical amnesia, and complicity to center and support Indigenous ways of knowing and being through systemic change and yindyamarra (respect, honor, go slow and responsibility).Brook was the Artistic Director of the groundbreaking First Nations and artist-led “NIRIN,” the 22nd Biennale of Sydney, 2020. Brook's recent works include the theatre script GABAN, premiering in 2022 as a video work, and live performances at YOYI! Care, Repair, Heal, the Gropius Bau, Berlin. International advisor to the Sámi Pavilion at the 59th International Art Exhibition of La Biennale di Venezia 2022; Enterprise Professor, The University of Melbourne, Associate Researcher, Pitt Rivers Museum, Oxford, UK; ARC (Australia Research Council grant) with Dr. Brian Martin: ARC Special Research Initiative for Australian Society, History, and Culture: ‘More than a guulany (tree): Aboriginal knowledge systems'. As the Director Reimagining Museums & Collections role with the University of Melbourne, Brook founded BLAK C.O.R.E, a collective driven by First Nations methodologies, research, and cultural practices focusing on walumarra (protection), yindyamarra gunhanha (ongoing respect) and murungidyal (healing in the museum).  Mentioned in this episode:GABAN at Art Gallery NSWHouse of SléSupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

Sanna Almajedi talks to Jad and Tarek Atoui about their experimental music duo, Through Rust and Dusk. The conversation is followed by an excerpt of their performance at e-flux on September 26, 2022 that incorporated improvisation, custom made instruments, field recordings, and electronic sounds.  Read more about Tarek Atoui‘s The Whisperers (October 1–December 10, 2022) at Flag Art Foundation here.   Jad Atoui is a Beirut-based sound artist and improviser. He composes and performs electronicand electro-acoustic music and has worked with musicians like John Zorn, Pauline Oliveros, Laurie Anderson, Chuck Bettis, and Anthony Sahyoun. During his formative years in New York, Atoui found interest in the New York avant-garde scene. He began working closely with NYC downtown musicians and learning improvised music techniques, while also working at the Stone and the Guggenheim Museum. In 2015, Atoui spearheaded the “Biosonics” project in collaboration with scientist Ivan Marazzi where they used bio-sonification of behaviors as compositional tools. The project was later published in John Zorn's Arcana Book Vol. XVIII and premiered at National Sawdust as part of The Stone's commissioning series. Atoui has given and co-directed workshops at Marfa Sounding, Ashkal Alwan, and Beirut Synth Center, and has been a resident at The Stone, The National Sawdust, Beirut Art Center, Arab Image Foundation, and Sharjah Art Foundation. Tarek Atoui is an artist and composer born in Beirut. His work stems from performance and looks into how sound can be perceived with sensory organs other than the ear, how sound acts as a catalyst for human interaction, and how it relates to social, historical, and spatial parameters. The point of departure for his works is usually extensive anthropological, ethnological, musicological, or technical research, which results in the realization of instruments, listening rooms, performances, or workshops. Atoui has presented his work internationally at the Sharjah Biennial in the United Arab Emirates (2009 and 2013); dOCUMENTA 13 in Kassel, Germany (2012); the 8th Berlin Biennial (2014); Tate Modern, London (2016); CCA NTU, Singapore (2017); Garage Moscow (2018); the 58th International Art Exhibition of la Biennale di Venezia (2019); the Okayama Art Summit 2019; the Sharjah Art Foundation (2020); The Fridericianum (2020); And Pinault Collection (2021).  He was appointed co-artistic director of STEIM studios in 2007, and of the Bergen Assembly, a triennial for contemporary art in Norway in 2016. He is the recipient of the Suzanne Deal Booth / FLAG Art Foundation Prize 2020. Tarek Atoui currently lives and works in Paris, France. e-flux music is curated by Sanna Almajedi. 

