Podcast appearances and mentions of lynn hershman leeson

Lisa's Alter Ego album character release got a lot of flack for its' juvenile approach, and it made us wanna see what makes pop culture alter egos so different from fine art (Lynn Hershman Leeson&Roberta Breitmore are the stars of todays show, obvi)(Also mentioned: Eminem ahahah)Lisa Fevral:https://www.youtube.com/channel/UCJdvK5wMriowQqbGC7G0lDAhttps://twitter.com/LisaFevralhttps://www.instagram.com/lisafevral/

Director Lynn Hershman Leeson joins moderator Letícia Cobra Lima (History of Art & Architecture, UCSB and curator of A Box of One's Own) for a discussion of her film !Women Art Revolution. They discuss her history as an artist, and the difficult process of piecing together a narrative from hundreds of hours of footage, interviews, and extensive archival research. They also examine the institutional issues faced by women in the art world and make connections between past and present artists. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39975]

Director Lynn Hershman Leeson joins moderator Letícia Cobra Lima (History of Art & Architecture, UCSB and curator of A Box of One's Own) for a discussion of her film !Women Art Revolution. They discuss her history as an artist, and the difficult process of piecing together a narrative from hundreds of hours of footage, interviews, and extensive archival research. They also examine the institutional issues faced by women in the art world and make connections between past and present artists. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39975]

Director Lynn Hershman Leeson joins moderator Letícia Cobra Lima (History of Art & Architecture, UCSB and curator of A Box of One's Own) for a discussion of her film !Women Art Revolution. They discuss her history as an artist, and the difficult process of piecing together a narrative from hundreds of hours of footage, interviews, and extensive archival research. They also examine the institutional issues faced by women in the art world and make connections between past and present artists. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39975]

Director Lynn Hershman Leeson joins moderator Letícia Cobra Lima (History of Art & Architecture, UCSB and curator of A Box of One's Own) for a discussion of her film !Women Art Revolution. They discuss her history as an artist, and the difficult process of piecing together a narrative from hundreds of hours of footage, interviews, and extensive archival research. They also examine the institutional issues faced by women in the art world and make connections between past and present artists. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 39975]

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with BAMPFA Chief Curator Margot Norton. In this Episode, Margot discusses her background, including her move from New York to Berkeley and her previous roles at the Whitney Museum and the New Museum. She describes an upcoming exhibition titled 'To Exalt the Ephemeral,' which focuses on impermanent art. She shares the transformative potential of museums, her inspiration from artists like Pepón Osorio and Eva Hesse, and her experience working with UC Berkeley students. The exhibition highlights experimental materials, memory, photography, and ends with a video installation by Joan Jonas. Then of course, "Three Questions" with Margot sharing her curatorial career and inspirations.About Curator Margot Norton:Margot Norton is the Chief Curator at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). She is formerly the Allen and Lola Goldring Senior Curator at the New Museum, New York. She organized the 2021 New Museum Triennial Soft Water Hard Stone, co-curated with Jamillah James. Norton joined the New Museum in 2011 and has worked on a number of exhibitions, curating and cocurating presentations by Carmen Argote, Diedrick Brackens, Sarah Lucas, Lynn Hershman Leeson, Pipilotti Rist, Mika Rottenberg, Bárbara Wagner and Benjamin de Burca, and Kaari Upson, among others. In 2017, she curated the Eighth Sequences Real Time Art Festival in Reykjavik, Iceland, and the Georgian Pavillion at the 2019 Venice Biennale with artist Anna K.E.. Before she joined the New Museum in 2011, Norton worked as a curatorial assistant at the Whitney Museum, New York. She has contributed to and edited numerous publications and exhibition catalogues, and regularly lectures on contemporary art and curating. She holds an MA in Curatorial Studies from Columbia University, New York.Find more from Margot HERE.   Follow Margot on Instagram:  @MargotNortonTo learn more about BAMPFA's Exhibit, "To Exalt the Ephemeral" CLICK HERE. --About Podcast Host Emily Wilson:Emily is a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Lynn Hershman Leeson talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Leeson, born in 1941 in Cleveland, Ohio, US, and now based in San Francisco, is one of the pioneers of media art. Over more than half a century, she has explored how people and society engage with, and are shaped by, technology—from surveillance and control, via scientific progress, to the formation and manipulation of identity. Her work has taken the form of sculptural installation, video, photography, sound, online art, performance, and much more. It moves fluidity across these disciplines and adopts disparate modes, from documentary to historical drama to science-fiction fantasy, in a language awash with art historical and cinematic allusion. At the heart of her practice is a fundamental analysis of how humans can navigate political, social and environmental upheavals, and how technology in contemporary society can liberate and empower as much as oppress and censor. She discusses the epiphany provoked by a photocopier malfunction that prompted her lifelong interest in humans' engagement with technology, how she felt forced to look beyond conventional spaces when a museum rejected her multimedia Breathing Machines, the early influence of Cézannes she encountered in the Cleveland Museum of Art, the conversations with women artists that led to the Women Art Revolution film and archive, her film with the Cuban artist-activist Tania Bruguera, and a transformative encounter with the theatre of Tadeusz Kantor. Plus, she answers our usual questions, including the ultimate: what is art for?Lynn Hershman Leeson: Are Our Eyes Targets?, Julia Stoschek Foundation, Düsseldorf, Germany, until 2 February 2025; Lynn Hershman Leeson: Moving-Image Innovator, Museum of Modern Art, New York, 7-20 June Hosted on Acast. See acast.com/privacy for more information.

