Podcasts about Kunsthalle Wien

e-flux Education editor Juliana Halpert talks to Coleman Collins. Collins is an interdisciplinary artist, writer, and researcher whose work explores notions of diaspora in relation to technological methods of transmission, translation, copying, and reiteration. His most recent projects examine the connections between things-in-the-world and their digital approximations, paying particular attention to the ways in which real and virtual spaces are socially produced. Working across sculpture, video, photography, and text, Collins' practice attempts to locate a synthesis between seemingly opposed terms: subject and object; object and image; original and duplicate; freedom and captivity.   Coleman Collins is a 2025 Guggenheim Fellow. He has also received support from the Graham Foundation for Advanced Studies in the Fine Arts, the New York Foundation for the Arts, and Cafe Royal Cultural Foundation. He received an MFA from UCLA in 2018, and was a 2017 resident at the Skowhegan School for Painting and Sculpture. In 2019, he participated in the Whitney Museum's Independent Study Program.  Recent exhibitions and screenings have taken place at e-flux, New York; Ehrlich Steinberg, Los Angeles; Herald Street, London; Soldes, Los Angeles; the Palestine Festival of Literature, Jerusalem/Ramallah; Larder, Los Angeles; Hesse Flatow, New York; Brief Histories, New York; Carré d'Art, Nîmes; and the Kunsthalle Wien in Vienna. His work is in the permanent collection of the Hammer Museum, Los Angeles. He is currently an Assistant Professor of Art at the University of California, Irvine. He lives and works in Los Angeles.

Felix Hoffmann is an image and cultural scholar and the inaugural Artistic Director of the Center for Photography and Lens-Based Media FOTO ARSENAL WIEN and the Director of FOTO WIEN. From 2005 to 2022, he served as the Chief Curator of the exhibition space C/O Berlin, where he was responsible for exhibitions, programs, and strategy. He curated numerous international exhibitions, including Nan Goldin (2009), Robert Mapplethorpe, Peter Lindbergh (2011), Gordon Parks (2014), Ren Hang and Elfie Semotan (2018), and William Eggleston (2023), as well as thematic exhibitions like Eerily Familiar: Images of Terror (2011), The Last Image: Photography and Death (2018), and Send me an Image: From Postcards to Social Media (2020).  - Follow Felix on Instagram here --> https://www.instagram.com/felix_hoffmann__/   FOTO ARSENAL WIEN is Austria's new center for photography and lens-based media. Since 2023 it has been responsible for the FOTO WIEN festival, and starting in 2025 it will be responsible for the Festival Vienna Digital Cultures with the Kunsthalle Wien. Initiated as a media literacy center by the city of Vienna in fall 2022, FOTO ARSENAL WIEN explores all facets of photography. As a hub for photography and lens-based media in Austria, the institution brings together historical and international topics at the interface between analog and digital worlds as well as between static and moving pictures. FOTO ARSENAL WIEN presents the full spectrum of the medium of photography in up to twelve exhibitions held annually in a one-thousand-square-meter exhibition space—a combination of young talents, still-to-be-discovered photographers, and internationally known artists. - https://www.fotoarsenalwien.at/en/ - https://www.instagram.com/foto_arsenal_wien/   FOTO WIEN is a member of the European Month of Photography (EMOP), a European collaborative project that currently includes photography festivals in Berlin, Brussels, Lisbon, and Luxemburg. Once an insider event for Vienna's lively photography scene, FOTO WIEN has become Austria's largest festival of photographic images in over twenty years of collective commitment. It offers programs for a broad audience that is interested in art and contemporary events as well as a professional audience. FOTO ARSENAL WIEN has been the organizer since 2023. - https://www.fotowien.at/en/ - https://www.instagram.com/foto_wien/   Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 7. March 2025 between Perth (AU) and Vienna (A).

The idea that natural elements can serve as witnesses to history is central to my work. When you look at the landscapes in my projects – what I refer to as ‘landscapes of violence' or ‘geographies of violence' – you see how these environments bear witness to historical trauma and conflict. (Ali Cherri) This episode was recorded on 19 February 2025 in the context of the exhibition: Ali Cherri How I Am Monument 6.12.2024 – 23.2.2025 Ali Cherri was born in Beirut and lives and works in Paris. Spanning film, performance, sculpture, drawing, and installation, his work is inspired both by archaeological artefacts and the natural world, exploring the temporal shifts between ancient civilisations and contemporary societies. Using artefacts as a starting point, he investigates the boundaries of ideologies that underpin the foundations of nations and the myth of national progression. His work considers the links between archaeology, historical narrative and heritage, and the processes of excavation and relocation of cultural objects into museums. Reflecting on different geographies of violence in his native Lebanon but also in the broader region, he interrogates the ways in which political violence disseminates into people's bodies and the physical and cultural landscape. More Jeanette Pacher is a curator for contemporary art and has worked at the Secession since 2007, where she has developed numerous exhibitions in a sustained dialogue with artists, often supporting them in the production of new works, and has edited and contributed to related publications. She lectures regularly at the Department of Site-Specific Art at the University of Applied Arts Vienna and, since 2023, has served as a jury member for KÖR – Art in Public Space Vienna. Previously, she was part of the editorial team for the Ö1 Kunstradio radio show and began her curatorial career at Kunsthalle Wien in the mid-1990s. A publication featuring an essay by Tom Houlton and a conversation with Ali Cherri, Emma Dean, and Jeanette Pacher accompanies the exhibition. https://secession.at/publikation_ali_cherri_EN Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Jeanette Pacher    

"Kommunikation ist alles!" - wir alle tun es ständig, sowohl über Worte als auch Mimik und Gestik. Und obwohl wir es gewöhnt sind unsere Sprache an diverse Settings anzupassen gibt es immer wieder Menschen, die vor allem bei Themen wie "gendern" und "Pronomen" stark in den Widerstand gehen. Was es mit all diesen Themen auf sich hat und worum es eigentlich geht bespreche ich in dieser Folge mit Dr. Persson Perry Baumgartinger. Persson Perry Baumgartinger, Mag. Dr. Gründer von TransComm. Forschen, Vermitteln, Beraten & Kuratieren an den Schnittstellen Sprache & Kommunikation, Trans_Inter*Queer:Nonbinary, Kritisches Diversity & Social Justice, Wissenschaft & Kunst. U.a. Universität St. Gallen, Max Reinhardt Seminar, Tanzquartier Wien, museum gugging, Campus Wien Academy, Kunsthalle Wien, Initiative Minderheiten, Kunsthochschule Kassel, Mozarteum & Universität Salzburg. www.baumgartinger.net TransComm . Büro für transformative Kommunikation. Beratung, Training & Prozessbegleitung bei Entwicklung und Implementierung von diversitätssensibler, diskriminierungskritischer und geschlechtervielfältiger Unternehmenstransformation. Let's do it! Train your communication muscle! To transform your corporate culture. Be part of the transformation revolution! www.transcomm.net

Die 1981 in Novi Sad geborene Künstlerin Aleksandra Domanovic konzentriert sich in ihrer Arbeit auf die Überschneidungen zwischen Technologie, sozialistische Geschichte ihrer Heimat Ex-Jugoslawiens und Pop- Kultur. Ihre derzeit in der Kunsthalle Wien laufende Solo-Show versammelt Skulpturen, Videos, Drucke, und digitale Medien aus den letzten achtzehn Jahren. Petra Erdmann hat sich von der Künstlerin durch die Ausstellung führen lassen.