How do we look at, and respond to, work by Black contemporary artists? In this episode, we sat down with Tina Campt, Visiting Professor in Art & Archaeology and the Lewis Center for the Arts at Princeton. We trace the arc of Prof. Campt's career, from her earlier research on family photography in the African diaspora and how one can “listen to images,” all the way to her current writing and recent trip to this year's Venice Biennale. Along the way, we discuss concepts that elucidate the aesthetic, political, and experiential dynamics of work by artists like Jennifer Packer, Cameron Rowland, Stan Douglas, and Simone Leigh. Deep Dive: How to “listen” to a photograph Tina M. Campt, Listening to Images (Duke University Press, 2017). Tina M. Campt, A Black Gaze: Artists Changing How We See (MIT Press, 2021). The Breakdown - Guest Info (Photo credit: barnard.edu) Tina M. Campt (https://artandarchaeology.princeton.edu/people/tina-m-campt)  Professor Campt taught a multidisciplinary seminar called “Radical Composition” as a Visiting Professor at Princeton for the Spring 2022 semester. She is the Owen F. Walker Professor of Humanities and Modern Culture and Media at Brown University, and heads the Black Visualities Initiative at Brown's Cogut Institute for Humanities. In addition to the five books she has authored and edited, such as Listening to Images and A Black Gaze, Professor Campt is the lead convener of the Practicing Refusal Collective and the Sojourner Project.  See, Hear, Do “Radical Composition” course materials: Saidiya Hartman, "Venus in Two Acts." Small Axe 12, no. 2 (2008): 1-14.  Flying Lotus, “Until the Quiet Comes,” dir. Kahlil Joseph (2012).  Carrie Mae Weems, “People of a Darker Hue” (2016). Jay-Z, “4:44,” dir.  Arthur Jafa (2017).  Roy DeCarava and Langston Hughes, The Sweet Flypaper of Life (First Print Press, 2018). Practicing Refusal Collective, The Sojourner Project (ongoing). Whitney Museum of American Art, “Ask a Curator: Jennifer Packer: The Eye Is Not Satisfied With Seeing” (2022). Taylor DaFoe, “How Curators David Breslin and Adrienne Edwards Tackled the 2022 Whitney Biennial to Show ‘What America Really Looks Like',” artnet news (March 29, 2022). Simone Leigh, Sovereignty, Official U.S. Presentation, 59th International Art Exhibition, La Biennale di Venezia, April 23–November 27, 2022. National Gallery of Art, Afro-Atlantic Histories, April 10–July 17, 2022. Tina M. Campt, fourth lecture in the series Image Complex: Art, Visuality & Power, University of Sydney (online lecture, October 19th, 2022, register here).

During this voice bite, Solo the Artist thanks BAAR ART Journey and Residency for posting information regarding Simone Leigh's representation of the United States at the 59th International Art Exhibition of La Biennale di Venezia in 2022. Simone Leigh's "Sovereignty" was focused on Black femme subjectivity. Simone Leigh's Birmingham (2012) was estimated to be worth 150,000 - 200,000 USD and was auctioned off at Sotherby's on May 19, 2022 for 2,167,500 USD. Birmingham was created by Simone Leigh to represent the resilience of Black women and the Church Bombing of 1963, a racially motivated attack that claimed the lives of four young Black girls and was a catalyst for the civil rights movement. This year, Leigh became the first Black woman to represent the United States at the Venice Biennale, winning the Golden Lion for her presentation in the Arsenal. According to Sotherby's Birmingham is a masterful example of Leigh's elegantly defiant exploration of Black female resilience and regality that establish her as a quintessential voice of American art today. About Solo the Artist Solo the Artist is a LA based multidisciplinary artist that was born and raised in Kansas City, MO. Playing basketball in college and then overseas in Denmark gave him essential tools that has been the foundation of his journey. After a career ending injury he then took his passion for storytelling to the screen to become an actor in television and film working on projects such as Alieu the Dreamer, Top Gun Maverick, Young and the Restless, Hawaii Five-O and Bosch. Acting prepared him with many vehicles of expression, especially the ability to be completely vulnerable which allowed him to find his true passion of becoming a contemporary artist. Solo creates abstract figurative work through a multilayer language of wisdom that he calls “F.E.E.L.” A process in which Solo describes as, “Creating art through being a vessel of (F)aith to possess the (E)nergy of (E)mpowerment through (L)ove. We all have a story and I want that to be reflected in every piece represented.” Solo tells short stories in different mediums that are divinely delivered in that moment and energetically translated creatively by giving it a voice. Cover Art: Solo the Artist, We are all just figuring it our as we go, 2021, Acrylic on canvas, 30 x 48 in

Episode Summary:In this genuine conversation with the curator and director of Foundation Art Divvy Zahra Khan, we discuss the rise of contemporary art scene in Pakistan, the significance of women's artistic creations in the region, political and social manifestations in the work of the local artists and how foundations such as Art Divvy and Lahore Biennale breath a new life into the Pakistan's vibrant art universe. The Speaker:Zahra Khan is a curator based between the United Kingdom and Pakistan who focuses on contemporary South Asian art. In her role as Creative Director and Curator of Foundation Art Divvy, she works to promote contemporary artists from Pakistan and build the organisation's presence on the international art scene. Her latest venture with the Foundation has been to curate the inaugural Pavilion of Pakistan, Manora Field Notes, a solo exhibition by Naiza Khan, at the 58th International Art Exhibition of La Biennale di Venezia.Follow Art Divvy's Journey on InstagramHosts: Elizabeth Zhivkova & Farah PiriyeSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.comFollow us on Instagram and Twitter

This week Gary Mansfield speaks to Daniel Baker. Being from the Gypsy/Roma community, Daniel's work embraces and takes ownership of 'outsiders' perceptions, stereotypes and even prejudice of that community. By reflecting and sharing its multi-layered and complex cultural history, Daniel's visual information bridges the gap between perception and reality of Roma life. Daniel has a PhD in Gypsy Visuality: Gell's Art Nexus and its potential for artists, from the Royal College of Art, London. In 2019 Daniel curated FUTUROMA at the 58th International Art Exhibition at the Venice Biennale. He acted as exhibitor and adviser to the first and second Roma Pavilions; “Paradise Lost” and “Call the Witness” at the 52nd and 54th Venice Biennales respectively. www.danielbaber.net For full line up of confirmed artists go to https://www. ministryofarts.org Email: ministryofartsorg@gmail.com Social Media: @ministryofartsorg

The Arts Council of New Zealand Toi Aotearoa is pleased to announce interdisciplinary artist Yuki Kihara as New Zealand’s artist for the 59th International Art Exhibition – La Biennale di Venezia presented in 2021. Yuki is renowned for delving into the complexities of postcolonial histories in the Pacific and interrogating Western misinterpretations from the perspective of Fa’afafine (Samoan for ‘in the manner of a woman’ broadly understood as the LGBTIQ+ in the Western context) community which she belongs to in Sāmoa. Yuki joins us now on Pacific Breakfast.

