Podcasts about kw institute

Pocas ciudades en el mundo tienen la historia de Berlín. No sólo por sus diversas situaciones geopolíticas, sino por la historia artística que alberga. Recorriendo sus calles, constatamos dicha historia contemplando sus monumentos, sus cicatrices, sus estaciones de metro, sus museos… Berlín siempre ha sido un lugar de refugio, cambios, reflexiones e interacciones con el arte y sus movimientos que marcaron épocas y etapas. El Arte en Berlín: Un Viaje por la Vanguardia y la Historia Berlín, la capital de Alemania, es un crisol cultural donde convergen la historia y la modernidad en una de las escenas artísticas más dinámicas de Europa. Desde las épocas gloriosas del arte clásico hasta la turbulencia del siglo XX y la constante reinvención del presente, Berlín ofrece un recorrido único para los amantes del arte. Este artículo explora las diversas facetas del arte en Berlín, desde sus icónicos museos hasta sus vibrantes galerías contemporáneas y el impacto de su tumultuosa historia. Un Epicentro Histórico del Arte Europeo Berlín ha sido un bastión del arte europeo desde hace siglos, pero su importancia como capital cultural creció especialmente durante el siglo XIX, cuando la ciudad se convirtió en un centro intelectual y artístico bajo el Imperio Alemán. La Isla de los Museos (Museumsinsel), ubicada en el río Spree, es el testimonio más tangible de esta época dorada. Este complejo de museos es Patrimonio de la Humanidad por la UNESCO y alberga algunos de los tesoros más importantes del arte mundial. Entre sus cinco museos principales, destacan: 1. El Museo de Pérgamo (Pergamonmuseum): Famoso por su colección de arte antiguo, alberga piezas monumentales como el Altar de Pérgamo y la Puerta de Ishtar de Babilonia. Este museo es una visita imprescindible para quienes deseen explorar las raíces del arte antiguo y sus conexiones con la modernidad. 2. La Galería Nacional Antigua (Alte Nationalgalerie): Se especializa en obras del Romanticismo alemán, el Impresionismo y el Clasicismo. Aquí es posible contemplar obras maestras de Caspar David Friedrich, Claude Monet y Édouard Manet. 3. El Museo Bode: Reconocido por su colección de escultura y arte bizantino, además de su amplia galería numismática. Estas instituciones ofrecen un vistazo a los fundamentos clásicos y antiguos del arte, en contraste con el Berlín contemporáneo, marcado por su inclinación hacia la vanguardia y el arte experimental. El Arte en el Siglo XX: Expresionismo, Guerra y Renacimiento El siglo XX fue un período de transformaciones dramáticas para Berlín, y estas se reflejan poderosamente en su arte. A comienzos de siglo, la ciudad fue cuna del Expresionismo Alemán, un movimiento que rompió con las convenciones tradicionales del arte al enfocarse en emociones crudas y subjetivas. Artistas como Ernst Ludwig Kirchner, Emil Nolde y Käthe Kollwitz retrataron una ciudad vibrante y angustiada, marcada por la rápida industrialización y las tensiones sociales. La devastación causada por la Segunda Guerra Mundial dejó cicatrices imborrables tanto en la ciudad como en su escena artística. Tras la guerra, Berlín quedó dividida en dos: Oriente bajo la influencia soviética y Occidente bajo la tutela occidental. Este periodo vio el surgimiento de un Berlín Oriental marcado por el arte de la propaganda, mientras que Berlín Occidental se convirtió en un punto focal del arte experimental. El Muro de Berlín, que dividió la ciudad entre 1961 y 1989, no solo simbolizó la separación política, sino también la separación artística. Sin embargo, su caída en 1989 marcó un renacimiento cultural sin precedentes. Las paredes del muro, antes emblema de la represión, se transformaron en lienzos para artistas callejeros de todo el mundo, lo que dio lugar a la East Side Gallery, el tramo más largo del muro aún en pie, convertido en una galería al aire libre. Berlín Contemporáneo: Una Ciudad Vanguardia Tras la reunificación de Alemania, Berlín ha experimentado un auge cultural que la ha consolidado como uno de los principales centros del arte contemporáneo. Hoy, la ciudad alberga más de 400 galerías, lo que la convierte en un lugar de peregrinación para coleccionistas y aficionados al arte. Algunos de los espacios más importantes del arte contemporáneo incluyen: • Hamburger Bahnhof – Museo de Arte Contemporáneo: Un antiguo depósito de trenes convertido en museo, que alberga obras de artistas tan influyentes como Andy Warhol, Joseph Beuys y Anselm Kiefer. Este museo se ha convertido en uno de los epicentros del arte moderno en Berlín. • Berlinische Galerie: Este museo está dedicado al arte moderno desde principios del siglo XX hasta la actualidad, con un enfoque en el arte de Berlín. A menudo presenta exposiciones sobre el Expresionismo y la Bauhaus, dos movimientos estrechamente ligados a la historia artística de la ciudad. • KW Institute for Contemporary Art: KW es un espacio vanguardista conocido por su papel en la fundación de la Bienal de Berlín, uno de los eventos de arte más influyentes de Europa. Aquí, los visitantes pueden explorar lo último en arte experimental, performances y multimedia. El Arte Urbano: Berlín como Lienzo El arte callejero y el graffiti son partes fundamentales de la identidad visual de Berlín. A lo largo de los años, las calles de la ciudad han sido ocupadas por artistas locales e internacionales, que han transformado los muros grises en vibrantes murales llenos de expresión política y social. Distritos como Kreuzberg y Friedrichshain se han convertido en epicentros de este arte urbano, donde nombres como Blu, El Bocho y Victor Ash han dejado su huella. El RAW Gelände, un complejo industrial abandonado, es otro de los puntos clave para quienes buscan explorar el arte callejero de Berlín. Este espacio al aire libre está lleno de murales, instalaciones artísticas temporales y eventos culturales alternativos, lo que refleja el espíritu de constante transformación de la ciudad. Conclusión: Berlín, Ciudad del Arte sin Límites Berlín es una ciudad donde el pasado y el futuro del arte conviven en una tensión dinámica. Desde los tesoros antiguos de la Isla de los Museos hasta los murales callejeros que desafían las convenciones artísticas, Berlín es un lugar donde cualquier amante del arte puede encontrar inspiración. La ciudad continúa siendo un laboratorio de ideas, donde el arte se reinventa constantemente, en una búsqueda incesante por reflejar la complejidad de la vida urbana y la historia. Para los viajeros y residentes por igual, explorar Berlín es sumergirse en un diálogo continuo entre la tradición y la innovación. Otros temas en el programa: 31:06 Paréntesis 49:29 Lugares míticos 58:36 Axiomas No quiero matarte - Capítulo 2 Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/berlin-zz-podcast-06x04 Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://luisbermejo.com Facebook: https://www.facebook.com/ZZPodcast/ X: https://x.com/LuisBermejo y https://x.com/zz_podcast Instagram: https://www.instagram.com/luisbermejo/ y https://www.instagram.com/zz_podcast/ Canal Telegram: https://t.me/ZZ_Podcast Canal WhatsApp: https://whatsapp.com/channel/0029Va89ttE6buMPHIIure1H Grupo Signal: https://signal.group/#CjQKIHTVyCK430A0dRu_O55cdjRQzmE1qIk36tCdsHHXgYveEhCuPeJhP3PoAqEpKurq_mAc Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviThttps://chat.whatsapp.com/BNHYlv0p0XX7K4YOrOLei0