Katrin Hornek, Karin Pauer, Sabina Holzer, Zosia Hołubowska, and Jeanette Pacher in conversation testing grounds is an immersive live installation conceived by Katrin Hornek and developed in a collaborative process involving artists as well as researchers and scientists from different fields. It addresses the measurable evidence and effects of radioactive fallout dispersed around the world as a result of heavy testing of nuclear weapons, especially during the Cold War era. Listen to the artist Katrin Hornek, choreographer Karin Pauer, writer and dancer Sabina Holzer, sound artist Zosia Hołubowska, and the curator Jeanette Pacher talk about the project and its coming about from their respective perspectives, but also what it means to work collaboratively so closely. The conversation was recorded on May 13, 2024 in the context of the exhibition. Katrin Hornek testing grounds In collaboration with Karin Pauer, Sabina Holzer, and Zosia Hołubowska 8.3. – 2.6.2024 With her artistic oeuvre and curatorial practice, Katrin Hornek playfully engages with the strange paradoxes of living in the age of the Anthropocene, that is, the new geologic epoch where the effects of capitalism, colonialism, and extractivism are written into the body of the earth. She asserts a more complex understanding of the entwinement of so-called nature and culture that recognizes that our bodies and cultures are substantially and spiritually connected with other creatures and the elements that make up our world. As an artistic strategy, Hornek follows the stories and traces of the material world into their countless networks to create narratives. More Katrin Hornek (*1983, Austria) studied performative art and sculpture in Vienna and Copenhagen. She is a member of the Anthropocene Commons network and teaches at the University of Applied Arts Vienna (Department of Site-Specific Art). Recent exhibitions at Ar/Ge Kunst, Bolzano (2022), Kunstraum Lakeside, Klagenfurt (2021), Riga Biennale (2020), Kunsthalle Wien, Vienna (2019). Awarded the Msgr. Otto Mauer Prize (2021). www.katrinhornek.net Karin Pauer (*1983, Austria) is a performer and choreographer. The exploration of relations, in-betweens, empathy, and togetherness informs all her works. She negotiates these notions combining embodied choreographic practices with language, visual arts, and live music. Her works have been shown in various Viennese institutions as well as at local and international festivals. www.karinpauer.com Sabina Holzer (*1966, Austria) works as a dancer, choreographer and author in the field of extended choreography. She is concerned with practices of community, ecology, philosophy, materiality, science fiction and poetry. Her collaborative performances, interventions and texts are shown and published locally and internationally. www.cattravelsnotalone.at Zosia Hołubowska (1988, Poland) is a sound artist, queer music activist, researcher, and producer. With performances, sound installations, radio works and soundscapes, they work on topics of queering archives, healing practices, and interspecies intimacy.   Performance: Martina De Dominicis, Cat Jimenez, Mani Obeya, Karin Pauer The Dorotheum is the exclusive sponsor of the Secession Podcast.   Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Katrin Hornek Editor: Paul Macheck Programmed by the board of the Secession Produced by Jeanette Pacher

Secession Podcast: Artists Simone Fattal in conversation with Jeanette Pacher Secession Podcast: Artists features artists exhibiting at the Secession. This episode is a conversation between Simone Fattal and Jeanette Pacher, the curator of the exhibition. It was recorded on June 19, 2024 in the context of the exhibition: Simone Fattal metaphorS 21.6. – 8.9.2024 In her exhibition metaphorS, Simone Fattal presents bodies of work from different periods in her career and in a variety of media, including fired clay and ceramic sculptures, paintings, and collages. With her works, she tells stories of humanity, culture, history, and the present. Conflict, consensus, nature, faith, and trust are central concerns. Despite (or precisely because of) the artist's nomadic life, her oeuvre is deeply rooted in the millennia-old culture and history of the Middle East—she was raised in Damascus and Beirut—and the epic literature, poetry, archaeology, and landscapes of this region are both vital sources of inspiration and central themes. More Simone Fattal (*1942) was raised in Damascus and Beirut, studied archaeology and philosophy in France and began painting in Beirut in the early 1970s. After years of civil war, she left Lebanon in 1980 and settled in California, where she founded the Post-Apollo Press; for the next thirty years, she dedicated herself to publishing literature and poetry, including many books by her partner Etel Adnan. In the late 1980s, she studied sculpture at the San Francisco Art Institute and fell in love with working with clay. Meanwhile, she also started making collages that combine pictures of archaeological sites and relics with contemporary photographs. Today, Simone Fattal lives and works in Paris. Jeanette Pacher is a curator for contemporary visual arts and has been working at the Secession since 2007. She is a regular lecturer in the Department of Site-Specific Art at the University of Applied Arts Vienna, and since 2023, a jury member of KÖR – Art in Public Space Vienna. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien in the mid 1990s.   The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Jeanette Pacher Editor: Paul Macheck Produced by Jeanette Pacher  

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Charlie Prodger and the curator Jeanette Pacher. It was recorded on December 1, 2023 in the context of the exhibition: Charlie Prodger The Offering Formula 1.12.2023 – 25.2.2024 Charlie Prodger (b.1974) is a Scottish artist working with moving image, photography, sculpture and drawing. She won the 2018 Turner Prize and represented Scotland at the 2019 Venice Biennale. She is currently a 2023–24 Fellow at the Radcliffe Institute for Advanced Study, Harvard University. Broadly, Prodger's work orbits histories - from the weight of deep geological time to more contingent forms of narrative such as anecdote and oral history. Through the prism of queer subjectivity, her work explores intertwined relations between the body, landscape, language, technology and time. More Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Jeanette Pacher Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

Die Herbstausstellung der Albertina Modern widmet sich aktuell hervorragenden Künstlerinnen und Künstlern aus Österreich und Deutschland, von 1970 bis 2020. Für uns beide, also als Vertreter beider Länder sozusagen, ein Muss dort vorbei zu schauen und auch gleich ein Anlass mit der Direktorin der Albertina Modern zu sprechen. Denn die gebürtige Augsburgerin Angela Stief leitet das Haus seit 2021. Zuvor war sie 9 Jahre lang Kuratorin der Kunsthalle Wien, seit über 5 Jahren ist sie zudem kuratorische Beraterin der Vienna Art Week. Wir haben Angela Stief in ihrem Büro, mit Blick auf die klassische Albertina in Wien, zum Gespräch getroffen. Dabei hat sie uns erzählt, was eigentlich so modern an der Albertina Modern ist, warum sie in Hotelzimmern ab und zu die Bilder abhängt und natürlich wie sie zur Kunst gekommen ist. Also, viel Vergnügen!

Paneler med lysbrydende film rammes af kunstigt lys og skaber en mosaik af vandrette og lodrette prismer, der forandres og påvirkes alt afhængig af, hvor lyset rammer, og hvem der kigger.    Lysets spil er et fænomen, der er æstetisk og fysisk inciterende, og i århundreder har kunstnere og fysikere reflekteret over lysets natur og eksperimenteret med dets egenskaber.    I Søndermarkens underjordiske udstillingsrum Cisternerne, hvor dagslyset aldrig når ned, har den sydkoreanske kunstner Kimsooja skabt et stedsspecifikt installationsværk, der lader alle regnbuens farver væve sig gennem de mørke og fugtige gange. Her bruger hun lysets penselstrøg til at ‘male' de mørke flader i Cisternerne og transformerer dermed de mørke gange og flader til dynamiske lærreder.     Lysets natur var emnet, og udstillingen 'Weaving the Light' afsættet, da Kimsooja til Bloom gik i dialog med partikelfysiker Troels C. Petersen og kunstkritiker Mathias Kryger. Nu kan du høre samtalen her! ** Kimsooja er en sydkoreansk kunstner, som arbejder på tværs af medier som performance, lys- og lydkunst, film og fotografi. Hun har deltaget i adskillige kunstbiennaler og udstillet på en lang række betydningsfulde kunstinstitutioner som Guggenheim Museum Bilbao, Kunsthalle Wien og MoMa. ‘Weaving the Light' er skabt specifikt til Cisternerne og kan opleves indtil den 23. november 2023. Troels C. Petersen er partikelfysiker og lektor ved Niels Bohr Instituttet. Han er en del af den internationale kreds af forskere, som har arbejdet med på at afdække universets hemmeligheder ved hjælp af enorme partikelacceleratorer på CERN. Moderator er kunstkritiker Mathias Kryger fra Politiken.

