Podcast appearances and mentions of Lawrence Abu Hamdan

A new film from Al Jazeera's Fault Lines series called “The Night Won't End” profiles three Palestinian families as they try to survive the war in Gaza.On today's episode, Lawfare Managing Editor Tyler McBrien speaks to the documentary's director, Kavitha Chekuru, along with a few of the journalists and researchers who came together to work on the project, including Emily Tripp, Director at Airwars; Samaneh Moafi, Assistant Director of Research at Forensic Architecture; and Lawrence Abu Hamdan, Founder and Director of investigations at Earshot.They discuss the three families at the center of this story, other investigations into the killings of civilians by the Israeli military in Gaza, and the role of the United States in the war since Oct. 7.Please note that this episode contains content that some people may find disturbing, including depictions of war and violence against children. Listener discretion is advised.To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/c/trumptrials.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

Watch on YoutubeJames Hoff is an artist living and working in New York. His work encompasses a variety of media, including sound, video, painting, and publishing.Hoff's multidisciplinary approach begins at the user level—the level at which we interact with consumer technologies, media, and data. He has worked with computer viruses, inaudible data signals, ear worms, culture bound illnesses, dead zones, and hacked google maps as tools and framing devices for works that reimagine and expand the creative potential of digital and cultural networks beyond their economic and corporate-engineered use value.By exploiting and manufacturing technological and cognitive glitches, Hoff illuminates the social, political, and historical context of the software and media that we interact with on a daily basis.Hoff co-founded Primary Information in 2006 to publish historical and contemporary artists' books. The organization has published hundreds of titles, including facsimile editions of Art-Rite, Broken Music, Black Art Notes, Cornelius Cardew's Stockhausen Serves Imperialism, Godzilla: Asian American Art Network, The New Woman's Survival Catalog, and Womens Work as well as new works by Lawrence Abu Hamdan, DeForrest Brown Jr, Tony Conrad, Dara Birnbaum, Constance DeJong, Alexandro Segade, Martine Syms, and Flora Yin-Wong, among many others.Website: https://www.james-hoff.comInstagram: https://www.instagram.com/jameshoff/Linktree: https://linktr.ee/_james_hoffPrimary Information: https://primaryinformation.orgMusic releases mentioned:Blaster: https://jameshoff.bandcamp.com/album/blasterJames Hoff — HOBO UFO (v. Chernobyl) (PAN 109): https://vimeo.com/366489963We also requested James to share with us some of his favorite things.Catch them all in our newsletter: https://putf.substack.com/The PUTF show is an interview series, dedicated to showcasing inspiring creatives from the PUTF community and beyond. Guests are invited to share their unique career journeys, stories, and visions.The PUTF show is produced by WAVDWGS, a video production company based in NYC.https://wavdwgs.com/Pick Up The Flow, is an online resource based in NYC striving to democratize access to opportunities. Opportunities are shared daily on this page and website, and weekly via our newsletter.More on https://putf.substack.com/Listen to this episode on audio platforms:Spotify: https://tinyurl.com/spotify-putfApple: https://tinyurl.com/putf-applepodcast Hosted on Acast. See acast.com/privacy for more information.

Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.Amos Cappuccio, Giulia Mengozzi"Collettivo Almare"Life Chronicles of Dorothea Ïesj S.P.U.Torino, 13 marzo 202414.30 -17.30 | seminario | Fondazione Sandretto Re Rebaudengo21.00 | proiezione | Cinema Massimoun progetto di ALMARE in collaborazione con Radio Papesse, Fondazione Sandretto Re Rebaudengo, Archivio Tipografico e Museo del Cinema - Cinema Massimo Progetto realizzato grazie al sostegno della Direzione Generale Creatività Contemporanea del Ministero della Cultura nell'ambito di Italian Council (2022), il programma di promozione internazionale dell'arte contemporanea italiana.Mercoledì 13 marzo 2024, alle ore 21.00, il Cinema Massimo ospiterà la proiezione di Life Chronicles of Dorothea Ïesj S.P.U., un film e audio-racconto sci-fi scritto e diretto da ALMARE e curato da Radio Papesse. La serata sarà preceduta da un seminario dedicato alle narrazioni sonore; l'appuntamento, che approfondisce i temi del film e del progetto, si terrà dalle 14.30 alle 17.30 presso la Fondazione Sandretto Re Rebaudengo, con la partecipazione di ALMARE, Radio Papesse, Francesca Togni del Dipartimento Educativo Fondazione Sandretto Re Rebaudengo, Archivio Tipografico e il professor Rodolfo Sacchettini (Università di Firenze, Conservatorio di Bologna, Altre Velocità).Life Chronicles of Dorothea Ïesj S.P.U. è un film e audio-racconto sci-fi scritto e diretto da ALMARE e curato da Radio Papesse; ambientato in una società immaginaria, segue le avventure della ricercatrice Dorothea Ïesj e le sue peripezie nell'estrarre (e rivendere) suoni del passato. Grazie a una tecnologia chiamata ECHO, è possibile analizzare le onde sonore incise nei secoli su ogni superficie. ECHO restituisce le tracce audio impresse nella materia, permettendo di recuperare qualsiasi suono.Il lavoro trae spunto dalle teorie pseudo-scientifiche sviluppate nell'800, contestualmente alle nascenti tecnologie di registrazione; in particolare, dalla teoria dell'archeoacustica, che ipotizzava la possibilità di rintracciare fenomeni sonori del passato rimasti "incisi" nella materia. Life Chronicles of Dorothea Ïesj S.P.U. indaga il legame tra capitalismo dei dati, tecnologia e creazione di valore, riflettendo sull'uso di artefatti archeologici, archivi e memoria come strumenti di potere e controllo. Scritta in una lingua retro-futurista che mescola italiano antico e contemporaneo e filmato a partire da stampe tipografiche a caratteri mobili, Life Chronicles Of Dorothea Ïesj S.P.U.si colloca tra radio, cinema e letteratura, in un genere ibrido che ha una lunga tradizione nell'ambito del cinema e dell'arte.Le possibilità espressive dei linguaggi sound-based come mezzo di narrazione saranno al centro del seminario presso la Fondazione Sandretto Re Rebaudengo (14.30-17.30), un viaggio che, partendo dall'analisi della dimensione estetica del film e audio-racconto, ci condurrà ad esplorare il concetto di sonic fiction (elaborato da Kodwo Eshun nel libro More Briliiant Than The Sun), il lavoro di artisti come Lawrence Abu Hamdan e la storia del radiodramma in Italia.Life Chronicles of Dorothea Ïesj S.P.U. è un film e audio-racconto sci-fi scritto e diretto da ALMARE, curato da Radio Papesse e promosso in collaborazione con Timespan. Il progetto è realizzato grazie al sostegno della Direzione Generale Creatività Contemporanea del Ministero della Cultura nell'ambito di Italian Council (2022) e con il supporto di Fondazione Compagnia di San Paolo, Fondazione CRT, Fondazione CR Firenze, Torino Film Commission.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.it

Did “Arabness” die in 1973? How meaningful is the word Arab now anyway? And what role does the internet play in visual culture and civic imagination? In this multifaceted conversation with Dr Omar Kholeif, we explore many strands of thought, venturing from Arab culture as a “creole culture” to looking at the internet as a “pesky medium”. We share afikra's core tenets and philosophy and reflect on key players in the production of Arab pop culture now in 2023. Dr Omar Kholeif is an Egyptian-born artist, author, broadcaster, edit and curator (among other things). They are currently director of collections and senior curator at the Sharjah Art Foundation. Kholeif started their career as a music writer, researcher and documentary producer, going on to found the UK's first Arab Film Festival (now called the Safar Film festival). They have since worked across film, media, fine art and visual culture. They have taught at many institutions including the University of Chicago and University of Oxford. About their most recent publication “Art_Internet: From the Birth of the Web to the Rise of NFTs”:“A leading figure in the world of networked culture explores the artists and events that defined the mass medium of our time.”Since 1989, the year the World Wide Web was born, the art world has grappled with the rise of networked culture. This unprecedented survey of the artists and innovators in this area from 1989 to today is interwoven with the personal narrative of one of the leading voices of the digital world. In this book, Omar Kholeif, whose prolific career parallels the growth of the internet, tells the story of this mass medium and how it has fostered new possibilities for artists, both analog and digital.The book showcases work spanning a range of media from legendary artists including Lawrence Abu Hamdan, Lynn Hershman Leeson, Nam June Paik, Heather Phillipson, and Wu Tsang. Tracing the key artists and innovators from the emergence of browser-based art to the dawn of NFTs, this is a tale for the present and the future.****** ABOUT THE SERIES ****** afikra Conversations is our flagship program featuring long-form interviews with experts from academia, art, ‎and media who are helping document and/or shape the histories and cultures of the Arab world through their ‎work. Our hope is that by having the guest share their expertise and story, the community still walks away with new ‎found curiosity - and maybe some good recommendations about new nerdy rabbit holes to dive into head first. ‎Following the interview there is a moderated town-hall style Q&A with questions coming from the live virtual audience ‎on Zoom.‎ Join the live audience: https://www.afikra.com/rsvp Watch all afikra Conversations: https://www.youtube.com/playlist?list... ****** ABOUT AFIKRA ******‎ afikra | عفكرة is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. 