In Archive Everything: Mapping the Everyday (MIT Press, 2016; paperback edition, 2023), Gabriella Giannachi traces the evolution of the archive into the apparatus through which we map the everyday. The archive, traditionally a body of documents or a site for the preservation of documents, changed over the centuries to encompass, often concurrently, a broad but interrelated number of practices not traditionally considered as archival. Archives now consist of not only documents and sites but also artworks, installations, museums, social media platforms, and mediated and mixed reality environments. Giannachi tracks the evolution of these diverse archival practices across the centuries. Archives today offer a multiplicity of viewing platforms to replay the past, capture the present, and map our presence. Giannachi uses archaeological practices to explore all the layers of the archive, analyzing Lynn Hershman Leeson's !Women Art Revolution project, a digital archive of feminist artists. She considers the archive as a memory laboratory, with case studies that include visitors' encounters with archival materials in the Jewish Museum in Berlin and projects like heritage projects organized by the Exeter City Football Club Supporters Trust. She discusses the importance of participatory archiving, examining the “multimedia roadshow” Digital Diaspora Family Reunion as an example. She explores the use of the archive in works that express the relationship between ourselves and our environment, citing Andy Warhol's time capsules and Ant Farm, among others. And she looks at the transmission of the archive through the body in performance, bioart, and database artworks, closing with a detailed analysis of Lynn Hershman Leeson's Infinity Engine. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Archive Everything: Mapping the Everyday (MIT Press, 2016; paperback edition, 2023), Gabriella Giannachi traces the evolution of the archive into the apparatus through which we map the everyday. The archive, traditionally a body of documents or a site for the preservation of documents, changed over the centuries to encompass, often concurrently, a broad but interrelated number of practices not traditionally considered as archival. Archives now consist of not only documents and sites but also artworks, installations, museums, social media platforms, and mediated and mixed reality environments. Giannachi tracks the evolution of these diverse archival practices across the centuries. Archives today offer a multiplicity of viewing platforms to replay the past, capture the present, and map our presence. Giannachi uses archaeological practices to explore all the layers of the archive, analyzing Lynn Hershman Leeson's !Women Art Revolution project, a digital archive of feminist artists. She considers the archive as a memory laboratory, with case studies that include visitors' encounters with archival materials in the Jewish Museum in Berlin and projects like heritage projects organized by the Exeter City Football Club Supporters Trust. She discusses the importance of participatory archiving, examining the “multimedia roadshow” Digital Diaspora Family Reunion as an example. She explores the use of the archive in works that express the relationship between ourselves and our environment, citing Andy Warhol's time capsules and Ant Farm, among others. And she looks at the transmission of the archive through the body in performance, bioart, and database artworks, closing with a detailed analysis of Lynn Hershman Leeson's Infinity Engine. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Archive Everything: Mapping the Everyday (MIT Press, 2016; paperback edition, 2023), Gabriella Giannachi traces the evolution of the archive into the apparatus through which we map the everyday. The archive, traditionally a body of documents or a site for the preservation of documents, changed over the centuries to encompass, often concurrently, a broad but interrelated number of practices not traditionally considered as archival. Archives now consist of not only documents and sites but also artworks, installations, museums, social media platforms, and mediated and mixed reality environments. Giannachi tracks the evolution of these diverse archival practices across the centuries. Archives today offer a multiplicity of viewing platforms to replay the past, capture the present, and map our presence. Giannachi uses archaeological practices to explore all the layers of the archive, analyzing Lynn Hershman Leeson's !Women Art Revolution project, a digital archive of feminist artists. She considers the archive as a memory laboratory, with case studies that include visitors' encounters with archival materials in the Jewish Museum in Berlin and projects like heritage projects organized by the Exeter City Football Club Supporters Trust. She discusses the importance of participatory archiving, examining the “multimedia roadshow” Digital Diaspora Family Reunion as an example. She explores the use of the archive in works that express the relationship between ourselves and our environment, citing Andy Warhol's time capsules and Ant Farm, among others. And she looks at the transmission of the archive through the body in performance, bioart, and database artworks, closing with a detailed analysis of Lynn Hershman Leeson's Infinity Engine. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices

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. 

Director Lynn Hershman Leeson discusses her 2002 film Teknolust.