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Chen Chieh-jen and the curator Meiya Cheng and the curator Jeanette Pacher. It was conducted in Mandarin and recorded on June 30, 2023 in the context of the exhibition: Chen Chieh-jen Worn Away 30.6. – 3.9.2023 A long-time denizen of Taiwan's art world, Chen Chieh-jen's work from the 1980s to the present has been exhibited internationally. To the local scene, he became renowned for Dysfunction No. 3, an interventionist performance on Taipei's streets in the early 1980s. Wandering along dressed as hooded inmates, Chen and his contemporaries rejoinded government control through civil disobedience, forging a public sphere during times of oppression: From 1949 to 1987, the country was subjected to martial law, an emergency state governance banning free speech and public assembly. Distancing Taiwan from the neighboring People's Republic of China, the innately anti-communist martial law coerced power through a one-party system, with the military and secret police assuming control. In Chen's multifaceted work, the Japanese rule over Taiwan in the first half of the 20th century, the country's kinship with the US during the Cold War, and its present-day neoliberalization feature as periodic points of departure. More Meiya Cheng is a curator from Taipei. Before co-founding the Taipei Contemporary Art Center (TCAC), an experimental art association and independent art space in 2010, she worked as a curator at the Museum of Contemporary Art, MoCA, Taipei. As chair of the TCAC association from 2012 to 2014, she initiated exhibitions, forums, residencies and publications with contributions of Asian art workers that were presented in Taipei, New York, and Southeast Asia. She co-curated Trading Futures with Pauline Yao at Taipei Contemporary Art Center (2012), the  6th Queens International with Hitomi Iwasaki at Queens Museum, New York (2013), and The Great Ephemeral with the New Museum team at the New Museum, New York (2015). Her research on Southeast Asian art was presented in the exhibition Public Spirits at the Center for Contemporary Art Ujazdów Castle, Warsaw (2016). Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Meiya Cheng Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Vivian Suter and the curator Jeanette Pacher. It was recorded on May 4, 2023 in the context of the exhibition: Vivian Suter A Stone in the Lake 28.4. – 18.6.2023 The Secession's iconic light-filled main gallery, which opens onto a small park behind the building, would appear to be the ideal setting for a presentation of the painter Vivian Suter's oeuvre The Argentinean-Swiss artist has lived on a former coffee plantation in Panajachel on the shore of Guatemala's volcano-ringed Lago de Atitlán since the early 1980s, at a far remove from the art world, which for years paid her little attention. More recently, however, she has garnered considerable acclaim and her work has been shown around the world, including, most prominently, at documenta 14 in Athens and Kassel (2017). More Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Jeanette Pacher Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Anna Daučíková and the curator Jeanette Pacher. It was recorded on October 22, 2022 in the context of the exhibition: Anna Daučíková 16.9. – 6.11.2022 Anna Daučíková is a pioneer of feminist-queer art in Slovakia and the Czech Republic. Teaching for many years at art academies in Bratislava and Prague, and in recent years at the Salzburg Summer Academy, she counts to the most influential forward thinkers in the area of queer theory and practice. More Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Jeanette Pacher Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Kresiah Mukwazhi and the curator Jeanette Pacher. It was recorded on February 17, 2023 in the context of the exhibition: Kresiah Mukwazhi Kirawa 17.2. – 16.4.2023 In Kirawa, her first solo exhibition at an Austrian institution, Kresiah Mukwazhi presents a new body of work consisting of textile paintings and video works. Her mixed-media collages, sculptures, videos, and performances are informed by her personal experiences and observations of gender-based violence, exploitation and abuse in her native Zimbabwe. In vibrant textile works, female figures perform seemingly vulgar and obscene gestures, hinting at the artist's inquiries into the arduous working and living conditions of female sex workers in Zimbabwe's patriarchal society. Against this backdrop of precarization and marginalization, Mukwazhi uses her powerful work as a form of visual activism, scrupulously carving out forms of resistance and self-empowerment. Mutual support and encouragement, together with humour as a weapon and means of resistance, are recurring themes in her work. More Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing Director: Jeanette Pacher and Kresiah Mukwazhi Editor: Paul Macheck Programmed by the board of the Secession Produced by Christian Lübbert

WAS LOS WIEN ist unser neues Segment hier bei Im Museum. Jeden ersten Samstag im Monat gehen wir für euch in eine Ausstellung in Wien. Heute: Ein LAST CALL! Denn die Ausstellung **Sanja Iveković. Works of Heart** ist nur noch bis zum 12.03. in der Kunsthalle Wien zu sehen!

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist Jean-Frédéric Schnyder and the curator Jeanette Pacher. It was recorded on November 18, 2022 in the context of the exhibition: Jean-Frédéric Schnyder 18.11.2022 – 5.2.2023 In his exhibition at the Secession, the Swiss artist Jean-Frédéric Schnyder shows a cross-section of his painting from almost forty years (1983–2021). In his typical manner, the 102 paintings of various formats (all: oil on canvas) are hung evenly spaced and, increasing in size from front to back and then decreasing again, form a horizontal line. The ever-changing live image of the outdoor space, which the glass door on the front wall reveals, is part of the concept. More Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. The Dorotheum is the exclusive sponsor of the Secession Podcast. Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing & digital post-production: Christian Lübbert Programmed by the board of the Secession Produced by Christian Lübbert

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between the artist collective DIS and the curator Jeanette Pacher. It was recorded on March 5, 2022 in the context of the exhibition: DIS How To Become A Fossil March 4 – June 12, 2022 DIS is a collaborative project based in New York and consisting of Lauren Boyle, Solomon Chase, Marco Roso, David Toro, working together as an artistic and curatorial collective dealing with a wide range of media and platforms, exploiting the methods of production, use and dissemination of content online. More Jeanette Pacher is a curator at the Secession and lecturer at the University of Applied Arts Vienna / Site-Specific Art department. She was part of the editorial team of Ö1 Kunstradio and began working in the curatorial field at Kunsthalle Wien. Sponsor of the Secession Podcast: Dorotheum Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing & digital post-production: Axel Stockburger Programmed by the board of the Secession Produced by Christian Lübbert

In this fascinating discussion, artist Erica Scourti teaches Oriana what it's like to treat Twitter as if it's your potential boyfriend. Scourti also discusses the art of impersonal autobiography; the recalcitrance of old formats despite the invention of new media; mental health and technology; and the possiblity of resistance in the face of capitalist cooptation. This interview was recorded live on Instagram in May 2021 as part of Oriana's digital residency at Mimosa House Gallery. You can watch the original video here.Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show.Erica Scourti is an artist and writer, based in Athens and London whose work mines the intersections of autobiography and collective experience through everyday media and in particular, social media and its algorithms. She has performed, exhibited and presented talks internationally, at High Line New York, Wellcome Collection, Kunsthalle Wien, Hayward Gallery, Munich Kunstverein, ICA London and EMST Athens, the 7th Athens Biennale: ECLIPSE and Survival Kit 13, Latvian Centre for Contemporary Art (2022). Her writing has been published in Spells (Ignota, 2018) and Fiction as Method (Sternberg, 2017) amongst others, and she guest-edited the Happy Hypocrite- Silver Bandage journal (2019).  She is undertaking a PhD in Goldsmiths' Art Department, and is a Lecturer in BA Fine Art at Central St Martins.Credits:Produced, edited and hosted by Oriana FoxIntroductory Voiceover by John Kilduff, aka Mr. Let's PaintOriginal theme song written and performed by Paulette HumanbeingSpecial Thanks to Tom Estes, Lara Perry, Sven Van Damme, Katie Beeson, Janak Patel and Mimosa House Gallery, London***Would you like to see your name in the above credits list? In a couple of short steps, you can make that happen by supporting this podcast via Patreon.***Please rate and review this podcast to help others to find it!How to Rate and Review a Podcast on iTunes:First, Search for the Podcast in the Podcasts App. Note: You'll need to look the show up in the app.From Here, Select the 'Reviews' Tab, Then 'Write a Review'You'll Then Be Asked to Log in to iTunes.Then Tap the Stars to Rate the Podcast and Write Your Headline and Review.How to Rate and Review a Podcast on SpotifyFirst of all, you have to log in to your Spotify account, then follow these steps:Search Podcast pre-installed App on your phone.Hit the “Search” button. Here you will see “Write a Review” in the top right corner.You can also give ratings in the form of stars 1-5 (One star for lowest rating and five stars for highest ratings.)Submit your review.Visit www.theoshow.live for regular updates or follow us on Instagram.