Episode 187: Artist talk with Nassim Azarzar on “All Things Flow” (2023), “Bonne Route” (2018-present), and other projects Nassim Azarzar is an artist and graphic designer researching visual and popular imaginaries in Morocco by exploring their different forms, occurrences, and representation tools. In 2023, Azarzar took part in the project School of Casablanca, initiated by the KW Institute for Contemporary Art (Berlin) and ThinkArt (Casablanca), which draws from the legacy of the Casablanca Art School and its innovative pedagogical methods, modernist aesthetics, and exhibition strategies in 1960s Morocco. During the early 1960s, a group of artists, including Belkahia, Chabâa, Hamidi, Maraini, and Melehi, joined the Casablanca Art School faculty and restructured its curriculum. They also formed a collective called the School of Casablanca and shared similar aesthetic and conceptual concerns. Azarar's installation, All Things Flow (2023), created a sonic and visual timeline of the Moroccan Modernist School of Casablanca group, inviting viewers into a meditative reflection on their history. Taking this work as a starting point for our conversation, in the podcast, we discuss various directions in Azarzar's practice and potential parallels between his practice and the works of artists from the School of Casablanca. Nassim Azarzar (@nazarzar) is an artist and graphic designer who lives and works between Paris and Rabat. For several years, he has been developing an ongoing project called «Bonne route» dealing with ornamental practices of trucks transporting goods between the port cities of Tangier, Casablanca, Agadir, and the Moroccan villages of the Atlas, and the Rif. Azarzar's aesthetic research revolves around decorative arts, painting, drawing, sculpture, graphic design, and experimental cinema. Before joining QANAT (a collective of artists and researchers exploring the political and poetic dimensions of water) in 2019, Azarzar co-founded and initiated multiple creative endeavors, among them: Atelier Superplus (@atelier_superplus), a design studio operating between Paris, Bristol, and Tangier in 2014; Think Tanger (@thinktanger), a platform dedicated to the exploration of the city of Tangier and its extensions at the urban and visual levels in 2016; and Atelier Kissaria (@tanger.print.club) in 2017 focused on experimental printing practices. This interview was led by Beya Othmani, CAORC/Andrew W. Mellon Fellowship in Modern Art History, and was recorded on January 7, 2024 via Zoom as part of the Modern Art in the Maghrib series. This is part of a larger Council of American Overseas Research Centers program organized by the Centre d'Études Maghrébines à Tunis (CEMAT) and financed by the Andrew Mellon Foundation that seeks to collaborate with local institutions for a greater awareness of art historical research in north Africa. To see related slides please visit our website: www.themaghribpodcast.com   We thank our friend Ignacio Villalón for his guitar performance for the introduction and conclusion of this podcast. Production and editing: Lena Krause, AIMS Resident Fellow at the Centre d'Études Maghrébines à Tunis (CEMAT).  