Christine Kuan is President & Executive Director of Creative Capital, a nonprofit grantmaking organization funding artists creating experimental and groundbreaking new work in the visual arts, performing arts, film, technology, literature, socially engaged, and multidisciplinary forms. Before joining Creative Capital, Kuan was CEO & Director of Sotheby's Institute of Art, and held roles as Chief Curator & Director of Strategic Partnerships at Artsy, Chief Curatorial Officer & VP for External Affairs at Artstor, and Editor-in-Chief of Oxford Art Online/Grove Art Online at Oxford University Press. She has also worked at The Metropolitan Museum of Art and taught at the University of Iowa, Peking University, Rutgers University, and Stanford University Arts Leadership program. Kuan holds an MFA in Creative Writing Poetry from the University of Iowa Writers' Workshop and a BA in Art History and English Literature from Rutgers University. Topics Discussed In This Episode: Intuition (0:09:49) How Creative Capital fosters the careers of multi-disciplinary artists (00:13:43) How Creative Capital supports diversity and equality within the arts (00:16:30) How Creative Capital is often the first organization to fund artists (00:21:18) The “Wild Futures” grant cycle (00:22:23) Jordan Weber's “4 MX” project (00:25:11) Early funded projects including Lynn Hershman Leeson‘s “Women Art Revolution” (00:28:08) Christine encourages people to pursue a career in the arts (00:33:24) Creating harmony between the arts and institutions (00:36:18) Focusing our attention towards quality time and experiences (00:40:11) How artists are selected by Creative Capital (00:48:36) Christine's advice for artists and creatives (00:58:04) Books Referenced: “Deep Work” by Cal Newport “The Kybalion” by The Three Initiates People Mentioned: James Baldwin Angela Merkel Spike Lee Jibz Cameron Titus Kaphar Cassils Jordan Weber Jesse Krimes Lynn Hershman Leeson Samora Pinderhughes Simone Leigh Lorraine O'Grady artistdecoded.com creative-capital.org instagram.com/kuannyc

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

Back in 2018 your host met Stormy Daniels as part of his 15 part investigation into America's disinformation complex. You can find that series here. On this historic day, as we learn that no American floats above the law, we turn back to this historic TOE moment, a remix of False Alarm, featuring a profile of the artist Lynn Hershman Leeson, a conversation with writer Susan Jacoby and Benjamen Walker's meeting with Stormy Daniels!

We're off this week, re-running our second-ever episode from back in 2021, featuring artist Lynn Hershman Leeson. We're back to our regularly scheduled program with incredible new episodes on August 2nd. Get access to exlusive content - join us on Patreon!> https://patreon.com/artobsolescenceJoin the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

Hitler and Goebbels read Walter Benjamin in the bunker, Orson Wells discovers the magic of the fake crowd. Plus, a profile of artist Lynn Hershman Leeson.

This week on the show we sit down with gallerist and curator Bridget Donahue. If you know Bridget it's likely through her gallery's sharp programming and the impactful work she has done over the years to help steward the careers of time-based media artists like Sondra Perry, Martine Syms, and Lynn Hershman Leeson – but did you know that Bridget got her start in the gallery world as an archivist? Tune in for a real behind-the-scenes glimpse into the important work that Bridget has been doing over the years.Links from the conversation with Bridget> https://www.bridgetdonahue.nyc/> http://www.cleopatras.us/Join the conversation:https://twitter.com/ArtObsolescencehttps://www.instagram.com/artobsolescence/Support artistsArt and Obsolescence is a non-profit podcast, sponsored by the New York Foundation for the Arts, and we are committed to equitably supporting artists that come on the show. Help support our work by making a tax deductible gift through NYFA here: https://www.artandobsolescence.com/donate

For decades, Lynn was told that she wasn't an artist. That whatever it was she was doing, it most certainly wasn't art. Neverthelss she persisted, and her story is truly one of perseverance, as today Lynn's work can be found in art history books, art galleries, museums and private collections all over the world. Lynn's exhibition at the New Museum is open until October 3rd 2021.

Lynn Hershman Leeson and Roddy Schrock discuss everything from tech's origins in porn and military research as well as the challenges she faced of working as a woman in a patriarchal art world.

The artist Lynn Hershman Leeson joins us to discuss her first solo museum exhibition in New York in her 50-year career: Lynn Hershman Leeson: Twisted. The show is up at the New Museum from June 30 through October 3.

Beautiful Bay Area babes Sam Lefebvre and Lor came to town and we had us a glorious struggle session about, what else, the precarious and confusing class positioning of artists. Plus, what should artworkers and activists demand wrt public control of museum endowments and governance? Also, rent boards are HR for land antagonisms for real!!! … Continue reading "Episode 126 Art and Crisis w/ Sam Lefebvre and Lor"

Beautiful Bay Area babes Sam Lefebvre and Lor O’Connor came to town and we had us a glorious struggle session about, what else, the precarious and confusing class positioning of artists. Plus, what should artworkers and activists demand wrt public control of museum endowments and governance? Also, rent boards are HR for land antagonisms for … Continue reading "Episode 126 Art and Crisis w/ Sam Lefebvre and Lor O’Connor"