Dr. Vivien Trommer, Kuratorin an der Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Zitate aus dem Podcast: »In dieser Ausstellung scheint wirklich sehen mit Wissen einherzugehen.« »Interessant ist zu sehen, wie wichtig den zeitgenössischen Künstlern die Frage der Hängung, der Inszenierung und der Präsentation ist.« »Als K21 mussten wir uns natürlich die Frage stellen, ob wir neben historischen Fotografien zeitgenössische zeigen können.« »Fotografie ist immer noch das Medium mit dem größten Realitätsbezug, obwohl wir wissen, wie manipulierbar und veränderbar sie ist.« »Fotografische Bilder sind die Bilder die durch die Medien am meisten rezipiert werden und damit auch die größte Wirkungsmacht entfalten können.« »Fotografie ist das Medium, das am meisten in die Gesellschaft eingreifen kann.« »Wir haben uns an der Frage abgearbeitet, wie und warum zeigen wir heute Bilder aus der Kolonialzeit.« Vivien Trommer wurde 1986 in Berlin geboren und ist seit 2021 Kuratorin an der Kunstsammlung Nordrhein-Westfalen in Düsseldorf. Zuvor war sie Kadist Curatorial Fellow in Paris, Curatorial Resident am Ludlow 38 in New York und kuratorische Assistentin an der Kunsthalle Wien. Sie studierte Curatorial Studies an der Städelschule und der Goethe-Universität in Frankfurt am Main sowie Kunstgeschichte und Gender Studies an der Humboldt-Universität zu Berlin. 2020 wurde sie an der Universität zu Köln promoviert. Sie hat die Ausstellung »Dialoge im Wandel. Fotografien aus The Walther Collection« im K21 ko-kuratiert. https://www.kunstsammlung.de/de/exhibitions/the-walther-collection-fotografie https://www.youtube.com/watch?v=bLuz7aziQaE https://www.kunstsammlung.de https://www.walthercollection.com Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Nadine Schwickart Idee, Produktion, Redaktion, Moderation: Andy Scholz http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2022. Andy Scholz wurde 1971 in Varel am Jadebusen geboren. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 ist er freier Künstler, Autor sowie künstlerischer Leiter und Kurator vom FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtet er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule in Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

This month we listen to Erica Scourti's twelve-minute piece "Nea Oneira", or New Dreams in English. Considering the role of Lauren Berlant's cruel optimism – when a desired future becomes an obstacle to your present – Scourti's work dissects the dreams presented by Greek tourism and East London property developments. Fragments of audio collage Greek and English; property advertisements from London, taxi drivers in Athens and snippets from border patrol services, with 90s rave beats, elevator music and Scourti's own narration. Together, we question the pursuit for authenticity, what ethical tourism can be, and story-telling within targeted marketing.Erica Scourti is an artist and writer, born in Athens and based in Athens and London. She has performed, exhibited and presented talks internationally, at spaces like High Line New York, Wellcome Collection, Kunsthalle Wien, Hayward Gallery, Munich Kunstverein, ICA London and EMST Athens; she recently participated in the 7th Athens Biennale (2021). Her writing has been published in Spells: 21st Century Occult Poetry (Ignota Press, 2018) and Fiction as Method (2017, Sternberg) amongst others, and she was guest editor of the Happy Hypocrite- Silver Bandage journal (2019).Artist: Erica ScourtiHosts: Nina Davies and Niamh SchmidtkeMusic: Joe Moss and John TrevaskisProducer: Flo LinesBroadcast through Radio Thamesmead

Raymond Pettibon is recognized for his early work created in the midst of the Southern California punk rock scene in the late 1970s-early 80s, most notably his hand drawn concert flyers and logo design for his brother's band, Black Flag. On this week's episode of Wheels Off, he joins Rhett to talk about his creating his own place in the art world and the DIY approach that he continues to maintain. Raymond and Rhett discuss the unique way he combines art with words in his work, and why it's important to stay grounded in the work itself.Raymond Pettibon emerged from Southern California DIY culture and its punk-rock sensibility, and his work still embraces a youthful edginess and sense of political engagement. Drawing from disparate cultural sources—which range from Marcel Proust and William Blake to the Bible—the artist makes cartoon-inspired ink drawings on paper which evoke the aesthetics of fanzines and concert flyers. Baseball players, trains, crashing waves, political figures, and comic book characters make frequent appearances, often accompanied by cryptic, ironic snippets of handwritten text. Pettibon has been the subject of solo shows at the New Museum, the Whitney Museum of American Art, the Tel Aviv Museum of Art, and the Kunsthalle Wien. Alongside his fine-art practice, Pettibon has illustrated album art for Sonic Youth and Black Flag, among other musical acts.Wheels Off is brought to you by Osiris Media. Hosted and produced by Rhett Miller. Co-produced by Kirsten Cluthe in partnership with Nick Ruffini (Revoice Media). Editing by Matt Dwyer. Production Assistance by Matt Bavuso. Music by OLD 97's. Episode artwork by Katherine Boils. Show logo by Tim Skirven. This podcast is available on Apple Podcasts, Stitcher, Spotify, or wherever you get your podcasts. You can also ask Alexa to play it. Please leave us a rating or review on iTunes. Revisit previous episodes of Wheels Off with Rosanne Cash, Rob Thomas, Will Forte, Lydia Loveless, Allison Moorer, Ted Leo, Paul F. Tompkins, Jen Kirkman, and more. See acast.com/privacy for privacy and opt-out information.

Antoine Catala is French. He has lived in the US for the past 17 years. He has exhibited at the Whitney Museum, New York, New Museum, New York, Sculpture Center, New York, Carnegie Museum of Art, Pittsburgh, Kunsthalle Wien, Austria, MACLyon, Lyon, Fridericianum, Kassel, MoMA PS 1, New York, Palais de Tokyo, Paris, Moscow Museum of Modern Art, Moscow, among other institutions and galleries. He was part of the Venice Biennale in 2019. He is represented by 47 Canal, NYC and Galerie Christine Mayer, Munich. "I am interested in the banal, everyday use of communication tools. I look at platforms and devices, and scrutinize how they are used to communicate, or miscommunicate. So at the center of all I do, there is language. New platforms of communication (such as smart phones, texting, net 2.0) allow language to evolve in radical new ways (images as words, short form messages, audio messages, etc). Language is by essence playful, and this playfulness flourishes in any form. More and more language develops a symbiotic bond with technology. In studying these new forms of language, I am interested not as much in what is changing about us, but what remains uniquely, deeply, human in communication. As time progresses, I am more and more fascinated in how art communicates about its presence in a room.” - A.C. Jardin Synthétique à L'isolement, Installation View at MacLyon, 2015, photo Blaise Adilon I am here for you (t-shirt), 2017, silicone rubber, coated foam, resin coated foam, electronics, 15 x 34 x 31 in., 38.1 x 86.4 x 78.7 cm, courtesy 47 Canal and the artist, photo Deniz Guzel