What is the future of an art career? Where do you look to find relevant new culture? And as an artist, where do you find collaborators and fans  in art as in so much else? A lot has changed in the last decade, and the answers to all of these important questions feel tenuous and up for grabs. On the one hand, traditional art institutions seem both dominated by wealth and starved for resources. On the other, there's an explosion of Internet culture full of subcultural energy, but also terrible incentives with a race-to-the-bottom quest for attention that hardly seems ideal for supporting art. The artist Joshua Citarella is someone who's been thinking hard about these problems, and above all, about how to steer a course in between these different, often competing worlds. His artwork has been exhibited in illustrious places including Berlin's KW Institute for Temporary Art in its recent "Poetics of Encryption" show, which attracted a lot of buzz, but he's also been cited as an authority on the ideologies and aesthetics of Internet subcultures by the New York Times, the Guardian, and many other outlets. This week, Citarella joins Artnet's Ben Davis to talk about his position as a figure in a new hybrid type of internet era, moving between art maker, podcaster, micro influencer, and community manager of the heady online platform Do Not Research, and theorizing how all these strands fit together. On the podcast, the two discuss the evolving demands on artists in the digital era, the changing art audience, and a lot more.

What is the future of an art career? Where do you look to find relevant new culture? And as an artist, where do you find collaborators and fans  in art as in so much else? A lot has changed in the last decade, and the answers to all of these important questions feel tenuous and up for grabs. On the one hand, traditional art institutions seem both dominated by wealth and starved for resources. On the other, there's an explosion of Internet culture full of subcultural energy, but also terrible incentives with a race-to-the-bottom quest for attention that hardly seems ideal for supporting art. The artist Joshua Citarella is someone who's been thinking hard about these problems, and above all, about how to steer a course in between these different, often competing worlds. His artwork has been exhibited in illustrious places including Berlin's KW Institute for Temporary Art in its recent "Poetics of Encryption" show, which attracted a lot of buzz, but he's also been cited as an authority on the ideologies and aesthetics of Internet subcultures by the New York Times, the Guardian, and many other outlets. This week, Citarella joins Artnet's Ben Davis to talk about his position as a figure in a new hybrid type of internet era, moving between art maker, podcaster, micro influencer, and community manager of the heady online platform Do Not Research, and theorizing how all these strands fit together. On the podcast, the two discuss the evolving demands on artists in the digital era, the changing art audience, and a lot more.

Curators Ros Carter and Sofie Krogh Christensen chart Pia Arke's photo-activism across the Arctic region, from a pinhole view to wider perspectives on Indigenous and Inuit experiences in the 20th century. Though scarcely exhibited outside Scandinavia, Pia Arke (1958–2007) is widely acknowledged as one of the region's most important artistic researchers, ‘photo-activists', and postcolonial critics. Born in Scoresbysund, Kalaallit Nunaat (Greenland) to a Greenlandic mother and a Danish father, Arke asserted an identity that was defined as neither exclusively Danish or Greenlandic; a ‘third place' that allowed for hybridity and resisted binary categories or polarisation. Through performance art, writing and photography, she examines the complex ethnic and cultural relationships between Denmark and Greenland, using long exposure to highlight continuities over time. Modern Danish colonial rule started in the 18th century, and Greenland wouldn't became a fully autonomous state until the 1970s. Still dependent on grants, much of Greenland's economic and foreign policy remains under Danish control. In 1988, the artist developed her own hand-built, life-size camera obscura to photograph the landscapes of Greenland that she had known as a child. Reconstructed today at John Hansard Gallery in Southampton, and KW Institute in Berlin, the curators share how Arke was drawn to the ‘in-between' media of photography, like herself, a ‘mongrel' which challenged artistic conventions. Arke's self and group portraits, reappropriated photographs, and archive collages also mark stark interventions, reinserting Indigenous and Inuit people and women into Nordic narratives, challenging the artist's exclusion from conceptual art circles, and stereotypes of ‘naive' and folk painting. Arke died before she could experience the growing interest in her work; its continued relevance to questions of representation, climate crises, and the impact of global economics on Indigenous communities throughout the arctic regions, is evident in the work of other artists on display, and contemporaries like Jessie Kleemann, Anna Birthe-Hove, and Julie Edel Hardenberg. We discuss Arke's experience of art education in Copenhagen, and the ongoing efforts by the likes of the Nuuk Art Museum to find a language for Inuit art histories. Plus, we consider shared histories between Greenland, Denmark, and the UK - including the British explorer who gave his name to Scoresbysund. Pia Arke: Silences and Stories runs at the John Hansard Gallery in Southampton until 11 May 2024. The partner exhibition, Pia Arke: Arctic Hysteria, runs at KW Institute for Contemporary Art in Berlin from 6 July 2024. A new publication on Pia Arke's work, co-published by John Hansard Gallery and KW Institute, will be available in late April 2024. Symposiums will take place in both Southampton and Berlin too. Recommended Exhibitions: Outi Pieski runs at Tate St Ives in Cornwall until 6 May 2024. Michelle Williams Gamaker: The Silver Wave runs at the Royal Albert Memorial Museum (RAMM) in Exeter until 27 October 2024. Shuvinai Ashoona: When I Draw runs at The Perimeter in London until 26 April 2024. For more about Godland, Hlynur Pálmason (2023), read my article from the BFI London Film Festival (LFF) 2022. For more about Sonia Ferlov Mancoba, hear curators Winnie Sze (SEE) and Pim Arts, curators at the Cobra Museum of Modern Art in the Netherlands, on We Kiss the Earth: Danish Modern Art, 1934-1948. WITH: Ros Carter, Head of Programme (Senior Curator) at John Hansard Gallery in Southampton. Sofie Krogh Christensen, Associate Curator at KW Institute for Contemporary Art in Berlin. They are the respective curators of Silences and Stories and Arctic Hysteria. 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