Lawrence Abu Hamdan is an artist and forensic investigator of sound. He describes himself as a 'private ear', listening to, with and on behalf of people affected by corporate, state and environmental crimes. Whether that's determining the type of ammunition and location of gunfire from sound alone, drawing on earwitness testimony for evidence, or uncovering crucial information buried within noise. As a new exhibition of his work opens at the Museum of Modern Art in New York, presenter Eliza Lomas follows as he prepares for a performance, After SFX. This piece interplays storytelling with live sound design and percussion, drawing from the artist's investigative work to explore various aspects of sonic memory.

This episode is also available as a blog post: https://thecitylife.org/2023/03/25/moma-presents-lawrence-abu-hamdans-video-walled-unwalled-and-his-performances-after-sfx-air-pressure-and-natq-in-the-kravis-studio/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Season 14 continues with VERY special episode with one of our all-time ART WORLD ICONS!!!! We meet the legendary gallerist MAUREEN PALEY. Inspiration to many of today's international contemporary galleries, Maureen was in fact the reason our co-host Robert Diament became inspired to change careers to work full-time in a gallery!We discover how she began her gallery programme in 1984 in a Victorian terraced house in London's East End. Initially named Interim Art, the gallery changed its name to Maureen Paley in 2004 as a celebration of its 20th anniversary. Since September 1999 the gallery has been situated in Bethnal Green, and in September 2020 relocated to Three Colts Lane. In July 2017 Maureen Paley opened a second space in Hove called Morena di Luna. In October 2020 a third space was opened in Shoreditch, London called Studio M. From its inception, the gallery's aim has remained consistent: to promote great and innovative artists in all media.-Maureen Paley was one of the first to present contemporary art in London's East End and has been a pioneer of the current scene, promoting and showing a diverse range of international artists. Gallery artists include Turner Prize winners Lawrence Abu Hamdan, 2019; Wolfgang Tillmans, 2000 and Gillian Wearing, 1997 as well as Turner Prize nominees Rebecca Warren, 2006; Liam Gillick, 2002; Jane and Louise Wilson, 1999 and Hannah Collins, 1993. Represented artists also include AA Bronson, Felipe Baeza, Tom Burr, Michaela Eichwald, Morgan Fisher, General Idea, Anne Hardy, Peter Hujar, Michael Krebber, Paulo Nimer Pjota, Olivia Plender, Stephen Prina, Maaike Schoorel, Hannah Starkey, Chioma Ebinama, Oscar Tuazon, and James Welling.Maureen Paley, the gallery's founder and director, was born in New York, studied at Sarah Lawrence College, and graduated from Brown University before coming to the UK in 1977 where she completed her Masters at The Royal College of Art from 1978–80.Together with running the gallery, Maureen Paley has also curated a number of large-scale public exhibitions. In 1994 she organised an exhibition of works by Felix Gonzales Torres, Joseph Kosuth and Ad Reinhardt at the Camden Arts Centre. In 1995 Wall to Wall was presented for the Arts Council GB National Touring Exhibitions and appeared at the Serpentine Gallery, London, Southampton City Art Gallery and Leeds City Art Gallery showing wall drawings by international artists including Daniel Buren, Michael Craig-Martin, Douglas Gordon, Barbara Kruger, Sol Lewitt, and Lawrence Weiner. Maureen Paley also selected an exhibition of work by young British artists in 1996 called The Cauldron featuring Christine Borland, Angela Bulloch, Jake & Dinos Chapman, Steven Pippin, Georgina Starr and Gillian Wearing for the Henry Moore Sculpture Trust which was installed in their Studio space in Dean Clough, Halifax.Follow @MaureenPaley on Instagram. Visit the gallery's official website at https://www.maureenpaley.com/Maureen Paley are exhibiting at Frieze London art fair next week in Regent's Park, Stand C9, 12th-16th October 2022. See works from her booth at Frieze's website: https://viewingroom.frieze.com/viewing-room/1750 Hosted on Acast. See acast.com/privacy for more information.

Award-winning playwright and CBC host Amanda Parris discusses her new CBC Gem comedy series, Revenge of the Black Best Friend, which takes aim at the one-note stereotypes she saw onscreen growing up. Turner Prize-winning artist Lawrence Abu Hamdan fills us in on his latest project and first Canadian commission, 45th Parallel, which explores how arbitrary international borders can be. Rapper, singer-songwriter and producer Tyshane Thompson, better known as BEAM, talks about his new album, Alien, and how it's helped him cope with anxiety and the pressures of success.