In questo audio il prezioso incontro con Andrea Cortelessa critico letterario Elisabetta Benassi artistaIntervista a cura di Mariantonietta Firmani, in Contemporaneamente il podcast pensato per Artribune.In Contemporaneamente podcast trovate incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà.Con Andrea Cortellessa ed Elisabetta Benassi parliamo di arte e letteratura, del piacere dell'intelligenza e del desiderio di libertà. La passione porta a sporgersi verso territori selvaggi, fuori dal proprio specifico dottrinale, per esporsi al rischio del nuovo. L'elaborazione artistica scompone e ricompone il pensiero della vita, del tempo, delle convenzioni sociali ed economiche, per assurgere a valori reali condivisi. La poesia è forse il luogo più assoluto proprio per la sua totale distanza dal valore commerciale. L'arte è prima di tutto una necessità per l'artista, che dilata il tempo sottraendosi dalla pressione delle contingenze. Un essere umano che non prevede di uscire dai propri limiti non è un essere umano. Molto altro.ASCOLTA L'INTERVISTA! BREVI NOTE BIOGRAFICHE DEGLI AUTORIAndrea Cortellessa 1968 critico letterario, insegna letteratura italiana contemporanea all'Università di Roma Tre. Nel 2018 ha tenuto la “cattedra De Sanctis” al Politecnico di Zurigo. È anche autore di trasmissioni radiofoniche e televisive, spettacoli teatrali e musicali. Curatore di testi su autori italiani del Novecento e contemporanei, fra i quali: Giorgio de Chirico, Giorgio Manganelli, Elio Pagliarani. Ed anche Giovanni Raboni, Amelia Rosselli, Giulio Paolini e Claudio Parmiggiani. Nel 2021, insieme a Chiara Bertola, alla Fondazione Querini Stampalia di Venezia ha curato la mostra “Un'evidenza fantascientifica. Luigi Ghirri, Andrea Zanzotto, Giuseppe Caccavale”. Inoltre è autore di saggi e antologie, tra gli ultimi: “Il libro è altrove. 26 piccole monografie su Giorgio Manganelli” 2020. Ed ancora “Andrea Zanzotto. Il canto nella terra 2021, Abitare, Zanzotto” 2021, e con Silvia De Laude Vedere, “Pasolini” su “La Rivista di Engramma” 2021. Inoltre collabora con diverse testate giornalistiche come “Alias” de “Il manifesto”, “Tuttolibri” de “La Stampa”. Infine è nella redazione della rivista di letteratura “Il Verri”, è tra i fondatori del blog “Antinomie. Scritture e immagini”.Elisabetta Benassi 1966 Artista multimediale e performer, vive e lavora a Roma. Invitata nelle più prestigiose rassegne d'arte internazionale: La Biennale di Venezia (2011, 2013, 2015), Berlino Biennale (2001); XV Quadriennale Nazionale d'Arte, Roma (2008); Manifesta (2002). Nelle sue opere utilizza segni materiali della storia per inscenarvi un dialogo e operare un ripensamento critico alla luce dell'oggi. Sostanziate da approfondimenti psicanalitici, le sue performance prevedono un'interazione dell'artista con oggetti-simbolo del passato e della contemporaneità, come in Esercitazione di volo (1999). O sul mito dello spazio, in You'll never walk alone (2000), intenso omaggio a Pier Paolo Pasolini. E in Noon (2003), sul rito di mezzogiorno che si consuma al Gianicolo di Roma con lo sparo del cannone. Ha esposto in numerose mostre personali e collettive in prestigiosi musei e gallerie. A partire da: P.S.1, New York; MAXXI, Roma; Collezione Maramotti, Reggio Emilia. Inoltre presso. Grand Palais, Parigi; Fondazione Merz,Torino; Museo Nazionale Romano, Palazzo Altemps, Roma, CRAC Alsazia, Altkirch; MACRO, Roma; Centro George Pompidou, Parigi. Ed anche presso: Kunsthalle Wien, Vienna; FRAC, Marsiglia; Castello di Rivoli Museo d'Arte Contemporanea. PAC, Milano; Galleria di Arte Moderna. South Brisbane; Galleria d'arte di Vancouver, Vancouver; SNUMoA Seul; Today Museum of Art, Pechino.

Untitled Art Miami Beach guest curator Miguel A. López in conversation with Moving Feeling artists Jim Denomie (Bockley Gallery) and Sylvia Fernandez (Galería del Paseo) Miguel A. López is a writer, researcher, and curator. Between 2015 and 2020, he worked at TEOR/éTica, in Costa Rica, first as chief curator and, from 2018, as co-director and chief curator. Recent curatorial projects include: ‘and if I devoted my life to one of its feathers?' at Kunsthalle Wien, Vienna (2021); ‘Cecilia Vicuña, a Retrospective Exhibition' at Witte de With, Rotterdam (2019) and MUAC-UNAM, Mexico City (2020); co-curated ‘Virginia Pérez-Ratton. Central America: Desiring a Place' at MUAC, Mexico City, (2019); ‘Victoria Cabezas and Priscilla Monge: Give Me What You Ask For' at the Americas Society, New York (2019); and ‘Social Energies/Vital Forces. Natalia Iguiñiz: Art, Activism, Feminism (1994–2018)' at ICPNA, Lima (2018njj). Recent books include: Ficciones disidentes en la tierra de la misoginia (Dissident Fictions in the Land of Misogyny) (2019), and Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Stealing History: Counter-narratives and Oppositional Art Practices (2017). His writing has appeared in Afterall, Artforum, Art in America, e-flux journal, and Manifesta Journal, among others. López is also a co-founder of the independent art space Bisagra, active in Peru since 2014.

So schnell kann es gehen: In der letzten Folge 2021 wurde Angela Stief noch als Wunschgast genannt und schon gibt es eine Episode mit ihr! Im Gespräch mit Alexander Giese blickt die Direktorin der 2020 eröffneten ALBERTINA MODERN und Chefkuratorin der ALBERTINA auf ihren Werdegang zurück. Von ersten Projekten in New York und Berlin über ihre langjährige Arbeit in der Kunsthalle Wien und als freie Kuratorin bis zur jetzigen Position gibt Angela Stief Einblicke in ihre kuratorische Praxis. Auch die Zusammenarbeit mit Generaldirektor Klaus Albrecht Schröder sowie inhaltliche Schwerpunkte ihrer Arbeit, sei es die feministische Avantgarde oder die Outsider-Kunst, werden besprochen. Kein Wunder also, dass es unsere bisher längste Episode geworden ist! Kontakt: redaktion@gieseundschweiger.at Website: https://www.gieseundschweiger.at/ Redaktion: Fabienne Pohl, Lara Bandion; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer Link zum Blog mit Fotos und Hintergrundinformationen: https://www.gieseundschweiger.at/de/blog/im-gespraech-mit-angela-stief

What would it mean to live out a fair and better future, right now? Join artist Jen Liu and scholar Candace Borders as they explore the complex role that women have played in labor rights and activism in both the US and China. This episode digs into the history of St. Louis's Pruitt-Igoe housing project and the African American women who lived there, organized, and performed everyday acts of resistance. Our guests unpack the radical idea of building community and the immense possibilities that open up when we think together beyond our current circumstances.Jen Liu is a visual artist based in New York and Vermont, working in video/animation, genetically engineered biomaterial, choreography, and painting to explore national identities, gendered economies, neoliberal industrial labor, and the re-motivating of archival artifacts.  She is a 2019 recipient of the Creative Capital Award, 2018 LACMA Art + Technology Lab grant, and 2017 Guggenheim Fellowship in Film/Video.  She has presented work at The Whitney Museum, MoMA, and The New Museum, New York; Smithsonian American Art Museum, DC; Royal Academy and ICA, London; Kunsthaus Zurich; Kunsthalle Wien; Aspen Museum of Art; Henry Art Gallery, Seattle; MUSAC, León; UCCA and A07 @ 798, Beijing; Times Museum Guangzhou, and the 2014 Shanghai Biennale and 2019 Singapore Biennale.Candace Borders is a PhD student at Yale University in the departments of American Studies and African American Studies. She also works as a Wurtele Gallery Teacher at the Yale University Art Gallery. Currently, her dissertation focuses on the experiences of African American women who grew up in St. Louis, Missouri's Pruitt-Igoe housing project. Through the use of oral history and Black feminist methods, the work accesses Black women's everyday experiences at the nexus of race, gender, class, and public assistance in the mid-20th century. More broadly, Candace is interested in Black Feminist theory, the politics of knowledge production, public humanities, and the intersections between race and architecture. Prior to starting her graduate studies, Candace was the PNC Arts Alive Fellow at the Contemporary Art Museum St. Louis.-As a major component of the Contemporary Art Museum St. Louis's exhibition Stories of Resistance, Radio Resistance assembles the voices of intersecting local and global agents of change. Artists featured in the exhibition are paired with figures from the past, present, and future of St. Louis, coming together to transmit messages of dissent. Eleven episodes will be released over the course of the exhibition, amplifying shared struggles, collective dreams, and models of individual and group action. Using a historically rebellious medium, Radio Resistance broadcasts social narratives of defiance and hope.Selections of Radio Resistance will be broadcast on St. Louis on the Air, the noontime talk program hosted by Sarah Fenske on St. Louis Public Radio. Full episodes will be released biweekly in a listening station at CAM, and on Apple Podcasts, Spotify, and Stitcher. A publication celebrating Stories of Resistance, featuring episode highlights, will be released later this year.