Artist Paige K.B. calls into the stream to discuss three major exhibitions: “Cute” at Somerset House in London, “Poetics of Encryption” at KW Institute of Contemporary Art in Berlin, and Simon Denny's shows in New York. Follow: https://www.instagram.com/guiltgroupe/ Exhibitions: https://www.somersethouse.org.uk/whats-on/cute https://poeticsofencryption.kw-berlin.de/src/html/Exibition.html https://www.petzel.com/exhibitions/simon-denny5 https://www.petzel.com/exhibitions/multi-user-dungeon-mud https://dunkunsthalle.substack.com/p/simon-denny-exhibition-read-write

Für die neue Ausgabe des Weltkunst-Podcasts: "Was macht die Kunst?" spricht Lisa Zeitz mit Nadim Samman, Schriftsteller und Kurator, den sie kurz vor der Eröffnung seiner neuen Ausstellung "Poetics of Encryption" in den KW Institute for Contemporary Art in Berlin getroffen hat. Der "WELTKUNST-Podcast - Was macht die Kunst?" wird in Partnerschaft mit Volkswagen produziert.

Kate Merkle ist eine kreative Unternehmerin und ehemalige CEO für Luxus- und Lifestyle-Unternehmen. Sie gründete Kama Sustainovation S.A., ein Beratungsunternehmen für Nachhaltigkeit in Afrika, und leitete die Schmuckfirma Vieri, die nun ihre Tochter führt.Getrieben von ihrer inneren Berufung, gründete sie to Blossom, eine Plattform, die sich der persönlichen Transformation und der ganzheitlichen Beratung widmet. Sie nennt es "to Blossom from within", da es alle Lebensbereiche berührt. Kate begleitet Menschen und Unternehmen, um ein tieferes Verständnis dafür zu erlangen, wie sie die Welt verändern können.Seit vielen Jahren ist sie zudem als Vorstandsmitglied des KW Institute of Contemporary Art in Berlin und der Earthbeat Foundation aktiv.In unserem Podcast teilt Kate ihre Geschichte als internationale Schmuckherstellerin und die Bedeutung von Selbstvertrauen und Risikobereitschaft für ihren Erfolg. Wir diskutieren über bewusste Führung und die Notwendigkeit eines bewussteren Arbeitsplatzes. Kate erzählt auch über ihre Erfahrungen mit Krebs und die Gründung eines Unternehmens in Afrika. Begleite uns bei diesem inspirierenden Gespräch. Es lohnt sich reinzuhören.Hier geht's zu den ShownotesWOMEN IN FASHION MENTORINGMöchtest auch Du mit Deinen vorhandenen Potenzialen, Fähigkeiten und Kenntnissen Deine unverwechselbare Marke im Fashion- und Lifestyle-Segment aufbauen? Ich helfe Dir gerne bei der Gründung Deiner eigenen Marke, und biete Dir meine Erfahrungen, meine Plattform, und den Zugang zu meinem exklusiven Netzwerk.TRIFF JETZT DEINE ENTSCHEIDUNG und vereinbare Dein kostenfreies Vorgespräch mit mir. Vielen Dank für Deine Treue!Herzlichst,Sibel Brozathttps://womeninfashion.de/www.linkedin.com/womeninfashion.dewww.instagram.com/womeninfashion.dewww.facebook.com/womeninfashion.deTelegram Gruppenchathttps://www.youtube.com/c/womeninfashiongermanyMöchtest auch Du mit Deinen vorhandenen Potenzialen, Fähigkeiten und Kenntnissen Deine unverwechselbare Marke im Fashion- und Lifestyle-Segment aufbauen? Ich helfe Dir gerne bei der Gründung Deiner eigenen Marke, und biete Dir meine Erfahrungen, meine Plattform, und den Zugang zu meinem exklusiven Netzwerk.TRIFF JETZT DEINE ENTSCHEIDUNG und vereinbare Dein kostenfreies Vorgespräch auf www.womeninfashion.de/mentoring

Nadim Samman, curator at KW Institute for Contemporary Art in Berlin, joins me to discuss his new book, Poetics of Encryption: Art and the Technocene. get the book: https://www.hatjecantz.de/nadim-samman-8254-1.html socials: https://www.instagram.com/nadim.samman/ https://www.instagram.com/kwinstitutefcontemporaryart/