Lawrence Abu Hamdan presents "Natq," a live audiovisual essay on the politics and possibilities of reincarnation. Through listening closely to “xenoglossy” (the impossible speech of reincarnated subjects), this performance explores a collectivity of lives who use reincarnation to negotiate their condition at the threshold of the law—people for whom injustices and violence have escaped the historical record due to colonial subjugation, corruption, rural lawlessness, and legal amnesty. In the piece, reincarnation is not a question of belief but a medium for justice. * Time: 7:00pm Gulf Standard Time 10:00am Eastern Standard Time Speaker Lawrence Abu Hamdan, Artist, Audio Investigator & 2019 Turner Prize Joint-Winner In Collaboration with Al Mawrid Arab Center for the Study of Art

We've actually gone and done it and made it to episode 100! Join James, Steve, Carolina and special guest Sam as we have an extended look at this weeks usual features including... Department News, Video artist of the week - this week featuring Lawrence Abu Hamdan's sound installations, Sam takes over Tracks of the week to add her choices to the playlist and as always, What Have We Been Watching. Sam's chosen tracks are: Ewan McVicar - Tell Me Something Good: https://youtu.be/v8bIYKwUyPM Rascal Flatts - Life is a Highway: https://youtu.be/Zh-ZUrc-aLI Want to listen to all our Tunes of the Week? Of course you do! Follow this playlist to hear everything we've featured: https://open.spotify.com/playlist/7y5jrG4aldcXuyrSNhdJZT

Kvinnliga konstnärer på 1800-talet var, trots länge vilseledande historieskrivning, också en del av en konstnärlig yrkeskår. Hur det påverkade dem, lyfts fram i en ny utställning på Waldemarsudde. För 33 år sedan visade Waldemarsudde utställningen "De drogo till Paris Nordiska konstnärinnor på 1800-talet", då med många konstnärskap som helt enkelt glömts bort i en mansdominerad historieskrivning. Nu följer museet upp temat med utställningen "Ett eget rum konstnärsrollen under det sena 1800-talet" med fokus på dom sociala sammanhangens betydelse för dessa kvinnor. P1 Kulturs Karsten Thurfjell intervjuar Carina Rech, intendent på Waldemarsudde och hon konstaterar att mycket har hänt med konsthistorien under de här åren. RECENSION - LAWRENCE ABU HAMDAN PÅ BONNIERS KONSTHALL Vår konstkritiker Mårten Arndtzén har sett utställningen "Dirty Evidence", smutsiga bevis, av konstnären Lawrence Abu Hamdan. Han är expert på ljud och har bland annat arbetat åt Amnesty och varit expertvittne i rättegångar, men ljud är också grundmaterialet i hans konst. MARIANNE FAITHFULL OCH DJÄVULEN Marianne Faithfull är 74 år gammal och drabbades förra året av covid-19, men efter tre veckor på sjukhus kunde hon återvända hem för att slutföra arbetet med det som blivit hennes senaste album "She Walks in Beauty". P1 Kulturs Lisa Wall fick en Zoom-intervju med Marianne Faithful, om ett liv och en karriär som likt en invecklad skattkarta leder till några av musikhistoriens största ögonblick. ESSÄ OM KÄRLEKSPREKARIATET Vissnad kärlek och uppbrutna förhållanden är inget nytt fenomen, men har det här kanske fått en ny innebörd i vår samtid? Ibland verkar det säkrast att inte ens bli kär, i alla fall inte för mycket. Går det ens att få fast anställning i kärleksprekariatet? Det undrar kulturredaktionens Katarina Wikars i dagens OBS. Programledare: Måns Hirschfeldt Producent: Anna Tullberg