Nuno de Brito Rocha nasceu em São Paulo, São Paulo, Brasil, em 1988. É curador e mediador e vive em Berlim, Alemanha, desde 2014. É mestre em história da arte pela Humboldt Universität de Berlim e arquiteto e urbanista pela FAU-USP e pela TU Berlin. Foi curador-adjunto da Anozero'19, terceira Bienal de Coimbra em Portugal (2019). Atualmente é curador no museu de arte moderna de Berlim, Berlinische Galerie, onde trabalha desde 2017. Seus projetos desafiam frequentemente o status quo da instituição cultural: dos seus limites físicos, de participação, de representação e de coleção. [Nuno de Brito Rocha was born in São Paulo, São Paulo, Brazil, in 1988. He's a curator and mediator, and lives in Berlin, Germany, since 2014. He holds as master degree from Humboldt Universität, Berlin, and he's an architect and urbanist from the University of São Paulo and TU Berlin. He was adjunct curator at Anozero'19, 3rd Coimbra Biennale, Portugal (2019). At the moment he's a curator at the Berlinische Galerie, Germany, where he works since 2017. His projects frequently challenge the status quo of a cultural institution: his physical limits, of participation, of representation and of collection] ///imagens selecionadas|selected images: Anna Boghiguian, "The salt traders", 2015 + Lynn Hershman Leeson, "The floating museum" (cartão de visitas/visit card), 1975-1978/// [entrevista realizada em 23 de dezembro de 2020|interview recorded on december 23rd, 2020] [link para YouTube: https://youtu.be/MMZn1seCP44]

If we know that it is impossible for a photograph to be objective, then why do we rely so heavily on photography as evidence? In Episode Three, we speak with artists Lynn Hershman Leeson and American Artist to consider how AI can complicate our relationship to pictures we would otherwise think of as visual “proof.”

respektive Peter Weibel | Symposium [28.09.2019] Im Rahmen der Ausstellung »respektive Peter Weibel« fand am Samstag, 28.09.2019 ein international besetztes Symposium zum Werk von Peter Weibel statt. Das Symposium nahm sein künstlerisches Schaffen als Ausgangspunkt, um über zentrale Themenstellungen der Medienkunst und der Institution Museum im medialen Zeitalter zu diskutieren – wie die Mechanismen der Wahrnehmung, die Gesetze des Denkens, die Eigenwelt der Apparate, die Krise der Repräsentation, den Skandal der apparativen Künste von den Bild- zu den Biomedien, den museologischen Wandel im Zeitalter der Globalisierung und Digitalisierung sowie die Beziehung von Kunst, Politik und Ökonomie. Mit unterschiedlichen Beitragsformaten (Vorträgen, Interventionen, poetischen Texten, Video-Clips) präsentieren KünstlerInnen, WissenschaftlerInnen, SchriftstellerInnen, Philosophen und Kulturschaffende in der Auseinandersetzung mit dem Werk und der Persönlichkeit Peter Weibels eine originelle Vielstimmigkeit aus Werkbetrachtungen, persönlichen Gedanken, Erfahrungen, Erinnerungen und Glückwünschen.

On this week's episode we are celebrating the recent audiobook release for Sarah by JT LeRoy. We were joined in conversation with five of the people responsible for this project. I want to send a huge 'thank you' to Laura Albert, Winsome Brown, Nicole Gagne, Jayme Mattler, and Bryan Barney for taking the time to talk with me about this wonderful project. -------------------------------------------------------- This week's guests include:  LAURA ALBERT has won international acclaim for her fiction. Writing as JT LeRoy, she is the author of the best-selling novels Sarah and The  Heart Is Deceitful Above All Things, and the novella Harold's End. Sarah and The Heart Is Deceitful Above All Things, reissued by HarperCollins, have also been released as audiobooks by Blackstone Publishing. Laura  Albert is the subject of Jeff Feuerzeig's feature documentary Author: The JT LeRoy Story and Lynn Hershman Leeson's film The Ballad of JT LeRoy. http://lauraalbert.org/ ------------------------------------------------------ Winsome Brown is an Obie-award winning performer whose solo theater work has been seen at La MaMa, The Performing Garage, and the Edinburgh Fringe, and has received accolades from The New York Times, the Scotsman and many more.  Recent film and TV work includes Supergirl, Elementary, and the upcoming News of the World with Tom Hanks.   http://winsomebrown.com/ --------------------------------------------------------------------------------------- Nicole V. Gagné is a writer and editor who works with Laura Albert. She is the co-author of Soundpieces: Interviews with American Composers, and the author of Sonic Transports: New Frontiers in Our Music,  Soundpieces 2: Interviews with American Composers, and The Historical Dictionary of Modern and Contemporary Classical Music, now in its second edition. -------------------------------------------------------------------------------------- Jayme Mattler directed the audiobook for Sarah. https://www.jaymemattler.com/  ----------------------------------------------------- Bryan Barney produced the audiobook for Blackstone Publishing.  --------------------------------------------------------------------------------------  Kyler Bingham is the host of the Salt Lake Dirt Podcast. www.saltlakedirt.com