The Arts Council of New Zealand Toi Aotearoa is pleased to announce interdisciplinary artist Yuki Kihara as New Zealand’s artist for the 59th International Art Exhibition – La Biennale di Venezia presented in 2021. Yuki is renowned for delving into the complexities of postcolonial histories in the Pacific and interrogating Western misinterpretations from the perspective of Fa’afafine (Samoan for ‘in the manner of a woman’ broadly understood as the LGBTIQ+ in the Western context) community which she belongs to in Sāmoa. Yuki joins us now on Pacific Breakfast.

This Summit podcast features writer and critic Teju Cole. He spoke at our 2015 Summit, The Curriculum at the 56th International Art Exhibition of la Biennale di Venezia. Our theme music is an adaptation of "Memory" by Creo: freemusicarchive.org/music/Creo/~/Memory_1520

This Summit podcast features Amy Goodman, journalist and host of Democracy Now!. She spoke at our 2015 Summit, The Curriculum at the 56th International Art Exhibition of la Biennale di Venezia. Our theme music is an adaptation of "Memory" by Creo: freemusicarchive.org/music/Creo/~/Memory_1520

As the six-month-long 57th International Art Exhibition - otherwise known as the Venice Biennale - opens its doors to the world, John Wilson reports from the Italian city. The artist selected for the British Pavilion in the Giardini this year is 73-year-old Phyllida Barlow, following in the footsteps of Henry Moore, Francis Bacon, Barbara Hepworth, Howard Hodgkin and Rachel Whiteread. Phyllida Barlow describes the new large-scale sculptures made of concrete, wood, cloth and polystyrene that she has created for her show Folly, and discusses the challenge of representing Britain in an age of global political unrest.Presenter John Wilson Producer Jerome Weatherald.

Drawing our marathon MRelay to an end, Utopia explores an ideal, imaginary state in which society, politics and culture are perfect. It can often be difficult to face the reality of today’s world, where global climate change is leading to rising sea levels, unprecedented environmental destruction, a widening gap between rich and poor, and countless human rights violations. It’s easy to dream instead of a world in which all societal ills have been solved. In his 1516 treatise Utopia, Sir Thomas More imagined a fictional island society. But the concept of utopia has evolved to mean any community with a visionary system of political and societal perfection – cities that function to improve their citizens’ daily lives. Some utopian visions focus on design and technology, others on open, untouched landscapes, or new social orders. Can radically avant-garde and cutting-edge design unite us? How do we help solve the world’s problems and society’s dilemmas? Utopia was hosted by Michael Williams, director of the Wheeler Centre. Speakers included founding director of Breathe Architecture Jeremy McLeod; curator for the Australian pavilion at the 57th International Art Exhibition, Venice Biennale 2017 Natalie King; dancer and performer Becky Hilton; strategic adviser, theologian and master of Ormond College Rufus Black; artist and writer Aurelia Guo; landscape architect and managing director of Atelier Ten’s Australian office Paul Stoller; and medical anthropologist Gregory Phillips, who currently consults in Aboriginal and Torres Strait Islander health in his role as executive director of Abstarr Consulting.

Talk Tuesday, September 22, 7pm Artists Space Books & Talks 55 Walker Street The International Art Exhibition in Solidarity with Palestine was inaugurated in Beirut, Lebanon, in March 1978, and was intended as the seed collection for a museum in exile. Inspired by the Museum of Resistance in Exile in Solidarity with Salvador Allende, the museum took the form of an itinerant exhibition that was meant to tour until it could "repatriate" to Palestine. Organized by the Palestine Liberation Organization (PLO), comprising almost 200 works, donated by 200 artists from nearly 30 countries, the exhibition remains one of the most ambitious, in scale and scope, to have ever been showcased in the Arab world until this day. Tragically, during the Israeli army's siege of Beirut in 1982, sustained shelling destroyed the building where the works were stored as well as the exhibition's archival and documentary traces. This historical "ghost" exhibition has been an area of sustained research for Beirut-based writers and curators Kristine Khouri and Rasha Salti in recent years, culminating in the exhibition Past Disquiet: Narratives and Ghosts from the International Art Exhibition for Palestine, 1978, at the Museu d'Art Contemporani de Barcelona (MACBA) this year. This exhibition revisited the world of art and political engagement among the international anti-imperialist left during the 1970s, uncovering the extraordinary networks of individuals and practices behind it. Using recorded testimonies and private archives it retraced the complicated mesh of networks of affiliation and solidarity that linked militant artists across the world in the context of the Cold War. The exhibition also addressed similar museographic initiatives centered on the impassioned defense of causes, and emerging from shared soil, such as the struggle against the Pinochet dictatorship in Chile, and against apartheid in South Africa. Khouri and Salti's presentation at Artists Space Books & Talks will focus on their research conducted towards the exhibition at MACBA, considering how their methodology responded to and intersected with the historical context of The International Art Exhibition in Solidarity with Palestine, and other such examples of political engagement rarely studied in prevailing contemporary historical narratives. Their talk parallels Past Disquiet's attempts to construct a speculative history of the PLO initiative and equivalent practices in the 1970s, and its address of the problematics of oral history, the trappings of memory, and of writing history in the absence of cogent archives. This presentation is supported by the Arab Fund for Arts and Culture, and is part of the AFAC Cultural Week in New York 2015 entitled Uncover, Discover, Recover - Narratives from a Region in Transformation, running September 20th till the 26th. For more information click here artistsspace.org/programs/past-disquiet