Fu solo grazie agli interpreti simultanei che fu possibile includere testimonianze in inglese, tedesco, francese e russo durante i processi di Norinberga degli anni 1945-46 contro i nazisti (qualcuno mi spiega poi perché non si parlò anche in italiano, visto il ruolo svolto dall'italico suolo?). Nelle registrazioni e nei video esistenti, gli interpreti non compaiono mai, ma la loro presenza si percepisce leggendo le trascrizioni. In un'installazione, l'artista Lawrence Abu Hamdan ricrea la rudimentale (ma efficace) macchina che permettava agli interpreti di comunicare con testimoni e avvocati: due lampadine, una gialla e una rossa. Ode alla figura sempre nascosta degli interpreti simultanei. E un pensiero a quelli ancora abbandonati nel limbo afgano, e alle loro famiglie.LINK'The Witness-Machine Complex ', la rudimentale (ma efficace) macchina che permetteva agli interpreti di comunicare con la corte, ricreata per la Kunstverein Nürnberg dall'artista Lawrence Abu Hamdan, vincitore del Turner Prizehttps://kunstvereinnuernberg.de/TESTO TRASCRITTO (English translation below)Gli interpreti simultanei sono quelle persone che permettono a due persone che parlano due lingue diverse di dialogare. È un mestiere molto duro, molto difficile, sia dal punto di vista psicologico, mentale che fisico. Oggi ne voglio parlare perché me ne dà la possibilità un'installazione artistica quella di Lawrence Abu Hamdan, The Witness Machine Complex, il complesso della macchina dei testimoni, se ne parla perché ha vinto il Turner Prize ed è un'installazione che si può vedere alla Kunstverein Nürnberg, a Norimberga importante perché? Perché parla del ruolo degli interpreti simultanei durante il processo di Norimberga negli anni '45 e '46, il processo contro i nazisti della seconda guerra mondiale. Fu proprio la presenza degli interpreti che permise al processo di poter essere portato avanti contemporaneamente in quattro lingue: russo, francese, tedesco, inglese, inspiegabilmente manca l'italiano, inspiegabilmente perché gli italiani ebbero un ruolo abbastanza rilevante in tutta quella cosa che poi finì nel nazismo. Questa installazione mostra una struttura molto rudimentale che però fu appunto fondamentale. Consiste in due lampadine, una gialla e una rossa, e queste lampadine erano l'unico modo che gli interpreti avevano per comunicare con con la corte dove si stava svolgendo il processo. Facevano accendere una volta la lampadina gialla per chiedere agli imputati o ai testimoni di parlare più lentamente, tre flash dalla lampadina gialla significavano 'parlate a voce più alta per piacere' e un flash della lampadina rossa significava 'per favore ripetete'. Non esistono registrazioni del lavoro degli interpreti e nei filmati gli stessi interpreti non compaiono mai, però si parla delle lampadine perché di volta in volta i testimoni, oppure l'accusa, dovevano spiegare appunto, alle persone che parlavano, il significato di queste lampadine. E queste lampadine non sono del tutto, cioè hanno anche un ruolo in alcune delle testimonianze, come quella di uno dei ministri nazisti che quando l'interprete segnala 'per favore parli più lentamente' lui apposta parla più velocemente, oppure con la testimonianza di una rappresentante della resistenza francese che quando le chiedono di parlare più lentamente lei si scusa, e da allora in poi scandisce in modo molto più chiaro le parole. Quindi un applauso e un pensiero agli interpreti e le interpreti che hanno permesso anche questo processo, e che tutti i giorni permettono il lavoro di un sacco di organizzazioni e un sacco di strutture nazionali, sovranazionali.ENGLISH TRANSLATIONSimultaneous interpreters are those people who allow two people who speak two different languages to communicate. It is a very demanding job, very difficult, both from a psychological, mental and physical point of view. Today I want to talk about it because an art installation by Lawrence Abu Hamdan, The Witness Machine Complex, gives me the opportunity as it won the Turner Prize. It is an installation that can be seen at the Kunstverein Nürnberg, in Nuremberg, why is it important? Because it's about the role of simultaneous interpreters during the Nuremberg trials in the '45 and '46, the trial against the Nazis of the Second World War. It was precisely the presence of the interpreters that allowed the trial to be carried out simultaneously in four languages: Russian, French, German, English, Italian is inexplicably lacking, inexplicably because the Italians had a fairly important role in the rise of nazism. This installation shows a very rudimentary structure which, however, was crucial. It consists of two light-bulbs, one yellow and one red, and these lights were the only way the interpreters had to communicate with the court where the trial was taking place. They flashed the yellow light-bulb once to ask the defendants or witnesses to speak more slowly, three flashes from the yellow light meant 'speak louder please' and one flash of the red light meant 'please repeat'. There are no recordings of the work of the interpreters and in the films the same interpreters never appear, but they talk about the light bulbs because from time to time the witnesses, or the prosecution, had to explain precisely to the people who were speaking the meaning of these lights. And these lights are not entirely… I mean, they also play a role in some of the testimonies, such as that of one of the nazi ministers who when the interpreter signals 'please speak slower' he speaks faster on purpose, or with the testimony of a representative of the French resistance who when they ask her to speak more slowly, she apologises, and from then on, she spells out the words much more clearly. So, an applause and a thought to the interpreters who allowed this trial to take place, and to those who every day allow the work of a lot of organisations and a lot of national, supranational structures.