Ernst and Veronika talk to us about their process of composing Expedition Content, the augmented sound piece composed from 37 hours of recordings which document the encounter between members of the Harvard Peabody Expedition, particularly Michael Rockefeller of the Rockefeller family, and the Hubula people of West Papua, at the time Nederlands New Guinea. The piece reflects on visual anthropology, the lives of the Hubula and of Michael, and the ongoing history of colonialism and occupation in West Papua. “Expedition Content” premiered at the 70th Berlin International Film Festival and has been screened at Cinéma du Réel at the Centre Pompidou Paris, the Art of the Real, Lincoln Center New York, and Camden international Film Festival. Veronika Kusumaryati is a social anthropologist and artist working on the issues of Indigenous politics, conflict and violence, race/racism, and digital media. The geographic focus of her research is Indonesia, primarily West Papua, a self-identifying term referring to Indonesia's easternmost provinces of Papua and West Papua, where she has conducted extensive fieldwork since 2012. She holds a Ph.D. in anthropology with a secondary field in film and visual studies from Harvard University and was a postdoctoral fellow at the Asian Studies Program at the Edmund A. Walsh School of Foreign Service, the Prince Alwaleed Bin Talal Center for Muslim-Christian Understanding, and the Berkley Center for Religion, Peace, and World Affairs at Georgetown University during the 2020-2021 academic year. Her writings have been published in journals, such as Comparative Studies in Society and History and Critical Asian Studies. She is an incoming assistant professor in anthropology and international studies at the University of Wisconsin-Madison starting in the spring of 2023. www.veronikakusumaryati.wordpress.com Ernst Karel works with sound, including electroacoustic music, experimental nonfiction sound works for multichannel installation and performance, image-sound collaboration, and postproduction sound for nonfiction vilm, with an emphasis on observational cinema. Lately he works around the practice of actuality/location recording (or 'fields [plural] recording') and composing with those recordings, with recent projects also taking up archival location recordings. Sound projections have been presented at Sonic Acts, Amsterdam; Oboro, Montreal; EMPAC, Troy NY; Arsenal, Berlin; and the 2014 Whitney Biennial. Sound installations in collaboration with Helen Mirra have been exhibited at the Gardner Museum, Boston; Culturgest, Lisbon; KW Institute for Contemporary Art, Berlin; Audiorama, Stockholm; MIT List Visual Arts Center, Cambridge; and in the 2012 Sao Paulo Bienal. Audio-video collaborations include Expedition Content (2020, with Veronika Kusumaryati), Ah humanity! (2015, with Lucien Castaing-Taylor and Véréna Paravel) and Single Stream (2014, with Toby Lee and Pawel Wojtasik). CDs of his often collaborative work, including with the electroacoustic duo EKG, have been released on and/OAR, Another Timbre, Cathnor, Gruenrekorder, Locust, Sedimental, and Sshpuma record labels, and a duo with Bhob Rainey is forthcoming on Erstwhile. From 2006 until 2017 he managed the Sensory Ethnography Lab at Harvard University, doing postproduction sound for vilms including Sweetgrass, The Iron Ministry, Manakamana, and Leviathan. He has taught audio recording and composition through the Sensory Ethnography Lab at Harvard (through 2021), the Center for Experimental Ethnography at Penn (2019), and the Department of Film & Media at UC Berkeley (2022). www.ek.klingt.org --- Support this podcast: https://anchor.fm/sugar-nutmeg/support

As part of Berlin Art Week, Tieranatomisches Theater in cooperation with KW Institute for Contemporary Art was presenting the exhibition ...

Saskia Neuman Gallery represents Nordic as well as internationally based artists. The exhibition program reflects a strong focus on early and mid-career artists, often previously not exhibited in Sweden's commercial gallery sphere. In addition, the gallery aims to host a variety of happenings, including talks, performances and other events.Prior to opening the gallery Saskia Neuman held the position of CEO of Market Art Fair. Saskia was previously the Director of the Absolut Art Award (The Absolut Company) for seven years. During her career she has worked at neugerriemschneider gallery, KW Institute of Contemporary Art, Berlin, and the Venice Biennale, 2009. She is a monthly contributing writer to Vogue Scandinavia and contributed to publications including The New Era, Scandinavian Mind, Artlover and The Forumist, along with having written for Monocle, LOFT Magazine, 032c, Honoré Magazine and Berlin Art Journal in the past.KONST is a show by Scandinavian MIND about contemporary and future art; the interconnection with society, culture, technology, finance and lifestyle. The outlook is primarily at the art world from a Scandinavian perspective, although taking into account the global arena of artists, exhibitions, trade fairs and other current events. The host of KONST is Roland-Philippe Kretzschmar, Editor-at-large at Scandinavian MIND. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Saskia Neuman Gallery represents Nordic as well as internationally based artists. The exhibition program reflects a strong focus on early and mid-career artists, often previously not exhibited in Sweden's commercial gallery sphere. In addition, the gallery aims to host a variety of happenings, including talks, performances and other events.Prior to opening the gallery Saskia Neuman held the position of CEO of Market Art Fair. Saskia was previously the Director of the Absolut Art Award (The Absolut Company) for seven years. During her career she has worked at neugerriemschneider gallery, KW Institute of Contemporary Art, Berlin, and the Venice Biennale, 2009. She is a monthly contributing writer to Vogue Scandinavia and contributed to publications including The New Era, Scandinavian Mind, Artlover and The Forumist, along with having written for Monocle, LOFT Magazine, 032c, Honoré Magazine and Berlin Art Journal in the past. Hosted on Acast. See acast.com/privacy for more information.