Die Sammlung des ZKM | Werkdokumentation

25 Visions for the Future of Our Species We now have the tools to transform ourselves and our species. Greater health and longevity, enhanced brains, and engineered fertility are in the works. What’s just over the horizon is even more astonishing. We call this the neobiological frontier. The book is a collection of 25 essays, interviews, and works of fiction and art offering a big-picture perspective on the profound changes made possible by the merging of biology and technology. The book brings together today's smartest and most creative inventors, thinkers, and scientists to tell us their vision of the future. This book is a 2020 time capsule for future humans. Neo.Life: 25 Visions for the Future of Our Species covers these powerful new biotechnologies and ideas in non-technical language, with beautiful full-color images and a fresh design by National Design Award winner Jennifer Morla. This book makes a compelling foundation for the discussions we’ll be having about these technologies for years to come, and as one observer said, it is definitely coffee table worthy, no matter which planet that table is on. Meet George Church, one of the most prodigious bioengineers of our time, in conversation with Ramez Naam, a computer scientist, clean tech investor, and science fiction author. George maintains a list of genes that could be edited to make humans healthier or more suited to future environmental conditions, including life off-planet. He’s also got an idea to send a single-cell biological probe to faraway worlds that could be programmed to beam information back to Earth. Consider neuroscientist David Eagleman’s ideas about how embryo selection could change the way we parent our children. Dive into an imagined future with inventor Danny Hillis as he guides you through the possibilities and pitfalls of designing your child from scratch using gene editing technology. Will you “supersize” them, or give them an extra appendage? If you bestow a color or pattern, keep in mind that it might be trendy today but look dated 10 years from now. Discover filmmaker and artist Lynn Hershman Leeson’s ideas about identity in her antibody-as-art project that will change how you think about life-science technologies. Hear from Osh Agabi, the Swiss-Nigerian roboticist-neuroscientist who’s built a brain on a chip, literally blending silicon and neurons. He envisions using his technology to allow us to connect our consciousnesses together in a sort of giant empathy web. Read Juan Enriquez, who has been thinking and writing about self-directed evolution for a long time. In his creative brief, he imagines a future with a far greater diversity of human species, and considers the implications. Ponder the risks and ethical implications of this new frontier with CRISPR scientist and film producer Samira Kiani, who outlines the safety checks she’s developing to control gene edits. And hear from biosecurity policy expert Megan Palmer, who shares how her experiences led to social responsibility programs for synthetic biologists. BOOK DETAILS Designed by Jennifer Morla Hardcover, 7 3/4 x 9 3/4 inches 160 pages, 25 color illustrations Smyth sewn, with silver Litho foil-stamped cover Contributors: Oshiorenoya Agabi, Christina Agapakis, Siranush Babakhanova, Seth Bannon, George Church, Emma Conley, Zoe Cormier, Zack Denfeld, Heather Dewey-Hagborg, David Eagleman, Juan Enriquez, Kristen Fortney, Joel Garreau, Daisy Ginsberg, Danny Hillis, Samira Kiani, Cathrine Kramer, Becky Lyon, Hannu Rajaniemi, Lux Alptraum, Lynn Hershman Leeson, Ramez Naam, Megan Palmer, Nicola Patron, Robert Plomin, Steve Ramirez, Sissel Tolaas, Bowen Zhao, Changle Zhou.

Born and raised in New Jersey, Gary Lippman received a law degree from Northwestern University and has worked with New York's Innocence Project. Lippman's play Paradox Lost ran off Broadway for a month in 2001 and his writing has been published in The New York Times, The Paris Review, VICE, Fodors, and more. Having lived in Illinois, Florida, California, and France, Lippman can now be found in what used to be called "Fun City" with his imaginary French bulldog, his very real Hungarian wife, and a whenever-he's-inclined-to-visit adult son. Laura Albert has won international acclaim for her fiction. Writing as JT LeRoy, she is the author of the best-selling novels Sarah and The Heart Is Deceitful Above All Things, and the novella Harold's End. She is the subject of Jeff Feuerzeig's feature documentary Author: The JT LeRoy Story and Lynn Hershman Leeson's film The Ballad of JT LeRoy. She has written for The New York Times, The Forward, The London Times, Spin, Man About Town, Vogue, Film Comment, Interview, L'Équipe Sport&Style, Filmmaker, I-D, and others – more recently, the cover article for Man About Town and her reflections on fashion for VESTOJ. A writer for the HBO series "Deadwood," she also wrote the original script for Gus Van Sant's Elephant and was the film's Associate Producer. She has written the short films Radiance for Drew Lightfoot and ContentMode, and Dreams of Levitation and Warfare of Pageantry for Sharif Hamza and Nowness. www.LauraAlbert.org

In this episode of a continuing series, Christiane Paul (Adjunct Curator of Digital Art at the Whitney Museum of American Art) and I talk with female artists who are pioneers in their fields. They are:Tamiko Thiel, known for her virtual and augmented reality installations: (http://www.tamikothiel.com/)Lynn Hershman Leeson, known for her work as an artist, filmmaker, and photographer: (https://www.lynnhershman.com/)Rebecca Rutstein, known for her convergence of art and science: (http://rebeccarutstein.com/)A special thanks to our sponsor, Project W from Davis Wright Tremain LLP. See acast.com/privacy for privacy and opt-out information.