In Wien gibt es schon wieder mehr öffentliches Leben als in Deutschland, die Stadt lebt Kunst und Kultur. Silke Hohmann, Redakteurin von Monopol, dem Magazin für Kunst und Leben, nimmt uns mit auf eine Reise zu Kaffeehäusern und drei ganz besonderen Ausstellungen: Ganz besonders toll findet sie die Ausstellung "And if I devoted my life to one of its Feathers" in der Kunsthalle Wien, mit zeitgenössischer Kunst, "die aber ganz anders aussieht als sonst üblich. Es geht um Indigenes Wissen und viele der Teilnehmer:innen stammen auch aus indigenen Kulturen. Es gibt aktuelle Bezüge zur Pandemie, aber im Grunde werden alle gerade vorherrschenden Diskurse angesprochen - von Selbstbild über Gender über Natur zu Rassismus und Unterdrückung", so Hohmann. Die Performance von Maria Hassabi in der Secession fügt sich an auch durch ihr zeitgemäßes Tempo und Xenia Hausners Malerei Ausstellung in der Albertina ist auch ein Muss. Sie ist eine Wiener Größe, die im Interview in der aktuellen Ausgabe des Monopol Magazins zu finden ist. Moderation: Yvi Strüwing detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

SANDRA MANN, photo: Tom Kauth Sandra Mann is one of the most renowned artists and photographers of Germany. In her cross-genre oeuvre - she employs a wide range of artistic forms of expression such as photography, installations, sculpture, and video - she conceptually addresses the relationship between people themselves and between people and nature, the environment, the animal world, and gender. Her work and teaching is defined by an exploration of the fundamentals of photography, imagery, and image perception. She also curates exhibitions in and outside Germany. She is a member of the international curator network Qipo and works as a jury member for photography and art competitions. Alongside various other prizes she got scholarships such as the Stipendium der Universitätsstiftung Augsburg, the Stipendium der Deutschen Künstlerhilfe, the Helsinki-Reisestipendium des Kulturamt and the Goetheplakette of the city of Frankfurt am Main. She was 2016/17 Artistic Ambassador of Stiftung Palmengarten und Botanischer Garten and since 2017 she is Artistic Ambassador of the Keep The World Foundation. Her works are represented in national and international collections, including Museum für Moderne Kunst in Frankfurt am Main, MUCA in Mexico City, Kunsthalle Wien in Vienna, Vehbi Koç Foundation in Istanbul, and the Art Collection Deutsche Börse Photography Foundation. 060814-8816 Hommage an Monet (Jessica & "Seerosen", Buchschlag, Germany), 2014 210819-1309 Tigertarn (Le Brothers & LeLe Fire,Phu Quoc, Ru Cha, Hue, Vietnam), 2019

Hans Op de Beeck (BE) produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder, silence and introspection. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He had substantial institutional solo shows at the GEM Museum of Contemporary Art, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, BE (2006); Centraal Museum, Utrecht, NL (2007); Towada Art Center, Towada, JP (2008); Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington, US (2010); Kunstmuseum Thun, CH (2011); Centro de Arte Caja de Burgos, Burgos, ES (2011); Butler Gallery, Kilkenny, IE (2012); Kunstverein Hanover, DE (2012); Tampa Museum of Art, Tampa, US (2013); Harn Museum of Art, Gainesville, FL, US (2013); FRAC Paca, Marseille, FR (2013); MIT List Visual Arts Center, Cambridge, US (2014); MOCA, Cleveland, US (2014); Sammlung Goetz, Munich, DE (2014); Screen Space, Melbourne, AU (2015); Château de Chimay, Chimay, BE (2015); Espace 104, Paris, FR (2016); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Pino Pascali, Polignano a Mare, IT (2017); Kunstraum Dornbirn, DE (2017); Museum Morsbroich, Leverkusen, DE (2017); Galleria Continua, Boissy-le-Châtel, FR (2018); Scheepvaartmuseum, Amsterdam, NL (2018); Kunsthalle Krems, Krems an der Donau, AT (2019); … Op de Beeck participated in numerous group shows at institutions such as The Reina Sofia, Madrid, ES; Scottsdale Museum of Contemporary Art, Arizona, US; ZKM, Karlsruhe, DE; MACRO, Rome, IT; Whitechapel Art Gallery, London, GB; PS1, New York, US; Musée National d’Art Moderne, Centre Pompidou, Paris, FR; Wallraf-Richartz Museum, Köln, DE; Hangar Bicocca, Milano, IT; Hara Museum of Contemporary Art, Tokyo, JP; 21C Museum, Louisville, Kentucky, US; The Drawing Center, New York, NY, US; Kunsthalle Wien, Vienna, AT; Shanghai Art Museum, Shanghai, CN; MAMBA, Buenos Aires, AR; Haus der Kunst, Munich, DE; Museo d’Arte Moderna di Bologna, Bologna, IT; Kunstmuseum Bonn, Bonn, DE; Den Frie Center of Contemporary Art, Copenhagen, DK; Royal Museum of Fine Arts, Brussels, BE; Frankfurter Kunstverein, Frankfurt am Main, DE; Museum Kunstpalast Düsseldorf, DE; … His work was invited for the Venice Biennale, Venice, IT; Shanghai Biennale, Shanghai, CN; Aichi Triennale, Aichi, JP; Singapore Biennale, Singapore, SG; Art Summer University, Tate Modern, London, GB; Kochi-Muziris Biennale, Kochi, IN, Art Basel Miami Beach, Miami, US; Art Basel Unlimited, Basel, CH, Setouchi Triennale, Shodoshima, JP, and many other art events. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

"Nachts - zwischen Traum und Wirklichkeit": Alter Luftschutzbunker unter dem Haus der Kunst München, bis 6. Januar. Kunstoase im Allgäu: Die Hans Friedrich Stiftung in Waltenhofen, Dauerausstellung mit wechselnden Künstlern. "Time Is Thirsty": Ausstellung über die bewegten 1990er Jahre, Kunsthalle Wien, bis 26. Januar.