NOTOCON IX Opening & Address | 4 Weapons 4 | 28th Aethyr | Integrated Magical Life 5 | 2nd Aethyr, Song of the Sphinx In this program: Intro music: Song of Adoration by NOTOCON IX Opening Remarks by Lon DuQuette Musical Interlude: "28th Aethyr" by Through the Second "The Four Weapons of the True Magician pt. 4" by Fr. IAO131 NOTOCON IX Address by the Grand Master Sabazius X° Musical Interlude: "2nd Aethyr, Song of the Sphinx" by Through the Second "The Integrated Magical Life pt. 5" by Lon DuQuette Announcements & News about the Thelemic Community Outro music: Song of Adoration by Frater Oz [ ] [ ] More Info Through the Second "The Four Weapons of the True Magician pt. 4" by Fr. IAO131 Previous parts of this talk: | . | .  features blog posts, books, and more by Fr. IAO131. "The Integrated Magical Life pt. 5" by Lon DuQuette Previous parts of this talk: | | . | . Lon DuQuette has appeared in numerous past episodes of Speech in the Silence, including: Lon reads from his introduction to "Best of the Equinox Vol. 2" in "Survival: The First and Last Ordeal of Initiation" in "Introduction to the Rites of Eleusis" excerpt in The Miracle of the Mass, with Constance Duquette: Part | | | | | | | "The Hermits of the O.T.O." in Frater Sabazius X° Announcements Blazing Star Oasis has developed a new website dedicated to preserving the legacy of Grady L. McMurtry, also known as Hymenaeus Alpha 777. includes many of Grady’s poems and other writings in the Thelema Lodge Calendar from 1986-2004. U.S. Grand Lodge has published the proceedings from NOTOCON 8, entitled . Like the previous two NOTOCON books, this contains written versions of many of the lectures offered at the biennial national conference. This volume from the 2011 conference includes papers by several contributors to this podcast. A , now available for pre-order, explores Crowley’s time in Berlin from 1930-1932. This book will surely be of interest to anyone who enjoys reading about Aleister Crowley’s life, and perhaps especially for those interested in his activities as a spy for the Allies in this important time in Germany’s history. The 55th International Art Exhibition at the includes nine paintings from Aleister Crowley’s Thoth Tarot. This exhibit is now open and runs through November 24. A new book by Dr. David Shoemaker, based on his segments on this podcast, is . Aum Ha Lodge in Chicago will commemorate the Solar Cross-Quarter with their annual Ritual of the Element in celebration of . The celebration is taking place over three weekends, with two upcoming dramatic rituals on October 26 and November 2. On October 27, Alombrados Oasis in New Orleans presents a , featuring Jill Tracy and Paul Mercer, who have become widely known for their astonishing duets on piano and violin, mostly improvised or channeled. in Dayton, Ohio, on the weekend of November 2-3. An exhibit of Aleister Crowley’s paintings from the Palermo collection will on November 9. The opening reception will feature remarks from O.T.O. Australia Grand Master Shiva. Congratulations to Bubastis Oasis in Dallas Texas, which will celebrate the 25th anniversary of its founding with . (More info TBA.) Richard Kaczynski will appear in Auckland, New Zealand on December 1, with a presentation of . A Thelemic cruise called will take place in January, 2014. A new film about Aleister Crowley's friendship with Portuguese poet Fernando Pessoa is in production. A new preview of the film is available in Portuguese and can be seen at . Tune in to future Speech in the Silence programs to learn more. If you would like to notify our listeners about an event or publication, or other news pertinent to Thelemites, send the details to us at [ ] [ ] Listener Feedback We encourage all of our listeners to e-mail us at Donate to support Speech in the Silence Tune in for Program 47 when the Sun enters Scorpio on November 22, 2013 e.v.