We discuss the wonderful Atelier E.B: Passer-by exhibition at the Serpentine Gallery, and wonder about the ethics of using people’s fashion choices for targeting political propaganda. See links below. Atelier E.B: Passer-by at Serpentine Gallery (2018-19): https://www.serpentinegalleries.org/exhibitions-events/atelier-eb-passer Atelier E.B: Passer-by exhibition guide (2018): https://www.serpentinegalleries.org/files/downloads/1636.serp_atelier_e.b_guide_aw_no_crops.pdf Eric Newton, 'First surrealist art exhibition in England - archive, 1936', The Guardian (12/06/2018, originally 12/06/1938): https://www.theguardian.com/artanddesign/2018/jun/12/first-surrealist-art-exhibition-in-england-archive-1936 RA Collections Team, 'How to read it: Meredith Frampton’s Still Life' (17/02/2017): https://www.royalacademy.org.uk/article/how-to-read-it-meredith-frampton Marguerite V. Hodge, 'Enigmatic Bodies: Dolls and the Making of Japanese Modernity', Nineteenth-century art worldwide, vol. 12, issue 1 (spring 2013): http://www.19thc-artworldwide.org/spring13/hodge-enigmatic-bodies (mentions Yasumoto Kamehachi) Gene Moore’s work for Tiffany & Company: https://edan.si.edu/slideshow/slideshowViewer.htm?eadrefid=NMAH.AC.1280_ref113 Lynn Hershman Leeson, Project for Bonvit Teller (1976): http://www.lynnhershman.com/project/site-specific-installations/ Rudolf Belling, Sculptures and Architectures, exhibition at Hamburger Bahnhof, Berlin (2017): https://www.smb.museum/en/exhibitions/detail/rudolf-belling-skulpturen-und-architekturen.html Mannequin Museum, Wolfgang Knapp, KulturGut: http://www.mannequin-museum.com/ Tag Gronberg, Designs on modernity: Exhibiting the city in 1920s Paris (2003): http://www.manchesteruniversitypress.co.uk/9780719066740/ Rebecca Arnold, 'Fashion in Ruins: Photography, Luxury and Dereliction in 1940s London', Fashion Theory, vol. 21, issue 4 (2017): https://www.tandfonline.com/doi/abs/10.1080/1362704X.2016.1254426 Bethan Bide, 'More than window dressing: visual merchandising and austerity in London’s West End, 1945–50', Fashion Theory, vol. 60, issue 7 (2018): https://www.tandfonline.com/doi/abs/10.1080/00076791.2017.1400531 Vikram Alexei Kansara, 'Cambridge Analytica Weaponised Fashion Brands to Elect Trump, Says Christopher Wylie', Business of Fashion (29/11/2018): https://www.businessoffashion.com/articles/news-analysis/cambridge-analytica-weaponised-fashion-brands-to-elect-trump-says-christopher-wylie Vanessa Freedman and Jonah Engel Bromwich, 'Cambridge Analytica Used Fashion Tastes to Identify Right-Wing Voters', New York Times (29/11/2018): https://www.nytimes.com/2018/11/29/style/cambridge-analytica-fashion-data.html

A couple of events in New York have WNYC's Sara Fishko considering the fervent work of an art curator and a rock critic - in this edition of Fishko Files. Pursuing the Unpredictable: The New Museum 1977-2017 continues through Sunday, January 7. New Museum235 BoweryNew York, NY 10002 How to Be a Rock Critic opens at the Public Theater on Friday, January 5. Public Theater425 Lafayette St.New York, NY 10003 Marcia Tucker's A Short Life of Trouble: Forty Years in the New York Art World is available on Amazon, as are Psychotic Reactions and Carburetor Dung and Main Lines, Blood Feasts, and Bad Taste by Lester Bangs. The Marcia Tucker interview was done by Lynn Hershman-Leeson for the film !Women Art Revolution. Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Bill MossEditor: Karen Frillmann

Tom Stoppard discusses the new production of his "dishevelled comedy" Travesties, Brexit and his desire to write a new play about the migrant crisis.The Girl on The Train, Paula Hawkins' thriller about a divorced alcoholic who becomes caught up in a missing person investigation, has sold 11 million copies worldwide and been turned into a film starring Emily Blunt. But has the transition onto the silver screen and the move from London to New York worked? Mark Eccleston reviews.We report from Shapes of Water, Sounds of Hope, a mass participatory performance artwork, led by the distinguished American artist Suzanne Lacy which took place in Pendle, Lancashire this weekend.As a new exhibition opens exploring the Feminist Avant-Garde of the 1970s, artist Lynn Hershman Leeson and historian Professor Hilary Robinson look back at those years and ask if there's still a need for feminist art today?And we remember the conductor and violinist Sir Neville Marriner, who has died aged 92. Presenter: Samira Ahmed Producer: Rachel Simpson.

