Podcasts about kaldor public art project

Asad Raza (born in Buffalo, USA) creates dialogues and rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience. Diversion, first shown at Kunsthalle Portikus in 2022, diverted a river through the gallery. Absorption, in which cultivators create artificial soil, was the 34th Kaldor Public Art Project in Sydney (2019), later shown at the Gropius Bau, Berlin (2020) and Ruhrtriennale (2021). In Untitled (plot for dialogue) (2017), visitors played tennis in a sixteenth-century church in Milan. Root sequence. Mother tongue, at the 2017 Whitney Biennial, combines twenty-six trees, caretakers and objects. Schema for a school was an experimental school at the 2015 Ljubljana Graphic Art Biennial. Raza premiered the feature Minor History at the International Film Festival Rotterdam (2019). Other projects take intimate settings: The Bedroom at the 2018 Lahore Biennale; Home Show (2015) at his apartment in New York, where Raza asked artists to intervene in his life; and Life to come (2019) at Metro Pictures, featuring participatory works and Shaker dance.  With Hans Ulrich Obrist, Raza curates exhibitions inspired by Édouard Glissant, including Mondialité (Villa Empain, Brussels), Trembling Thinking (Americas Society, New York), Where the Oceans Meet (MDC Museum of Art and Design, Miami), and This language which is every stone (IMA, Brisbane). Raza will serve as Artistic Director of the upcoming FRONT 2025: Cleveland Triennial of Contemporary Art. Of Pakistani background, Raza studied literature and filmmaking at Johns Hopkins and NYU. Still from Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Asad Raza, Untitled (plot for dialogue), 2017, CONVERSO, Milan Photo Credit: Andrea Rossetti

收听提示 1、艺术家克里斯托是谁？ 2、什么是大地艺术？ 3、如何理解一期一会？ 4、当代艺术最大的问题是什么？ 本集相关 克里斯托 保加利亚艺术家克里斯托（Christo）于5月31日在自己纽约的住所里自然去世，享年84岁。 Kaldor Public Art Project 1: Christo & Jeanne-Claude 1969珍妮-克劳德, 克里斯托28 October – 14 December 1969。 明年九月的时候，他本应该在巴黎的凯旋门上装扮凯旋门。"克里斯托把自己的生活过得淋漓尽致，他不仅幻想着看似不可能的事情，还把它变成了现实。克里斯托（Christo）和珍妮·克劳德（Jeanne-Claude）一直明确表示，他们正在进行的作品将在去世后继续。 大地艺术 罗伯特·史密森 的作品《螺旋形防波堤》，摄于2005年4月 大地艺术（Land art, Earthworks 或 Earth art）也叫地景艺术，是一种始发于美国，在二十世纪六十年代末和二十世纪七十年代早期的一种艺术运动，其表现为大地景观和艺术作品本身不可分割的联系，同时这也是一种在自然界创作的艺术形式，创作材料多直接取自自然环境，例如泥土、岩石、有机材料，以及水等。 同时，推土机等工程机械时常作为改变地景的工具出现在创作过程中。 大地艺术的创作旨在对地景的讨论，其作品经常出现在对公众开放，远离都市文明的地区，大地艺术作品时常保留了材料被自然力改变，侵蚀的客观属性，从而导致很多早期作品，仅仅短暂地存在，而如今只能在纪录片或者照片档案中找到。 国会纵火案 国会纵火案（德语：Der Reichstagsbrand）是德国建立纳粹党一党专政独裁政权的关键事件，发生在1933年2月27日，柏林消防队于晚上9时14分开始接到德国国会大楼火警报告。同时在几个不同地点发生火灾，但当消防队到达时，主要的议会大厅发生爆炸，燃起大火。警察搜索现场时，发现了失业的建筑工人马里努斯·范·德·卢贝。他是荷兰共产党人，不久前才到德国。 总理希特勒和戈林很快到达现场，"发现"荷共党人范·德·卢贝后，戈林立即宣称这起纵火案是共产党人干的，他们抓到了共产党的领袖。希特勒立即抓住这个机会宣布全国进入紧急状态，要求年事已高的总统兴登堡签署《国会纵火法令》，取消大部分魏玛宪法赋予总统的权利。 本集音乐 Champs《3,000 Miles》 本集推荐 山水中国：线条和水墨的艺术史 | 韦羲 上集回顾 美国枪支泛滥，为什么总是禁不掉？ 《八分》每周三、周五晚8点更新 欢迎留言和我们互动