4 Weapons 3 | Eleven Fold | Integrated Magical Life 4 | Exorkismos | LT: Initiation In this program: Intro music: Song of Adoration by "The Four Weapons of the True Magician pt. 3" by Fr. IAO131 Musical Interlude: "Eleven Fold" by SickTanick "The Integrated Magical Life pt. 4" by Lon DuQuette Musical Interlude: "Exorkismos" by SickTanick "Living Thelema: Initiation" by David Shoemaker Announcements & News about the Thelemic Community Outro music: Song of Adoration by Frater Oz [ ] [ ] More Info SickTanick Exorkismos video "The Four Weapons of the True Magician pt. 3" by Fr. IAO131 Previous parts of this talk: | .  features blog posts, books, and more by Fr. IAO131. "The Integrated Magical Life pt. 4" by Lon DuQuette Previous parts of this talk: | | . Lon DuQuette has appeared in numerous past episodes of Speech in the Silence, including: Lon reads from his introduction to "Best of the Equinox Vol. 2" in "Survival: The First and Last Ordeal of Initiation" in "Introduction to the Rites of Eleusis" excerpt in The Miracle of the Mass, with Constance Duquette: Part | | | | | | | "The Hermits of the O.T.O." in Living Thelema: Initiation Main website: Send your questions to Dr. Shoemaker at Announcements Congratulations to Congratulations also to Blazing Star Oasis has developed a new website dedicated to preserving the legacy of Grady L. McMurtry, also known as Hymenaeus Alpha 777. includes many of Grady’s poems and other writings in the Thelema Lodge Calendar from 1986-2004. U.S. Grand Lodge has published the proceedings from NOTOCON 8, entitled . Like the previous two NOTOCON books, this contains written versions of many of the lectures offered at the biennial national conference. This volume from the 2011 conference includes papers by several contributors to this podcast. A new graphic novel entitled is now available and features a foreword by Richard Kaczynski. The 55th International Art Exhibition at the includes nine paintings from Aleister Crowley’s Thoth Tarot. This exhibit is now open and runs through November 24. On August 29, the National Trust of Australia will host a landmark exhibition entitled . Running for a full month, this exhibit will address the current international interest in esoteric art, and will include work by artists such as Aleister Crowley, Austin Spare, Harry Smith, Barry William Hale, and more. A new book by Dr. David Shoemaker, based on his segments on this podcast, is . On the weekend of September 27-29, several O.T.O. initiates, including Speech in the Silence co-producer Joseph Thiebes, will offer lectures at an Esoteric Salon in Salem, Massachusetts, focused on the intertwining topics of Magick and Creative Art. The event is called . David Shoemaker will present a series of lectures and workshops at Sekhet-Maat Lodge in Portland, Oregon on . Aleister Crowley’s Gnostic mass will be performed on Saturday, October 5. William Blake Lodge in Baltimore, Maryland will host its annual , a jam-packed weekend of Masses, Classes and E.G.C. Training, framed in an environment of fraternal fun. Massapalooza takes place on the weekend of October 11-13 David Shoemaker will present a lecture at Sword and Serpent Oasis in Dayton, Ohio, on the weekend of November 2-3. . Congratulations to Bubastis Oasis in Dallas Texas, which will celebrate the 25th anniversary of its founding with . (More info TBA.) Richard Kaczynski will appear in Auckland, New Zealand on December 1, with a presentation of . A Thelemic cruise called will take place in January, 2014. A new film about Aleister Crowley's friendship with Portuguese poet Fernando Pessoa is in production. A new preview of the film is available in Portuguese and can be seen at . Tune in to future Speech in the Silence programs to learn more. If you would like to notify our listeners about an event or publication, or other news pertinent to Thelemites, send the details to us at [ ] [ ] Listener Feedback We encourage all of our listeners to e-mail us at Donate to support Speech in the Silence Tune in for Program 46 when the Sun enters Libra on October 22, 2013 e.v.

The 55th International Art Exhibition, commonly known as the Venice Biennale, takes as its title this year The Encyclopaedic Palace - a theme full of the promise of universal inclusion.