Agustina Woodgate (1981, Argentina) practice focuses on the politics of landscapes and infrastructures as a conceptual and public geography. She recombines, activates and repurposes available resources while setting alternative systems in motion. Woodgates' approach is speculative, practical, and site and context-responsive, presenting critical possibilities to concepts on social orders, resource management and information distribution bringing clarity, scale, and accessibility. In 2011 she co-founded radioee.net a nomadic, translingual, online radio station. In 2015 she co-founded TVGOV, a media company providing ecological data visualization. And in 2018 she co-initiated PUB, an experimental publishing platform within Sandberg Instituut, Amsterdam. She is currently a tutor at the Disarming Design Master Program at Sandberg Instituut Amsterdam and is actively teaching workshops in several universities and organizations. Her projects have been commissioned by BIENALSUR 2021, 2019 Whitney Biennial, 4th Istanbul Design Biennial; Haus der Kulturen der Welt, Berlin; 9th Berlin Biennial; Peabody Essex Museum, MA; Bienal de las Américas, CO; ArtPort, Tel Aviv; PlayPublik, Poland; DC Commission on the Arts and Humanities, Washington; The Bass Museum of Art, FL; Storefront for Art and Architecture, MN and KW Institute for Contemporary Art, Berlin amongst others. Agustina Woodgate, The Source, 2019, Miami oolite, concrete, iron, plumbing grid, water.108 x 108 x 108 in. Photo by Steven Sierra; courtesy of Art Basel and Barro, Buenos Aires, Argentina. Installation view in Collins Park, The Bass Museum, City of Miami Beach. Agustina Woodgate, National Times, 2016-2019. Close-circuit network of clocks synchronized directly by the power grid. Photograph by Ron Amstut. Installation view of the Whitney Biennial 2019 (Whitney Museum of American Art, New York, May 17-September 22, 2019).

Unsere zweite Folge führte uns bereits Ende Februar diesen Jahres zurück zu alten Bekannten: Denn über Österreich hatten wir ja bereits in der ersten Staffel dieses Podcasts gesprochen. Und da es zu den Kernaufgaben des kulturforums gehört, österreichische Künstlerinnen und Künstler in Deutschland zu präsentieren, machten wir zunächst einen kleinen Ausflug nach Leipzig und trafen dort die Band Please Madame - unmittelbar vor ihrem Auftritt in der Moritzbastei. Zurück in Berlin fiel unsere Reisetätigkeit dann eher übersichtlich aus, wir können einfach am Schreibtisch sitzen bleiben. Denn für das Interview mit Dr. Denise Quistorp, der Leiterin des österreichischen kulturforums, haben wir uns via Zoom verabredet. Direkt zu Beginn haben wir über die Herausforderungen von Kulturarbeit inmitten einer Pandemie gesprochen, aber auch über die Vorbereitungen des österreichischen Auftritts als Gastland der Leipziger Buchmesse 2023, wofür extra ein Jahr der Literatur ausgerufen wurde. Aber auch eines unserer Lieblingsthemen, der Film, kommt nicht zu kurz. Viel Spaß! Das aktuelle Veranstaltungsprogramm des österreichischen kulturforums ist hier zu finden: https://kulturforumberlin.at/veranstaltungen Das österreichische Jahr der Literatur (inklusive eines bald erscheinenden Podcasts!) wird hier präsentiert: https://kulturforumberlin.at/jahr-der-literatur/ Die kommenden Live-Shows von Please Madame kann man hier einsehen: https://pleasemadame.com/events/upcoming-events/ Und das Musikvideo zu Mary-Ann gibt es hier: https://www.youtube.com/watch?v=FGMTtA2Dipg Zur (leider bereits zu Ende gegangenen) Werkschau von Peter Friedl im KW Institute for Contemporary Art Berlin gibt es hier trotzdem noch weitere Publikationen, wie zum Beispiel eine Einführung: https://www.kw-berlin.de/peter-friedl/ Die Nacht der österreichischen Literatur im Literarischen Colloquium Berlin findet am 30.06.2022 hier statt: https://lcb.de/programm/nacht-der-oesterreichischen-literatur/ Und zuletzt, hier ein Link zum verbindenden Projekt EUNIC Berlin: https://eunic-berlin.eu/ Wir freuen uns übrigens immer über neue Abonnierende und viele Sterne dort, wo man sie verteilen kann. Und über zugeneigte Follower auf Social Media, zum Beispiel hier: Twitter: https://twitter.com/vtspod Facebook: https://www.facebook.com/vertretungsstunde Lob, Kritik oder Palatschinken nehmen wir gerne unter post@wortprogramme.de entgegen. Dieser Podcast wird unterstützt von der Berliner Senatsverwaltung für Kultur und Europa. Vielen Dank dafür! Credits: Produktion und Redaktion: Sebastian Scheffski Interview und Sprecherin: Hannah Prasse