Da quando Marcel Duchamp ha ribaltato un orinatoio e l'ha piazzato in una mostra, i musei e le gallerie sono diventati dei supermercati in cui si possono trovare oggetti di uso comune, lattine di birra e cibi di ogni tipo. In questa puntata Costantino e Francesco ci dicono che ruolo ha il Pad Thai nell'arte contemporanea, esplorano il rapporto tra artisti italiani e ferramenta e ci spiegano perché non dovremmo mai fidarci di un sacchetto di patatine.In questa puntata si parla di Willem de Kooning, Jasper Johns, Leo Castelli, Marcel Duchamp, Jean Arp, Brian Eno, Pierre Pinoncelli, Sherrie Levine, Andrea Fraser, Nicolas Bourriaud, Ralph Fiennes, Rirkrit Tiravanija, Dan Graham, Tino Sehgal, Maurizio Cattelan, Jorge Pardo, Donald Trump, Darren Bader, Andreas Gursky, Wayne Thiebaud, James Rosenquist, Man Ray, Claes Oldenburg, Gabriel Orozco, Piero Manzoni, Mario Merz, Jannis Kounellis, Michelangelo e Lawrence Abu Hamdan

Artist Lawrence Abu Hamdan opens up his personal inventory of recorded sounds, which he has featured in his many investigative sound works. For this episode, Abu Hamdan simultaneously performs these sounds and discusses their slippery nature in his Dubai studio with curator Sabih Ahmed. Host Ross Simonini Credits Produced by ArtReview and Ross Simonini.

Unsichtbares sichtbar machen und unhörbares hörbar machen, ist das Motto der Gruppenausstellung „Enter the Void“ mit Beiträgen von Lawrence Abu Hamdan, Ursula Biemann, Forensic Architecture und Paulo Tavares in der Kunsthalle Mainz. Die Künstler*innen beschäftigen sich mit gewaltsamen Ein- und Übergriffen auf der ganzen Welt und dokumentieren sie.

Russell & Robert speak with Lawrence Abu Hamdan, an artist, audio investigator and recent Turner Prize joint-winner. Lawrence's work explores ‘the politics of listening’ and the role of sound and voice within the law and human rights. He creates audiovisual installations, lecture performances, audio archives, photography and text, translating in-depth research and investigative work into affective, spatial experiences. Abu Hamdan works with human rights organisations, such as Amnesty International and Defense for Children International, and with international prosecutors to help obtain aural testimonies for legal and historical investigations. He is a member of Forensic Architecture at Goldsmiths London where he received his PhD in 2017. We discuss linguistic "code-switching", making art that's accessible for everyone, the experience of being nominated for the Turner Prize (2019), why he created the work 'Earwitness Inventory' (2018) for Chisenhale, his admiration for the sound installations of Alvin Lucier, the influence of experimental DIY music scene in Leeds and what it was like growing up between Yorkshire and Jordan. Visit @TalkArt on Instagram for images of all artworks discussed in this episode, and follow @LawrenceAbuHamdan. This special episode was recorded by phone with the artist at home in Beirut and us in London. If you've enjoyed this episode, be sure to leave us a review on Apple Podcasts or email talkartpodcast@gmail.com as we love hearing your feedback! See acast.com/privacy for privacy and opt-out information.

Lawrence Abu Hamdan, der im Dezember 2019 mit dem Turner-Preis ausgezeichnet wurde, präsentierte 2018 im Rahmen von Public Art Munich in München sein forensisches Audio-Archiv. Veronika Süß sprach damals mit ihm über die Politik des Hörens und die Konstruktion von Wahrheit.

The art world has been up in arms this week as Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani were all announced as the winner of the Turner Prize. We talk to Louisa Buck about the decision and how it might change the award in the future. Plus, we talk to the Miami-born artist Teresita Fernández about her homecoming show at Pérez Art Museum Miami. See acast.com/privacy for privacy and opt-out information.

Nato is celebrating its 70th anniversary with a summit in Watford, but after all these years, are the threads of the alliance starting to fray? Donald Trump's cancelled a press conference after Canada's PM Justin Trudeau was caught on camera apparently gossiping about the US President. France is asking questions about America's commitment. The Leader Podcast speaks to the Evening Standard's US correspondent David Gardner.Also, Arts Correspondent Robert Dex speaks to the Leader after the Turner Prize was given to everyone on the shortlist. Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani formed a collective at the ceremony in Margate. Has the competition that likes to shock gone too far? See acast.com/privacy for privacy and opt-out information.