4 Weapons 2 | Integrated Magical Life 3 | Fontana Driver Tan | LT: Star Sapphire In this program: Intro music: Song of Adoration by "The Four Weapons of the True Magician pt. 2" by Fr. IAO131 "The Integrated Magical Life pt. 3" by Lon DuQuette Musical Interlude: "Fontana Driver Tan" by The Shirts ft. Oliver Althoen "Living Thelema: The Star Sapphire" by David Shoemaker Announcements & News about the Thelemic Community Outro music: Song of Adoration by Frater Oz [ ] [ ] More Info "The Four Weapons of the True Magician pt. 2" by Fr. IAO131  features blog posts, books, and more by Fr. IAO131. "The Integrated Magical Life pt. 3" by Lon DuQuette Previous parts of this talk: | . Lon DuQuette has appeared in numerous past episodes of Speech in the Silence, including: Lon reads from his introduction to "Best of the Equinox Vol. 2" in "Survival: The First and Last Ordeal of Initiation" in "Introduction to the Rites of Eleusis" excerpt in The Miracle of the Mass, with Constance Duquette: Part | | | | | | | "The Hermits of the O.T.O." in "Fontana Driver Tan" by The Shirts with Oliver Althoen More of Oliver's work can be heaqrd on the following Speech in the Silence programs: | | | | Living Thelema: The Star Sapphire Main website: Send your questions to Dr. Shoemaker at Announcements Blazing Star Oasis has developed a new website dedicated to preserving the legacy of Grady L. McMurtry, also known as Hymenaeus Alpha 777. includes many of Grady’s poems and other writings in the Thelema Lodge Calendar from 1986-2004. U.S. Grand Lodge has published the proceedings from NOTOCON 8, entitled . Like the previous two NOTOCON books, this contains written versions of many of the lectures offered at the biennial national conference. This volume from the 2011 conference includes papers by several contributors to this podcast. A new graphic novel entitled is now available and features a foreword by Richard Kaczynski. The 55th International Art Exhibition at the includes nine paintings from Aleister Crowley’s Thoth Tarot. This exhibit is now open and runs through November 24. On August 29, the National Trust of Australia will host a landmark exhibition entitled . Running for a full month, this exhibit will address the current international interest in esoteric art, and will include work by artists such as Aleister Crowley, Austin Spare, Harry Smith, Barry William Hale, and more. A new book by Dr. David Shoemaker, based on his segments on this podcast, is now available and includes additional discussion and resources. The title of the book is Living Thelema: A Practical Guide to Attainment in Aleister Crowley's System of Magick. The book is . The book will have a formal launch at the Esoteric Book Conference in September, including a lecture and book signing by the author. The will be held September 14-15 in Seattle, Washington. O.T.O. Japan is pleased to announce an event celebrating 25 years since the first O.T.O. initiation in Japan. This event is open to Minerval initiates of O.T.O. and will take place September 21-22 in Kyoto, the city of temples and Japan's historic capital. On the weekend of September 27-29, several O.T.O. initiates, including Speech in the Silence co-producer Joseph Thiebes, will offer lectures at an Esoteric Salon in Salem, Massachusetts, focused on the intertwining topics of Magick and Creative Art. The event is called . William Blake Lodge in Baltimore, Maryland will host its annual , a jam-packed weekend of Masses, Classes and E.G.C. Training, framed in an environment of fraternal fun. Massapalooza takes place on the weekend of October 11-13 A Thelemic cruise called will take place in January, 2014. A new film about Aleister Crowley's friendship with Portuguese poet Fernando Pessoa is in production. A new preview of the film is available in Portuguese and can be seen at . Tune in to future Speech in the Silence programs to learn more. If you would like to notify our listeners about an event or publication, or other news pertinent to Thelemites, send the details to us at [ ] [ ] Listener Feedback We encourage all of our listeners to e-mail us at Donate to support Speech in the Silence Tune in for Program 45 when the Sun enters Libra on September 22, 2013 e.v.

4 Weapons 1 | Headless Chicken | Integrated Magical Life 2 | Crowmance | Living Thelema, the Book In this program: Intro music: Song of Adoration by "The Four Weapons of the True Magician pt. 1" by Fr. IAO131 Musical Interlude: "Headless Chicken" by The Shirts "The Integrated Magical Life pt. 2" by Lon DuQuette Musical Interlude: "Crowmance" by George Galvez "Living Thelema: The Book" by David Shoemaker Announcements & News about the Thelemic Community Outro music: Song of Adoration by Frater Oz [ ] [ ] More Info "The Four Weapons of the True Magician pt. 1" by Fr. IAO131  features blog posts, books, and more by Fr. IAO131. "Headless Chicken" by Oliver Althoen More of Oliver's work can be heaqrd on the following Speech in the Silence programs: | | | "The Integrated Magical Life pt. 1" by Lon DuQuette Part 1 of this talk is available in . Lon DuQuette has appeared in numerous past episodes of Speech in the Silence, including: Lon reads from his introduction to "Best of the Equinox Vol. 2" in "Survival: The First and Last Ordeal of Initiation" in "Introduction to the Rites of Eleusis" excerpt in The Miracle of the Mass, with Constance Duquette: Part | | | | | | | "The Hermits of the O.T.O." in "Crowmance" by George Galvez Visit the of George Galvez for more information and music. Living Thelema: The Book Read about the book and pre-order your copy at: Main website: Send your questions to Dr. Shoemaker at Announcements A new graphic novel entitled is now available and features a foreword by Richard Kaczynski. is a newly formed Art Guild of Ordo Templi Orientis Australia, which aims to raise awareness of esoteric and occult art in all its forms, to further the interests of its members, and to promulgate the Law of Thelema through the creation of artistic work and staging of creative public initiatives. The guild is currently accepting members working across a range of creative practices.. Visit our blog at speechinthesilence.com to get a link to the new website of . The International Headquarters of Ordo Templi Orientis has posted a lengthy announcement concerning a number of new developments, including: news about a major international art exhibition which will include ten original paintings from the Thoth Tarot by Aleister Crowley and Frieda Harris information about the newly completed restoration of the Thoth Tarot copyright litigation news information about several publishing projects that are coming to a head a major find in the OTO archives, leading Frater Superior Hymenaeus Beta to announce an important correction to the typescript of Liber AL vel Legis In addition to the above announcement, Frater Superior Hymenaeus Beta has published on the subject of the aforementioned correction to Liber AL vel Legis. is now open in Perth, Western Australia, and will tour the country throughout 2013. has also been published. The 55th International Art Exhibition at the includes nine paintings from Aleister Crowley’s Thoth Tarot. This exhibit is now open and runs through November 24. Several new editions of Crowley’s work translated into French and will be available soon. The first of these is , which is to be available imminently. The ninth biennial will take place in Sacramento, California in August, 2013. A new book by Dr. David Shoemaker will be released later this year based on his segments on this podcast, and will include additional discussion and resources. The title of the book will be Living Thelema: A Practical Guide to Attainment in Aleister Crowley's System of Magick. Check out the and tune in to future Speech in the Silence programs for further information about this book. The will be held September 14-15 in Seattle, Washington. O.T.O. Japan is pleased to announce an event celebrating 25 years since the first O.T.O. initiation in Japan. This event is open to Minerval initiates of O.T.O. and will take place September 21-22 in Kyoto, the city of temples and Japan's historic capital. On the weekend of September 27-29, several O.T.O. initiates, including Speech in the Silence co-producer Joseph Thiebes, will offer lectures at an Esoteric Salon in Salem, Massachusetts, focused on the intertwining topics of Magick and Creative Art. The event is called . William Blake Lodge in Baltimore, Maryland will host its annual , a jam-packed weekend of Masses, Classes and E.G.C. Training, framed in an environment of fraternal fun. Massapalooza takes place on the weekend of October 11-13 A Thelemic cruise called will take place in January, 2014. A new film about Aleister Crowley's friendship with Portuguese poet Fernando Pessoa is in production. A new preview of the film is available in Portuguese and can be seen at . Tune in to future Speech in the Silence programs to learn more. If you would like to notify our listeners about an event or publication, or other news pertinent to Thelemites, send the details to us at [ ] [ ] Listener Feedback We encourage all of our listeners to e-mail us at Donate to support Speech in the Silence Tune in for Program 44 when the Sun enters Virgo on August 22, 2013 e.v.