Miguel Abreu Gallery is pleased to announce Jimmy Raskin's STATIONS OF THE LAST ECCENTRIC, the artist's fourth one-person exhibition at the gallery. The exhibit is open Jan. 4th - Feb. 5, 2022. STATIONS OF THE LAST ECCENTRIC features nine layered works, each holding at its center The Cone of Expression. This diagrammatic overlay includes a prominent vertical line that imposes a primordial fold, creating a mirror-image wherein a chosen picture of the cosmos faces itself. This event, in turn, conjures a myriad of faces staring back at the viewer. The phenomenon, known as facial pareidolia, instills an emotional charge in an otherwise non-sentient image or form. A point of connective stillness emerges, which may be considered sacrificial: we bypass the layers, critical-distance, dynamic conversations therein, and reach an almost humorous reduction point; an anthropomorphic flattening in the name of stillness. Within the gaze of the gaze, a space for mesmerization or resonance is generated. An artist book accompanies the exhibition. Jimmy Raskin (b. 1970, Los Angeles) lives and works in New York. A graduate of the California Institute of the Arts, Raskin has exhibited his work internationally and staged “lecture-performances” in institutions, art galleries and other non-traditional gathering places since the mid-1990s, notably at the P.S.1 Contemporary Art Center, Thread Waxing Space, Foundation 2021, Greene-Naftali, Cooper Union, Miguel Abreu Gallery, SculptureCenter (all in New York), as well as at the Centre Pompidou, Paris, Real Art Ways, Hartford, The Swiss Institute, Paris, and KW Institute for Contemporary Art, Berlin. In 2013, Raskin participated in Performa 13 as part of Performa After Hours, which marked his second contribution to the performance biennial, following A Certain Misgiving in the Disciple (2009). Raskin's third one-person exhibition at Miguel Abreu Gallery, Petals Ears & Tears, was held in 2013. Previously, his work was selected for the Art Statements sector of Art |42| Basel (2011). He was included in For the blind man in the dark looking for the black cat that isn't there (2010), a major group exhibition curated by Anthony Huberman at the Contemporary Art Museum St. Louis. The show traveled to the Museum of Contemporary Art, Detroit, the ICA, London, de Appel Arts Center, Amsterdam, and Culturgest, Lisbon. Raskin also participated in the group exhibition Breaking New Ground Underground (2009), curated by Thea Westreich at Stonescape, a private museum in Napa Valley, California. Raskin's publications include The Prologue, The Poltergeist & The Hollow Tree (Foundation 20 21, 2005), The Lisbon Lecture (Sequence Press, 2012), Corner Jump (Onestar Press, 2012), and The Final Eternal Return, published as part of his participation in the group exhibition Tribe-Specific at Felix Gaudlitz, Vienna (2019). Jimmy Raskin, STATION 4, 2021, 18×31 in., courtesy Miguel Abreu Gallery Jimmy Raskin, STATION 7, 2021, 18×31 in., courtesy Miguel Abreu Gallery

Episode 26 and my 2nd Frieze week special!! In this episode I visit two houses on (and just off of) Avenue Road in St Johns Wood – named London's most expensive street in 2020 – with Berlin-based curator and writer Tirdad Zolghadr. We talk about the art-gentrification-real-estate relation; artists' complicity in these processes of social cleansing; the Haus der Statistik in Berlin, and hope. One house is £38 million and the other £55 million

What's Love Got To Do With It? is a three-part podcast series about Radical Love. In the second episode, poets Alice Notley and Precious Okoyomon converse together for the first time to discuss how they tune into interconnectedness, why dreaming together might forge collective states of belonging, and ask each other how love moves them and the world. Sharing their poetry and its rootedness in their personal histories – as well as their hopes for the future – Notley and Okoyomon render visions of intergenerational lives in continuous acts of translation. What’s Love Got To Do With It? is programmed and curated by Beatrice Gibson, produced by Alannah Chance, and features unique compositions by Crystabel Riley and Seymour Wright. It is a commission by Bergen Kunsthall; Camden Art Centre, London; KW Institute for Contemporary Art, Berlin; and Mercer Union, a centre for contemporary art, Toronto.

What's Love Got To Do With It? is a three-part podcast series about Radical Love. The final episode of this podcast series is a conversation between two friends: Ariana Reines and Sophie Robinson, poets and educators who look to spaces of hospitality for connection and kinship. Sharing their poetry and the experiences that shaped its writing, the pair discuss possibilities for care despite institutional cruelty, getting sober as an act of radical love, and how the Sun and Moon communicate very different and sometimes uncomfortable truths to Reines and Robinson respectively. What’s Love Got To Do With It? is programmed and curated by Beatrice Gibson, produced by Alannah Chance, and features unique compositions by Crystabel Riley and Seymour Wright. It is a commission by Bergen Kunsthall; Camden Art Centre, London; KW Institute for Contemporary Art, Berlin; and Mercer Union, a centre for contemporary art, Toronto.

What's Love Got To Do With It? is a three-part podcast series about Radical Love. In this first episode, CAConrad and LeAnne Howe share an intensely personal conversation with one another about First Lady Mary Todd Lincoln, who insisted she was tormented by an Indigenous Spirit – a reminder that her husband’s record on racial equality is fraught with violence and oppression; AIDS and loving during the Reagan years; and the new horizons created by the Black Lives Matter movement. Please note: this episode contains sensitive content from the start. What’s Love Got To Do With It? is programmed and curated by Beatrice Gibson, produced by Alannah Chance, and features unique compositions by Crystabel Riley and Seymour Wright. It is a commission by Bergen Kunsthall; Camden Art Centre, London; KW Institute for Contemporary Art, Berlin; and Mercer Union, a centre for contemporary art, Toronto.

"Mutiny on the Bivalvia" is a radio play about power and relationships. In an interview, a seafarer and previously successful artist delineates her motives for wanting to become a member of the female crew on board of the „Bivalvia“ and her daily life as a seafarer. The interviewer has but one question on her mind: What has lead the all-women crew to shipwreck and mutiny? Text and direction: Nadja Abt Seafarer: Mareike Wenzel Interviewer: Nadja Abt Music: Alabaster DePlume Sound: Nadja Abt & Franz Schütte Nadja Abt is an artist and writer, living between Berlin and Lisbon. Abt studied Literature and Art History at Freie Universität Berlin as well as Fine Arts at Universität der Künste Berlin and the Universidad Torcuato di Tella in Buenos Aires. In her performances, videos and paintings, she constructs feminist narratives that reference the world of literature and film. She is part of the artist collective Michelle Volta. Recent exhibitions and performances include KW Institute for Contemporary Art, Berlin; Haus der Kulturen der Welt, Berlin; Pivô, São Paulo; Casa Triângulo, São Paulo. She has upcoming shows at Bärenzwinger, Berlin (April 2021) and Galeria Diferença, Lisbon (October 2021).