Lynn Hershman. Civic Radar | Vortragsabend Vortrag/Gespräch Fr, 27.02.2015 Das Begleitprogramm zur Ausstellung »Lynn Hershman Leeson. Civic Radar« rückt Einzelaspekte aus dem vielschichtigen Werk der Künstlerin in den Fokus. Der Vortragsabend »The Infinity Engine« beleuchtete das neueste Werk von Lynn Hershman Leeson, aus kunsthistorischer, naturwissenschaftlicher und künstlerischer Perspektive. Ingeborg Reichle diskutiert die verschiedenen Bestandteile der komplexen Installation vor dem Hintergrund von Laboratorien im Kunstkontext, Uwe Strähle untersucht die innovative Arbeit aus der Praxis der Genforschung heraus. Lynn Hershman Leeson erläuterte in der anschließenden Diskussion das Konzept und die Realisierung des Werks. In ihrer neuesten Arbeit »The Infinity Engine« setzt sich Lynn Hershman Leeson mit dem Einfluss der Gentechnologie auf das menschliche Leben auseinander. Die multimediale Installation wurde in Zusammenarbeit mit dem Biologen Josiah Zayner entwickelt und nimmt Bezug auf naturwissenschaftliche Genlaboratorien. Am Beispiel von Fotografien und Filmen zu den neuesten Errungenschaften der Molekular- und Zellbiologie sowie gentechnisch veränderten Organismen soll die Frage aufgeworfen werden, inwiefern menschliche Eingriffe in die DNA ethisch vertretbar sind und welche sozialen, politischen und gesellschaftlichen Auswirkungen sie haben. Indem sie ihre Arbeit ausgehend von realen Forschungsergebnissen entwickelt und die neuesten Technologien einsetzt, stellt die US-amerikanische Medienkünstlerin aktuelle Erkenntnisse aus der Naturwissenschaft in einem künstlerischen Rahmen zur Diskussion. /// Lecture/Talk Fr, 27.02.2015 Lecture on the topic »art and genetic engineering« with Ingeborg Reichle, Uwe Strähle and Lynn Hershman Leeson. In her most recent work »The Infinity Engine« Lynn Hershman Leeson examines the impact of genetic engineering on human life. The multimedia installation, in collaboration with the biologist Josiah Zayner, was developed with reference to natural scientific genetic laboratories. One of the questions which arises in connection with photographic and film samples of the most recent achievements in molecular and cell biology, as well as genetically altered organisms, is the degree to which human interventions into DNA are ethically justifiable and what kinds of social, political and social impact these have. In so far as she develops her work as based on real research results and draws on state of the art technologies, the North American media artist presents for discussion cutting-edge knowledge in the natural sciences within the context of art. The lecture evening throws light on the »Infinity Engine« from art-historical, natural scientific and artistic perspectives: Ingeborg Reichle discusses the various elements of the complex installation against the background of laboratories in the context of art; Uwe Strähle examines the innovative work based on the practice of genetic research; while in the subsequent discussion Lynn Hershman Leeson explains the concept and realization of the work in greater detail.

My City, My Sounds | Symposium Fr, 12.12.2014 – So, 14.12.2014 Session 3: Academic research and development projects Lynn Hershman Leeson: Keynote Saturday, December 13, 2014 ZKM_Lecture Hall Im Zentrum des Symposiums stehen Potenziale partizipatorischer Soundprojekte im Bereich Augmented Reality. Häufig als rein visuelles Konzept missverstanden, muss der Begriff "Augmented Reality" im Audiobereich weit gefasst werden: Aus der Verknüpfung von Positionsdaten mit Klängen entsteht eine auditiv erfahrbare Metaebene, die im Verbund mit entsprechender Technologie sogar zu immersiven 360-Grad-Erlebnissen führt. Neben einer Vorausschau auf kommende Technologietrends und einem Überblick über Möglichkeiten zur Geolokalisierung von Klängen, wird dem transdisziplinären Diskurs eine breite Plattform geboten. Anwendungsgebiete geolokalisierter Audioformate weisen eine Schnittmenge mit vielen unterschiedlichen Disziplinen auf, vom interaktiven Hörspiel über Kunstvermittlung bis zum »Sound-Geocaching« und urbanen Klanginstallationen. Der Frage, ob und welche Potentiale mit den technologischen Innovationen mittel- bis langfristig entstehen, soll im Rahmen dieses Symposiums kritisch nachgegangen und darüber hinaus Ideen zur Weiterentwicklung diskutiert werden.