Hildegard | Integrated Magical Life 1 | In the Desert... | Living Thelema: Advice from the Tree of Life | Riddle of the Sphinx In this program: Intro music: Song of Adoration by Musical Interlude: "Hildegard" by Oliver Althoen "The Integrated Magical Life pt. 1" by Lon DuQuette Musical Interlude: "In the Desert, Chaos Loved me with a Knife" by The Green Man "Living Thelema: Advice from the Tree of Life" by David Shoemaker Musical Interlude: "Riddle of the Sphinx" by Shams93 Announcements & News about the Thelemic Community Outro music: Song of Adoration by Frater Oz [ ] [ ] More Info "Hildegard" by Oliver Althoen More of Oliver's work can be heaqrd on the following Speech in the Silence programs: | | "The Integrated Magical Life pt. 1" by Lon DuQuette Lon DuQuette has appeared in numerous past episodes of Speech in the Silence, including: Lon reads from his introduction to "Best of the Equinox Vol. 2" in "Survival: The First and Last Ordeal of Initiation" in "Introduction to the Rites of Eleusis" excerpt in The Miracle of the Mass, with Constance Duquette: Part | | | | | | | "The Hermits of the O.T.O." in “In the Desert, Chaos Loved me with a Knife” by The Green Man The album "Musick Without Tears" can be ordered through Living Thelema: Advice from the Tree of Life Send your questions to Dr. Shoemaker at Announcements A new graphic novel entitled is now available and features a foreword by Richard Kaczynski. is a newly formed Art Guild of Ordo Templi Orientis Australia, which aims to raise awareness of esoteric and occult art in all its forms, to further the interests of its members, and to promulgate the Law of Thelema through the creation of artistic work and staging of creative public initiatives. The guild is currently accepting members working across a range of creative practices.. Visit our blog at speechinthesilence.com to get a link to the new website of . The International Headquarters of Ordo Templi Orientis has posted a lengthy announcement concerning a number of new developments, including: news about a major international art exhibition which will include ten original paintings from the Thoth Tarot by Aleister Crowley and Frieda Harris information about the newly completed restoration of the Thoth Tarot copyright litigation news information about several publishing projects that are coming to a head a major find in the OTO archives, leading Frater Superior Hymenaeus Beta to announce an important correction to the typescript of Liber AL vel Legis In addition to the above announcement, Frater Superior Hymenaeus Beta has published on the subject of the aforementioned correction to Liber AL vel Legis. is now open in Perth, Western Australia, and will tour the country throughout 2013. has also been published. The 55th International Art Exhibition at the includes nine paintings from Aleister Crowley’s Thoth Tarot. This exhibit is now open and runs through November 24. Several new editions of Crowley’s work translated into French and will be available soon. The first of these is , which is to be available imminently. Scarlet Woman Lodge in Austin will hold their annual , featuring workshops, vendors, presentations, social events, and more on June 22nd and 23rd. will hold its annual conference on June 26-29 at the University of Gothenburg, Sweden. On June 30 in Sacramento, California, Lon DuQuette will offer talks on . July 12-14, Azul Nox Encampment will hold its , a rustic camping and ritual experience over two nights and three days on a 14 acre Camp Ground in Dillsburg, Pennsylvania. The ninth biennial will take place in Sacramento, California in August, 2013. A new book by Dr. David Shoemaker will be released later this year based on his segments on this podcast, and will include additional discussion and resources. The title of the book will be Living Thelema: A Practical Guide to Attainment in Aleister Crowley's System of Magick. Check out the and tune in to future Speech in the Silence programs for further information about this book. The will be held September 14-15 in Seattle, Washington. O.T.O. Japan is pleased to announce an event celebrating 25 years since the first O.T.O. initiation in Japan. This event is open to Minerval initiates of O.T.O. and will take place September 21-22 in Kyoto, the city of temples and Japan's historic capital. On the weekend of September 27-29, several O.T.O. initiates, including Speech in the Silence co-producer Joseph Thiebes, will offer lectures at an Esoteric Salon in Salem, Massachusetts, focused on the intertwining topics of Magick and Creative Art. The event is called . William Blake Lodge in Baltimore, Maryland will host its annual , a jam-packed weekend of Masses, Classes and E.G.C. Training, framed in an environment of fraternal fun. Massapalooza takes place on the weekend of October 11-13 A Thelemic cruise called will take place in January, 2014. A new film about Aleister Crowley's friendship with Portuguese poet Fernando Pessoa is in production. A new preview of the film is available in Portuguese and can be seen at . Tune in to future Speech in the Silence programs to learn more. If you would like to notify our listeners about an event or publication, or other news pertinent to Thelemites, send the details to us at [ ] [ ] Listener Feedback We encourage all of our listeners to e-mail us at Donate to support Speech in the Silence Tune in for Program 43 when the Sun enters Leo on July 22, 2013 e.v.