收听提示 1、艺术家克里斯托是谁？ 2、什么是大地艺术？ 3、如何理解一期一会？ 4、当代艺术最大的问题是什么？ 本集相关 克里斯托 保加利亚艺术家克里斯托（Christo）于5月31日在自己纽约的住所里自然去世，享年84岁。 Kaldor Public Art Project 1: Christo & Jeanne-Claude 1969珍妮-克劳德, 克里斯托28 October – 14 December 1969。 明年九月的时候，他本应该在巴黎的凯旋门上装扮凯旋门。"克里斯托把自己的生活过得淋漓尽致，他不仅幻想着看似不可能的事情，还把它变成了现实。克里斯托（Christo）和珍妮·克劳德（Jeanne-Claude）一直明确表示，他们正在进行的作品将在去世后继续。 大地艺术 罗伯特·史密森 的作品《螺旋形防波堤》，摄于2005年4月 大地艺术（Land art, Earthworks 或 Earth art）也叫地景艺术，是一种始发于美国，在二十世纪六十年代末和二十世纪七十年代早期的一种艺术运动，其表现为大地景观和艺术作品本身不可分割的联系，同时这也是一种在自然界创作的艺术形式，创作材料多直接取自自然环境，例如泥土、岩石、有机材料，以及水等。 同时，推土机等工程机械时常作为改变地景的工具出现在创作过程中。 大地艺术的创作旨在对地景的讨论，其作品经常出现在对公众开放，远离都市文明的地区，大地艺术作品时常保留了材料被自然力改变，侵蚀的客观属性，从而导致很多早期作品，仅仅短暂地存在，而如今只能在纪录片或者照片档案中找到。 国会纵火案 国会纵火案（德语：Der Reichstagsbrand）是德国建立纳粹党一党专政独裁政权的关键事件，发生在1933年2月27日，柏林消防队于晚上9时14分开始接到德国国会大楼火警报告。同时在几个不同地点发生火灾，但当消防队到达时，主要的议会大厅发生爆炸，燃起大火。警察搜索现场时，发现了失业的建筑工人马里努斯·范·德·卢贝。他是荷兰共产党人，不久前才到德国。 总理希特勒和戈林很快到达现场，"发现"荷共党人范·德·卢贝后，戈林立即宣称这起纵火案是共产党人干的，他们抓到了共产党的领袖。希特勒立即抓住这个机会宣布全国进入紧急状态，要求年事已高的总统兴登堡签署《国会纵火法令》，取消大部分魏玛宪法赋予总统的权利。 本集音乐 Champs《3,000 Miles》 本集推荐 山水中国：线条和水墨的艺术史 | 韦羲 上集回顾 美国枪支泛滥，为什么总是禁不掉？ 《八分》每周三、周五晚8点更新 欢迎留言和我们互动

Plus, the legendary artist Christo reflects on his first Kaldor Public Art Project, data journalist Mona Chalabi translates spreadsheets into powerful artworks, and jeweller Susan Cohn on making jewellery with a political message.

Plus, the legendary artist Christo reflects on his first Kaldor Public Art Project, data journalist Mona Chalabi translates spreadsheets into powerful artworks, and jeweller Susan Cohn on making jewellery with a political message.

Plus, the legendary artist Christo reflects on his first Kaldor Public Art Project, data journalist Mona Chalabi translates spreadsheets into powerful artworks, and jeweller Susan Cohn on making jewellery with a political message.

Philadelphia Museum of Art curator Matthew Affron on the readymades of Marcel Duchamp at AGNSW, Rosslynd Piggott on her exhibition I sense you but I cannot see you at the NGV, and Asad Raza on his Kaldor Public Art Project at Carriageworks.