Kader Attia, artiste a lancé depuis deux ans le lieu LA COLONIE (barré) dans le 10ème arrondissement de Paris. Photo by Camille Millerand Kader Attia grew up in Paris and in Algeria. Preceding his studies at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs in Paris, and at Escola Massana, Centre d'Art i Disseny in Barcelona, he spent several years in Congo and in South America. The experience of living between different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals — each of them being connected to collective memory. His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature — thus also in humanity —, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history. Following the idea of catharsis, his work aims at Art’s re-appropriation of the field of emotion that, running from ethics to aesthetics, from politics to culture, links individuals and social groups through emotional experience, and that is in danger of being seized by recent nationalist movements In 2016, Kader Attia founded La Colonie, a space in Paris to share ideas and to provide an agora for vivid discussion, that extends his praxis from representation to action. Focussing on decolonialisation not only of peoples but also of knowledge, attitudes and practices, it aspires to de-compartmentalise knowledge by a trans-cultural, trans-disciplinary and trans-generational approach. Driven by the urgency of social and cultural reparations, it aims at reuniting which has been shattered, or drift apart. Kader Attia's work has been shown in group shows and biennials such as the 12th Shanghai Biennial; the 12th Gwangju Biennial; the 12th Manifesta, Palermo; the 57th Venice Biennial; dOCUMENTA(13) in Kassel; Met Breuer, New York; Kunsthalle Wien; MoMA, New York; Tate Modern, London; Centre Pompidou, Paris, or The Solomon R. Guggenheim Museum, New York - just to name a few. Notable solo exhibitions include “The Museum of Emotion”, The Hayward Gallery, London; “Scars Remind Us that Our Past is Real”, Fundacio Joan Miro in Barcelona; “Roots also grow in concrete”, MacVal in Vitry-sur-Seine; „The Field of Emotion“, The Power Plant, Toronto; Museum of Contemporary Art, Sydney; SMAK, Gent; Museum für Moderne Kunst, Frankfurt; Musée Cantonal des Beaux Arts de Lausanne; Beirut Art Center; Whitechapel Gallery, London; KW Institute for Contemporary Art, Berlin. In 2016, Kader Attia was awarded with the Marcel Duchamp Prize, followed in 2017 by the Prize of the Miró Foundation, Barcelona, and the Yanghyun Art Prize, Seoul. Schizophrenic Melancholia, 2018, Exhibition view “The Museum of Emotion”, Hayward Gallery, London, UK, 2019 Courtesy of the artist and Regen Projects, Photo : Marc Domage Shifting Borders, 2018, 3-channel HD digital film on 4 screens, 16:9, colour, sound each, vintage chairs and leg prosthesis. “The Paradoxes of Modernity”, 43:19 min., “Recycling Colonialism”, 32:12 min., “Catharsis: The Living and the Dead are Looking for Their Bodies”, 48:53 min.,

Donaukanaltreiben, Kino unter den Sternen und jede Menge Festivals. Der Juni bringt Leben nach Wien. In #Vienna sprechen wir mit Daniel Ebner vom Vienna Independent Shortfilmfestival, Manuel von goodnight.at und Monika Erb vom Festival der Bezirke über die besten Events im Juni! "We need to disagree" ist das Motto des diesjährigen Kurzfilmfestivals (VIS) in Wien (vom 29. Mai bis 04. Juni). Das ist eine Aufforderung miteinander zu streiten aber auch miteinander zu sprechen. "Es ist unglaublich schwierig geworden einen gesellschaftlichen Diskurs zu führen ohne irgendwelche Extreme zu bemühen" sagt Daniel Ebner. Er ist der künstlerische Leiter des VIS, das in den nächsten Tagen über 300 Kurzfilme zeigen wird. Insofern versteht er auch zu Teil den Rückzug von Nicolaus Schafhausen als Leiter der Kunsthalle Wien. "Ein sachlicher Dialog nimmt keine Dynamik mehr an". Wie es Daniel Ebner mit dem VIS trotzdem schafft in die Schlagzeilen zu kommen und was BesucherInnen beim Kurzfilmfestival erwartet hört ihr in #Vienna! Außerdem treffen wir die Macher vom Online-Eventmagazin "goodnight.at" - Sie haben für euch die besten Oopen Air Events in Wien im Juni zusammengetragen. Mit dabei ist Musiker Onk Lou, der Mitte Mai mit einer kleinen EP nachgelegt hat und der beim Donaukanaltreiben ab 01. Juni auftreten wird! Außerdem startet am 01. Juni das Festival der Bezirke. Jeden Tag gibt es ein großes Event in einem anderen Bezirk von Wien. Wir treffen die Leiterinnen von Basis Kultur Wien und sprechen darüber, was beim 10-Jahres-Jubiläums-Event auf dem Programm steht!  #Vienna! Jeden Montag ab 11 Uhr auf Radio NJOY 91.3 Titelbild © Human Fountains (Human Fountains)

Luca Lo Pinto is a friend, a curator of the Kunsthalle Wien and a founder of the art magazine Nero. “Impression d'Afrique is the title of a journey in the form of a book undertaken by Raymond Roussel to a land which existed entirely within his imagination. This compilation is a journey to a place I never been but I’ve been imagined many times. It’s 58 minutes long. Kaleidoscopical, meringueulous, bootylicious, mesmerizing. Close your eyes. Twist your tongue. Hold your chest. And listen at high volume.” The episode features: Pasteur Lappe, Yoruba Singers, Sahara Band, Francis Bebey, Ice, Cesaria Evora & Carl Craig, Eko and U.C.A.S. Band de Sédhiou.

Seit fünf Jahren leitet der Kurator, Kunstmanager und Kunsthistoriker die Kunsthalle Wien als Direktor - und das erfolgreich, erst unlängst ist sein Vertrag vorzeitig verlängert worden. Mit Nicolaus Schafhausen unterhielt sich Barbara Renno.