Investigating regeneration and gentrification, the Turner Contemporary, the 2019 Turner Prize exhibition, writer Maggie Gee on her novel Blood, & the town in literature. The seaside town of Margate has both struggled and thrived over the past two centuries – it thronged with holidaymakers from the Victorian era onwards but limped through the latter half of the 20th century and was one of the most deprived parts of the UK before the £17.5m Turner Contemporary opened in 2011. Many hoped that the new art gallery would spearhead change and eight years on there has clearly been growth – the town sometimes jokingly referred to as Shoreditch-on-Sea has been through a wave of gentrification, complete with the common trappings of independent cafés, vintage shops and yoga studios, frequented by an ever-growing artistic community bolstered by regular arrivals of Londoners fleeing the capital. Tourist numbers are up, with the Dreamland amusement park reopening and over 3.2m visitors to the Turner Contemporary reported since its launch. This narrative of a successful arts-led regeneration however ignores that fact that Margate remains in the top 1% of deprived communities in the country and in some wards around half of all children live in poverty. The painter JMW Turner once remarked of Margate that it had the ‘loveliest’ skies in Europe, but can they brighten prospects for the local community, as well as for the artists that flock there? As this year’s Turner Prize comes to Margate for the first time, Philip Dodd looks at whether the arts are a successful driver of regeneration, with Turner Contemporary Director Victoria Pomery and the social artist Dan Thompson, who has looked at people, place and change throughout his career. We reflect on the Turner Prize exhibition itself, and the work of shortlisted artists Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani. The exhibition runs at Turner Contemporary until January 12th and the winner is announced on December 3rd. The author Maggie Gee’s new novel Blood is set in Margate and the surrounding area of Thanet. A darkly comic crime thriller set in Brexit Britain East Kent where the political atmosphere bleeds into the action. Her imposing protagonist Monica is accused of murdering the tyrannical patriarch of her family – a situation complicated by the fact she’s armed with an axe ready to do just that, when she finds her father’s body. Maggie tells us about Blood and how the local area is a perfect canvas for the story. Margate is hosting several events as part of Being Human, the UK’s national festival of the humanities which runs from November 14th to the 23rd – you can find more information on their website https://beinghumanfestival.org/ Literary historian Professor Carolyn Oulton is hosting a Murder Mystery trail in Margate for Being Human, amongst other things, and has been studying seaside towns in literature during the railway age. She gives us a view of Margate from the Victorian era – a bustling, promiscuous, populist place full of tourists – and the kind of stories set there. Crime and romance reads for the beach did particularly well for the holiday market, with works like Love in a Mist and Death in a Deckchair key tomes in the Margate canon. Producer: Karl Bos

This is a special episode that I recorded with three artist friends: Kate Davis, Ash Perry and Ramo Zeroual in Venice in June this year. Unplanned, we found each other in Venice for 2019 Venice Biennale at the same time. This gave me a great opportunity to make an episode about 2019 Venice Biennale and to share some our thoughts on this major global art event. Please forgive the noises on the background, (church bell hitting the right time, ladies on street chatting, dog barking..:)) But I hope what we discussed is interesting enough to overcome these flaws.  The speakers:Kate Davishttps://www.datekavis.com/aboutAsh Perryhttps://www.abc.net.au/radionational/programs/the-art-show/first-commissions-emerging-artists-reimagine-michelangelos-david/11339758Ramo Zeroualhttps://www.youtube.com/channel/UC-RyLTZtXrPmwApgCDD0PUQThe 58th Venice Biennalehttps://www.labiennale.org/en/art/2019/informationThe artists mentioned in the episode:Zhanna Kadyrovahttps://www.kadyrova.com/project-enLawrence Abu HamdanWalled Unwalled (2018) - the work shown at Giardinihttp://lawrenceabuhamdan.com/#/walled-unwalled/This Whole time there were no land mines (2017) - the work shown at Arsenalehttp://lawrenceabuhamdan.com/#/langugae-gulf-in-the-shouting-valley/Kahlil JosephBLKNWShttps://news.artnet.com/exhibitions/blknws-kahlil-joseph-vience-biennale-2019-1543222https://www.facebook.com/watch/?v=602987583540716Lithuania PavilionSun and Sea, Curator: Lucia Pietroiustihttps://www.labiennale.org/en/art/2019/national-participations/lithuaniahttps://www.e-flux.com/announcements/262366/rugil-barzdiukait-vaiva-grainyt-lina-lapelytsun-sea-marina/https://www.sunandsea.lt/enZimbabwe PavilionSoko Risina Musoro (The Tale Without a Head), Curator: Raphael Chikukwahttps://www.labiennale.org/en/art/2019/national-participations/zimbabwe-republichttps://www.contemporaryand.com/magazines/zimbabwe-pavilion-announced-participating-artists-and-title/Kudzanai-Violet Hwamihttps://kudzanaiviolethwami.comNorth Macedonia PavilionSubversion to Redhttps://www.labiennale.org/en/art/2019/national-participations/north-macedonia-republichttps://nadaprlja.com/subversion-to-red/Artist: Nada Prljahttps://nadaprlja.comFrance PavilionDeep See Blue Surrounding You / Vois Ce Bleu Profond Te Fondre http://www.biennialfoundation.org/2019/04/french-pavilion-at-the-venice-biennale-2019-laure-prouvost/Artist: Laure Prouvosthttps://www.laureprouvost.comOther exhibitions at the Venice Biennale:By AshPunta della doganahttps://www.palazzograssi.it/en/about/sites/punta-della-dogana/Time, Forward! at VAChttp://www.v-a-c.ru/exhibition/Ghana Pavilionhttps://www.labiennale.org/en/art/2019/national-participations/ghanaBy KateFuture Generation Art Prizehttps://futuregenerationartprize.orgJannis KounellisPrada Foundationhttp://www.fondazioneprada.org/project/jannis-kounellis/By RamoJone Jonashttp://myartguides.com/exhibitions/joan-jonas-moving-off-the-land-ii/Museum By Me (Siying)Parasol unit: https://parasol-unit.orgBosnia Pavilionhttps://www.labiennale.org/en/art/2019/national-participations/bosnia-and-herzegovinaThe exhibition Ramo will be in:https://www.festival-automne.com/en/programAsh’s Florence exhibition can be found at https://www.limelightmagazine.com.au/news/emerging-australian-artists-reimagine-michelangelos-david/Ararat Gallery TAMAFantasies - Hannah Gartsidehttp://www.araratgallerytama.com.au/event/hannah-gartside-fantasies/