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.,

À l’occasion de l’exposition « Jeunes artistes en Europe. Les Métamorphoses » présentée du 4 avril au 16 juin 2019 à la Fondation Cartier pour l’art contemporain, le Bruit de l’art vous propose une série de podcasts inédits en cinq épisodes.Pour ce quatrième épisode hors-série, nous recevons le réalisateur américano-portugais Gabriel Abrantes dont le court-métrage A Brief History of Princess X est à découvrir en ce moment à la Fondation Cartier.Gabriel Abrantes a étudié à la Cooper Union à New York, aux Beaux-Arts de Paris et au Fresnoy à Tourcoing. Son travail, d’abord plus proche de la vidéo d’artiste, s’est rapproché ces dernières années du cinéma de fiction grand public. Il a ainsi été présenté à la Semaine de la Critique de Cannes (Grand Prix), à la Berlinale (Prix EFA) ou au Festival du Film de Locarno (Léopard d’or), mais également été exposé à la Tate Britain (Londres), au KW Institute for Contemporary Art (Berlin), au Palais de Tokyo (Paris)... Dans ses films, l’humour décalé et l'absurde sont souvent utilisés pour revisiter des mythes d’une culture mi-pop mi-historique et faire écho à d’importants questionnements contemporains.Dans cet épisode, il revient sur son parcours, son passage de son activité de peintre à celle de cinéaste, explique ce qui le pousse encore à faire des aller-retour entre peinture et vidéo, et nous raconte la genèse de son court-métrage A Brief History of Princess X. Musique originale de Rinôçérôse. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Painting & aesthetics studies at SNBA, Lisbon Degree in French & Portuguese Literature and Linguistics at Universidade Clássica, Lisbon Aesthetics studies at Universidade Nova and Faculdade de Belas Artes, Lisbon Visual artist, founder and director of the Berlin-based project space rosalux (rosalux.com). Founding member of the Berlin Network of art project spaces and initiatives in 2009. Co-coordinator of the "One Night Stand" series at KW Institute for Contemporary Art, Berlin (2014-2016). Since 2011 artistic cooperation with Hans Kuiper, Amsterdam (kuiperdomingos projects). Courtesy of JRC Summer School 2018 documentation.

Monash University Museum of Art (MUMA) in association with Brisbane’s Institute of Modern Art (IMA) and Curatorial Practice at Monash Art Design and Architecture (MADA) were pleased to present a special lecture at MPavilion by visiting international curator and writer, Tirdad Zolghadr. Tirdad Zolghadr is a curator and writer. He is the associate curator at KW Institute for Contemporary Art, Berlin, director of the Summer Academy Paul Klee in Bern, and teaches at the Dutch Art Institute in Arnhem. His most recent book is Traction, published by Sternberg Press 2016. About ‘The Artist as Quarry’: Artists are always falling prey to something or other. Censorship, curators, bad lighting, jet lag, bigotry, cultural prejudice, institutions in particular and The Institution At Large. Never are they complicit in any of these things. The goal of this lecture was not to trace examples of when victimisation is real or imagined. The aim, rather, is to trace the role and political rationale of self-marginalisation within the moral economy of contemporary art. The goal of this exercise, in turn, was to speculate as to how this rationale might be translated into a more meaningful professional identity, with more tangible political traction, over time. Tirdad Zolghadr’s lecture is part of ‘The Artist As…’, a year-long lecture series co-presented by the IMA and Curatorial Practice at MADA. The series examines the ways artists move through the world and how that movement might involve adopting other roles to pursue a project, a position, a politic, or a practice. For any given project the artist may act as architect, as ethnographer, as archivist, as producer, as curator, as activist, as choreographer, and so on. ‘The Artist As…’ also recognises that many artists come to their practice as experts in other fields, bringing with them specialist knowledge that informs and shapes their work. Following the lecture Tara McDowell, Associate Professor and Director of Curatorial Practice at Monash University, will lead a Q&A session. This event is proudly supported by The Saturday Paper.

Presentation House Gallery and Emily Carr University of Art + Design are pleased to present an artist talk by Paris-born, Berlin-based artist Cyprien Gaillard. Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien Gaillard questions man’s traces in nature with an archeological approach to recent history. Through sculpture, painting, etching, photography, video, performance and large-scale interventions in public space, Gaillard examines the relics of our built environment with an entropic view of destruction as the starting point of renewal. Gaillard’s most recent work Artefact is a film shot on the artist’s iPhone and later transferred to 35mm film. The film traces the ancient city of Babylon (near the current city of Al-Hillah in Iraq) cut with a snippet of David Grey’s song ‘Babylon’ as the score. The work won the 2011 Publikumspreis (people’s choice prize) in Germany’s Young Art Prize exhibition at Berlin’s Hamburgerbahnhof. In The Recovery of Discovery, Gaillard notoriously built a pyramid out of 72,000 bottles of beer at KW Institute for Contemporary Art in Berlin and invited visitors to contribute to the work by drinking it. As Gaillard states:. “The physical hangover is also an architectural one, from which one has to recover.” Gaillard was recently awarded the 2010 Prix Marcel Duchamp, France’s most prestigious award for contemporary visual arts. Cyprien Gaillard’s talk is presented in collaboration with Emily Carr University and with the gracious support of the Consulat général de France à Vancouver. He is represented by Spruth Magers Gallery, Berlin.