Black is the Day, Black is the Night by Amy Elkins is self-published (2016), with an essay by Gregory J. Harris and C.F., unpaged, 80 color and black-and-white illustrations. Black is the Day, Black is the Night started as an exploration into, what author and photographer has called, “extreme manifestations of masculinity,” but over time it evolved into a meditation on time and memory through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of whom had served between 13-26 years at point of contact in 2009 when the project started. “Out of our letters a collaboration unfolded. I constructed images using formulas specific to each of their stories, age and years incarcerated. Through these formulas their portraits became more unrecognizable and their memories became more muddled, regurgitated and fictional with the endless passing years of their sentence. Stripped of personal context and placed in solitary cells, their sense of identity, memory and time couldn’t help but mutate. I sent these images to them, they would critique them. This went on for years. Of the seven men I originally wrote, I remain in touch with one who has been in solitary confinement since 1995 for a crime committed at 16. One was released in 2010 at the age of 30 (after 15 years in prison), three eventually opted out, one was executed in 2009, another executed in 2012.” – Amy Elkins via LensCulture The title of the book comes from poem excerpts written by a man who has been in prison since the age of 13. He was retried as an adult at 16 for attempting escape and was sentenced to life in solitary without the possibility of parole at a super-max prison. He taught himself to write poetry over this time. Amy received her BFA in photography from the School of Visual Arts, New York. Elkins has been exhibited both nationally and internationally, including at Kunsthalle Wien, Vienna; Carnegie Art Museum, Oxnard, California; Minneapolis Institute of Arts; North Carolina Museum of Art; Light Work Gallery, Syracuse, New York; and Yancey Richardson Gallery, New York, among many others. Her work has been published in the New York Times Magazine, Eyemazing, PDN, Harpers, NY Arts, Conveyor, and Contact Sheet, among others. Elkins has also been included in exhibition catalogues such as The Portrait. Elkins was an artist-in-residence at Light Work in 2011, and at Villa Waldberta, Munich, in 2012. In 2008, Elkins and Cara Phillips cofounded wipnyc.org, a platform for showcasing both established and emerging women in photography. Elkins is represented by Yancey Richardson Gallery, New York. Amy Elkins is currently based near Los Angeles. Black is the Day, Black is the Night is available through her website: http://www.amyelkins.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Black is the Day, Black is the Night by Amy Elkins is self-published (2016), with an essay by Gregory J. Harris and C.F., unpaged, 80 color and black-and-white illustrations. Black is the Day, Black is the Night started as an exploration into, what author and photographer has called, “extreme manifestations of masculinity,” but over time it evolved into a meditation on time and memory through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of whom had served between 13-26 years at point of contact in 2009 when the project started. “Out of our letters a collaboration unfolded. I constructed images using formulas specific to each of their stories, age and years incarcerated. Through these formulas their portraits became more unrecognizable and their memories became more muddled, regurgitated and fictional with the endless passing years of their sentence. Stripped of personal context and placed in solitary cells, their sense of identity, memory and time couldn’t help but mutate. I sent these images to them, they would critique them. This went on for years. Of the seven men I originally wrote, I remain in touch with one who has been in solitary confinement since 1995 for a crime committed at 16. One was released in 2010 at the age of 30 (after 15 years in prison), three eventually opted out, one was executed in 2009, another executed in 2012.” – Amy Elkins via LensCulture The title of the book comes from poem excerpts written by a man who has been in prison since the age of 13. He was retried as an adult at 16 for attempting escape and was sentenced to life in solitary without the possibility of parole at a super-max prison. He taught himself to write poetry over this time. Amy received her BFA in photography from the School of Visual Arts, New York. Elkins has been exhibited both nationally and internationally, including at Kunsthalle Wien, Vienna; Carnegie Art Museum, Oxnard, California; Minneapolis Institute of Arts; North Carolina Museum of Art; Light Work Gallery, Syracuse, New York; and Yancey Richardson Gallery, New York, among many others. Her work has been published in the New York Times Magazine, Eyemazing, PDN, Harpers, NY Arts, Conveyor, and Contact Sheet, among others. Elkins has also been included in exhibition catalogues such as The Portrait. Elkins was an artist-in-residence at Light Work in 2011, and at Villa Waldberta, Munich, in 2012. In 2008, Elkins and Cara Phillips cofounded wipnyc.org, a platform for showcasing both established and emerging women in photography. Elkins is represented by Yancey Richardson Gallery, New York. Amy Elkins is currently based near Los Angeles. Black is the Day, Black is the Night is available through her website: http://www.amyelkins.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Black is the Day, Black is the Night by Amy Elkins is self-published (2016), with an essay by Gregory J. Harris and C.F., unpaged, 80 color and black-and-white illustrations. Black is the Day, Black is the Night started as an exploration into, what author and photographer has called, “extreme manifestations of masculinity,” but over time it evolved into a meditation on time and memory through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of whom had served between 13-26 years at point of contact in 2009 when the project started. “Out of our letters a collaboration unfolded. I constructed images using formulas specific to each of their stories, age and years incarcerated. Through these formulas their portraits became more unrecognizable and their memories became more muddled, regurgitated and fictional with the endless passing years of their sentence. Stripped of personal context and placed in solitary cells, their sense of identity, memory and time couldn’t help but mutate. I sent these images to them, they would critique them. This went on for years. Of the seven men I originally wrote, I remain in touch with one who has been in solitary confinement since 1995 for a crime committed at 16. One was released in 2010 at the age of 30 (after 15 years in prison), three eventually opted out, one was executed in 2009, another executed in 2012.” – Amy Elkins via LensCulture The title of the book comes from poem excerpts written by a man who has been in prison since the age of 13. He was retried as an adult at 16 for attempting escape and was sentenced to life in solitary without the possibility of parole at a super-max prison. He taught himself to write poetry over this time. Amy received her BFA in photography from the School of Visual Arts, New York. Elkins has been exhibited both nationally and internationally, including at Kunsthalle Wien, Vienna; Carnegie Art Museum, Oxnard, California; Minneapolis Institute of Arts; North Carolina Museum of Art; Light Work Gallery, Syracuse, New York; and Yancey Richardson Gallery, New York, among many others. Her work has been published in the New York Times Magazine, Eyemazing, PDN, Harpers, NY Arts, Conveyor, and Contact Sheet, among others. Elkins has also been included in exhibition catalogues such as The Portrait. Elkins was an artist-in-residence at Light Work in 2011, and at Villa Waldberta, Munich, in 2012. In 2008, Elkins and Cara Phillips cofounded wipnyc.org, a platform for showcasing both established and emerging women in photography. Elkins is represented by Yancey Richardson Gallery, New York. Amy Elkins is currently based near Los Angeles. Black is the Day, Black is the Night is available through her website: http://www.amyelkins.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Black is the Day, Black is the Night by Amy Elkins is self-published (2016), with an essay by Gregory J. Harris and C.F., unpaged, 80 color and black-and-white illustrations. Black is the Day, Black is the Night started as an exploration into, what author and photographer has called, “extreme manifestations of masculinity,” but over time it evolved into a meditation on time and memory through personal correspondence with men serving life and death row sentences in some of the most maximum security prisons in the U.S., all of whom had served between 13-26 years at point of contact in 2009 when the project started. “Out of our letters a collaboration unfolded. I constructed images using formulas specific to each of their stories, age and years incarcerated. Through these formulas their portraits became more unrecognizable and their memories became more muddled, regurgitated and fictional with the endless passing years of their sentence. Stripped of personal context and placed in solitary cells, their sense of identity, memory and time couldn’t help but mutate. I sent these images to them, they would critique them. This went on for years. Of the seven men I originally wrote, I remain in touch with one who has been in solitary confinement since 1995 for a crime committed at 16. One was released in 2010 at the age of 30 (after 15 years in prison), three eventually opted out, one was executed in 2009, another executed in 2012.” – Amy Elkins via LensCulture The title of the book comes from poem excerpts written by a man who has been in prison since the age of 13. He was retried as an adult at 16 for attempting escape and was sentenced to life in solitary without the possibility of parole at a super-max prison. He taught himself to write poetry over this time. Amy received her BFA in photography from the School of Visual Arts, New York. Elkins has been exhibited both nationally and internationally, including at Kunsthalle Wien, Vienna; Carnegie Art Museum, Oxnard, California; Minneapolis Institute of Arts; North Carolina Museum of Art; Light Work Gallery, Syracuse, New York; and Yancey Richardson Gallery, New York, among many others. Her work has been published in the New York Times Magazine, Eyemazing, PDN, Harpers, NY Arts, Conveyor, and Contact Sheet, among others. Elkins has also been included in exhibition catalogues such as The Portrait. Elkins was an artist-in-residence at Light Work in 2011, and at Villa Waldberta, Munich, in 2012. In 2008, Elkins and Cara Phillips cofounded wipnyc.org, a platform for showcasing both established and emerging women in photography. Elkins is represented by Yancey Richardson Gallery, New York. Amy Elkins is currently based near Los Angeles. Black is the Day, Black is the Night is available through her website: http://www.amyelkins.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Dana Bassett and Duncan MacKenzie catch up with Peter Wachtler at Chicago's Renaissance Society just after their 100th anniversary. We "borrowed" this from Art Space which "borrowed" it from the Liverpool Biennial... probably it is updated on the Renassance Society website. PETER WÄCHTLER Born: 1979 Hometown: Hanover, Germany Lives and Works: Brussels, Belgium and Berlin, Germany Education: Fine Art Studies, Bauhaus-University Weimar with Prof. Fritz Rahmann, 2004 Kent Institute of Art and Design, Canterbury / England   While it might seem foreign or unfamiliar, underwater life, bourgeois domesticity, or the world of Peter Wächtler’s animated cartoons are simply habitats, each one coming with a set of behaviors, life-forms, movements, objects, images, and relationships. What is a disaster in one is a miracle in another and nothing more than routine in another. Dislocating them or mixing them together short-circuits their logic. To a butler—like the character that so frequently appears in Wächtler’s work—acts of intimacy, hospitality, corruption, lust, kindness, desperation, generosity, jealousy, hypocrisy, or delinquency are all the same in the end—it’s all just administration. Or,in an animated cartoon, deadpan humor can be laced with depression and pathos, and used to tell stories of heart-broken rats or hobos. Peter Wächtler’s recent solo exhibitions include dépendance, Brussels, Kunstverein Hildesheim, Ludlow 38, New York, Kunsthalle Wien, Vienna, Galerie Lars Friedrich, Berlin, Etablissement d’en Face, Brussels. His work has been included in group exhibitions atLyon Biennale, Wiels Centre d’Art Contemporain, Brussels, Witte de With, and Center for Contemporary Art, Rotterdam.  Courtesy of Liverpool Biennial  The Ren posted the audio of his reading here... Also this episode has a strange easter egg.

Neben der Kunsthalle Wien präsentiert sich das Haus Konstruktiv als erstes Museum im deutschsprachigen Raum in iTunes U. Dieser erste iTunes U Museumsauftritt der Schweiz wurde von Comcaster konzipiert und umgesetzt.