In this episode Wael Hattar interviews artist Lawrence Abu Hamdan. We discuss Hamdan's practice in general, and cover his young but powerfully growing career from his first interest in Sound Art and how his work has developed into multiple media. Along with the winning of many prizes regionally and globally, we talk about the way people perceive his work (We have a few audio extracts from the works within the interview,) as well as his own development of what he sees and hears to his his different and current curatorial collaboration. http://sculpture-center.org/exhibitionsExhibition.htm?id=138467 You can read about his most recent prizes here artdubai.ae/abraaj-group-art-prize-2018/ sculpture-center.org/exhibitionsExhibition.htm?id=138467 You can find more of his work in the following links lawrenceabuhamdan.com https://vimeo.com/user7053630 https://iffr.com/en/persons/lawrence-abu-hamdan and find him socially here instagram.com/lawrence_abu_hamdan/ twitter.com/LAbuHamdan

Bloomberg's art market reporter, James Tarmy, discusses the unexpected corners of the Contemporary art market by looking at six different artists and their markets. They range from Lawrence Abu Hamdan who has strong support from museums and other institutions but no real market to John McAllister whose work thrives without much fanfare. In between, Tarmy looks at Laura Owens, Lynette Yiadom-Boakye and Michael Krebber, all artists who have thriving but very different market trajectories. Each of these case studies attempts to ask how we can identify an artist whose work and reputation will last.

Lawrence Abu Hamdan is an internationally celebrated artist who works with sound and an internationally recognized expert forensic listener. He likes to call himself a Private Ear. Your host visits Lawrence in Beirut to hear more.

This week we talk to two artists who see themselves as detectives. Trevor Paglen has designed sculptures for the Fukushima Exclusion Zone, as well as art that's been launched into geostationary orbit. His photographs of secret military bases (taken at long range, using equipment made for astronomers) appeared in the Academy Award–winning documentary Citizenfour. We spoke with him about how to care for one's personal digital hygiene in the age of surveillance. To document torture, mass executions, and human-rights abuses at Saydnaya Prison in Syria, Amnesty International enlisted the help of sound artist Lawrence Abu Hamdan. This week we're presenting Abu Hamdan's sound installation Saydnaya (The Missing 19DB)—that's “DB” as in decibels, the standard measure for the volume of sound. It offers an uncompromising depiction of Saydnaya, a notorious military prison in Syria, believed to be the site of up to fifty hangings each day. It's a compound in the mountains just north of Damascus holding up to twenty thousand people in conditions of enforced silence. Abu Hamdan made the piece through interviews conducted in Istanbul with five survivors from the prison. This episode also features a luminous and digressive review of the Organist, ripped from the heaps of listener commentary on our Apple Podcasts page, by the writer Vu Tran—no stranger to art as detective work himself. His work has been anthologized in Best American Mystery Stories, and his novel Dragonfish adapts and carries forward the tradition of writers like Raymond Chandler and Dashiell Hammett. In his reflections on this podcast, Vu finds Melville's Secret Sharer in the woods of Vermont. To learn more about conditions in Saydnaya Prison, visit Amnesty International's interactive digital model, as reconstructed from interviews by Lawrence Abu Hamdan and Forensic Architecture. Produced by Ross Simonini Featured photo of Drone Vision courtesy of Trevor Paglen

Artist Lawrence Abu Hamdan and musician Holly Herndon discuss their shared interests in sound and surveillance.