Philadelphia Museum of Art curator Matthew Affron on the readymades of Marcel Duchamp at AGNSW, Rosslynd Piggott on her exhibition I sense you but I cannot see you at the NGV, and Asad Raza on his Kaldor Public Art Project at Carriageworks.

Lecture by John Kaldor AO; Respondent: Rebecca Coates Described as ‘somewhere between a monument and an event’, Christo and Jeanne-Claude’s 'Wrapped Coast – One Million Square Feet', at Little Bay, Sydney, in 1968–69, was an extraordinary project that had an indelible impact on public art and inspired an enduring legacy for Australian culture. 'Wrapped Coast' was the first major environmental project by the internationally acclaimed French husband-and-wife artist duo. 'Wrapped Coast' was the inaugural Kaldor Public Art Project and, over a 50-year period, 33 ground-breaking projects followed. Links: https://acca.melbourne/series/defining-moments/ http://kaldorartprojects.org.au/ https://christojeanneclaude.net/ Recorded at ACCA on Monday 15 April 2019 Thank you to our partners: Abercrombie & Kent Presenting Partner; Centre for Visual Art (CoVA) Research Partner; Event Partners Melbourne Gin Company, Capi and City of Melbourne; Media Partners Art Guide Australia, The Saturday Paper, 3RRR FM

Adopting both historical and contemporary motifs – from the baroque to glossy magazine advertisements – Jeff Koons’s work disrupts the distinctions between high and low art forms. ‘White terrier’ was the model for Koons’s floral sculpture ‘Puppy’ 1995, a Kaldor Public Art Project that stood 12.5 metres high on the lawn of the Museum of Contemporary Art in Sydney.

Nam June Paik was a pioneer of video installation in the early 1960s. Associated with the international conceptual movement Fluxus, Paik regularly collaborated with other Fluxus artists such as Joseph Beuys and George Maciunas. In 1976 John Kaldor invited Paik and his collaborator, the cellist Charlotte Moorman to create a Kaldor Public Art Project in Australia. As part of the project Moorman played the ‘TV cello’. Made from three televisions removed from their sets so that their inner workings can be seen, with an attached cello bridge, tailpiece and strings forming a cello-like instrument. ‘TV Buddha’ was also made in Sydney in 1976 using an old wooden Maitreya (Buddha of the future) from the Kaldor collection. ‘Kaldor candle’ was made in 1996 for John Kaldor, who remained friends with Paik until the artist’s death in 2006. Both ‘TV Buddha’ and ‘Kaldor candle’ employ a conceptual use of video – first developed by Paik – in which a camera and a monitor loop in real time, blurring the object–subject distinction. This feedback idea was used by leading conceptual artists in the 1970s, including Bill Viola, Dan Graham and Mike Parr.

Adopting both historical and contemporary motifs – from the baroque to glossy magazine advertisements – Jeff Koons’s work disrupts the distinctions between high and low art forms. ‘White terrier’ was the model for Koons’s floral sculpture ‘Puppy’ 1995, a Kaldor Public Art Project that stood 12.5 metres high on the lawn of the Museum of Contemporary Art in Sydney.

Nam June Paik was a pioneer of video installation in the early 1960s. Associated with the international conceptual movement Fluxus, Paik regularly collaborated with other Fluxus artists such as Joseph Beuys and George Maciunas. In 1976 John Kaldor invited Paik and his collaborator, the cellist Charlotte Moorman to create a Kaldor Public Art Project in Australia. As part of the project Moorman played the ‘TV cello’. Made from three televisions removed from their sets so that their inner workings can be seen, with an attached cello bridge, tailpiece and strings forming a cello-like instrument. ‘TV Buddha’ was also made in Sydney in 1976 using an old wooden Maitreya (Buddha of the future) from the Kaldor collection. ‘Kaldor candle’ was made in 1996 for John Kaldor, who remained friends with Paik until the artist’s death in 2006. Both ‘TV Buddha’ and ‘Kaldor candle’ employ a conceptual use of video – first developed by Paik – in which a camera and a monitor loop in real time, blurring the object–subject distinction. This feedback idea was used by leading conceptual artists in the 1970s, including Bill Viola, Dan Graham and Mike Parr.