This Week: Lisa Freiman In this weeks episode Duncan talks to Lisa Freiman of the Indianapolis Museum of Art. This wide-ranging discussion looks at her work with the 2011 Venice Biennial/Jennifer Allora and Guillermo Calzadilla, what it takes to make a relevant sculpture park, and what is up with our neighbor in the blogosphere Art Babel. Hold onto your hats it's bound to be a bumpy ride. Lisa appears with the generous support of SAIC's Visiting Artist Program and we thank them for their assistance. And special thanks go out to Andrea Green and Thea Liberty Nichols.  The following bio was "borrowed" remorselessly from the 54th international art exhibition known as the Venice Biennial. Maybe you've heard of it? Lisa D. Freiman is senior curator and chair of the Department of Contemporary Art at the Indianapolis Museum of Art. In fall 2010, Freiman was appointed by the United States Department of State to be commissioner of the U.S. Pavilion in the 54th International Art Exhibition, La Biennale di Venezia. In 2011, she will present six newly commissioned, site-responsive works by Puerto Rico-based artists Allora & Calzadilla, the first collaborative to be presented in the U.S. Pavilion. Under Freiman’s vision and direction, the IMA opened 100 Acres: The Virginia B. Fairbanks Art & Nature Park to international critical acclaim in June 2010. 100 Acres offers a new  resilient model for sculpture parks in the 21st century, emphasizing experimentation, place-making, and public engagement with a constantly changing constellation of commissioned artworks. Inaugural installations included works by eight artists and artist collaboratives from around the world including Atelier Van Lieshout, Kendall Buster, Jeppe Hein, Alfredo Jaar, Los Carpinteros, Tea Mäkipää, Type A, and Andrea Zittel.   During her eight-year tenure at the IMA, Freiman has transformed the experience of contemporary art in Indianapolis. She has created a dynamic and widely  renowned contemporary art program that has become an influential model for encyclopedic museums as they engage the art of our time. Actively seeking out the works of emerging and established international artists, Freiman continues to provide a platform to support artists’ work through major traveling exhibitions, commissions, acquisitions, and publications. She has realized major commissions by artists including Robert Irwin, Kay  Rosen, Tony Feher, Orly Genger, Julianne Swartz, and Ghada Amer, and curated numerous exhibitions of works by international contemporary artists including  Amy Cutler, Ingrid Calame, Maria Magdalena Campos-Pons, Ernesto Neto, and Tara Donovan. Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), and María Magdalena Campos-Pons (María Magdalena Campos-Pons: Everything Is Separated by Water, Yale University Press, 2007), and Type A (Type A, Hatje Cantz, 2010).   Prior to joining IMA, Freiman worked as assistant professor of art history, theory, and criticism at the University of Georgia, Athens and served in the curatorial department of the Institute of Contemporary Art, Boston. She earned her doctorate and master’s degrees in modern and contemporary art history from Emory University and has a bachelor’s degree in art history from Oberlin College. Freiman is currently editing the first collection of Claes Oldenburg’s writings from the Sixties, which will be published by Yale University Press in London in 2013. She is also adapting her dissertation, “(Mind)ing The Store: Claes Oldenburg’s Psychoaesthetics,” into the first scholarly monograph on Claes Oldenburg entitled Claes Oldenburg and the Sixties.  

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