Moments. Eine Geschichte der Performance in 10 Akten | Artist Talk Exhibition 08.03.2012 – 29.04.2012 Channa Horwitz’s conceptual series Sonakinatography comprises drawings, performances and musical compositions. She includes sound and movement, in other words temporal structures, in her minimalist notational system. By means of a mathematical order based on the sequence 1‒8, Horwitz extends the rigid structures of seriality to infinite variation possibilities. The linear logic, the monosyllabic rhythm of which can be modulated and multiplied in an infinite variety of ways, Horwitz has also repeatedly staged in concrete performative musical acts. Moments shows two of these earlier realizations and a new interpretation, as well as a selection of minimalist drawings on which these are based. Horwitz’s work in the performance field, originating in a strictly spatial system, has an aesthetic concept. Short Biography In her works, the North American performance and conceptual artist Channa Horwitz (*1932 in Los Angeles, USA) has been experimenting since the beginning of the 1960s with numbers, rhythms, movements as well as spatial and temporal structures: she records diagrams temporally, which may be read as musical scores; movements are translated into colored schemes. The compositions thus created are, to some extent, designed as choreography or augmented in multimedia interpretations. As performance artist, Horwitz works together, among others, with Allan Kaprow. Horwitz’s minimalist-structural work, which could be viewed at the beginning of 2010 at Solway-Jones Gallery (Los Angeles), is currently experiencing international rediscovery and re-evaluation as the work of one of the most important North American artists of her generation.

Moments. Eine Geschichte der Performance in 10 Akten | Artist Talk Exhibition 08.03.2012 – 29.04.2012 Since she was created in 1972 by Lynn Hershman Leeson, the figure Roberta Breitmore moves and reproduces herself much like the ghostly double of the artist through the various realities and media formats. One could say Roberta Breitmore, performs media realities: she appears in films or in reality at vernissages, meets with men on dates, materializes in three-fold form, wanders onto the Golden Gate Bridge like on a film still of the American Independent Cinema, or becomes a victim of exorcist ritual. Roberta is a comic heroine; it is possible to communicate with her in cyberspace through the interface of a puppet which has her features and meet her in the virtual world of the “second life”. Her dress, her glasses, a wig are traces of this existence. Roberta owns an insurance card and is congratulated by the President of America on her virtual birthday. The media documentation of Roberta’s performance, which will be exhibited in Moments, are at the same time evidence of the most various formats in which a performance can represent itself: from Vintage Print, original photography, exhibition copy, poster or an advertisement, film, video, eye-witness account and art criticism etc. through to the copy of a film from the Internet on a Home-Printer. Lynn Hershman Leeson will develop this process of media duplication of the documents herself during her stay in Karlsruhe. Short Biography Since Lynn Hershman Leeson (*1941 in Cleveland Ohio, USA) began her career in the late 1960s as award-winning American media artist and filmmaker, she has received wide recognition for a body of work combining art with social commentary, particularly with regard to the relationship between humans and technology. A pioneer in New Media, she has been internationally acclaimed for her use of new technologies and her early investigations of issues such as identity in a time of consumerism, privacy in an era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds. Hershman Leeson was awarded the ZKM Siemens Media Art Price in 1995 and the d.velop digital art award in 2010. Her work is, among others, in the collections of the MoMA in New York, the Tate Modern in London, the ZKM | Center for Art and Media in Karlsruhe and the Hess Art Collection. A major exhibition of her work will be presented at the Kunsthalle Bremen, in 2012.

Moments. Eine Geschichte der Performance in 10 Akten | Artist Talk Exhibition 08.03.2012 – 29.04.2012 Since she was created in 1972 by Lynn Hershman Leeson, the figure Roberta Breitmore moves and reproduces herself much like the ghostly double of the artist through the various realities and media formats. One could say Roberta Breitmore, performs media realities: she appears in films or in reality at vernissages, meets with men on dates, materializes in three-fold form, wanders onto the Golden Gate Bridge like on a film still of the American Independent Cinema, or becomes a victim of exorcist ritual. Roberta is a comic heroine; it is possible to communicate with her in cyberspace through the interface of a puppet which has her features and meet her in the virtual world of the “second life”. Her dress, her glasses, a wig are traces of this existence. Roberta owns an insurance card and is congratulated by the President of America on her virtual birthday. The media documentation of Roberta’s performance, which will be exhibited in Moments, are at the same time evidence of the most various formats in which a performance can represent itself: from Vintage Print, original photography, exhibition copy, poster or an advertisement, film, video, eye-witness account and art criticism etc. through to the copy of a film from the Internet on a Home-Printer. Lynn Hershman Leeson will develop this process of media duplication of the documents herself during her stay in Karlsruhe. Short Biography Since Lynn Hershman Leeson (*1941 in Cleveland Ohio, USA) began her career in the late 1960s as award-winning American media artist and filmmaker, she has received wide recognition for a body of work combining art with social commentary, particularly with regard to the relationship between humans and technology. A pioneer in New Media, she has been internationally acclaimed for her use of new technologies and her early investigations of issues such as identity in a time of consumerism, privacy in an era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds. Hershman Leeson was awarded the ZKM Siemens Media Art Price in 1995 and the d.velop digital art award in 2010. Her work is, among others, in the collections of the MoMA in New York, the Tate Modern in London, the ZKM | Center for Art and Media in Karlsruhe and the Hess Art Collection. A major exhibition of her work will be presented at the Kunsthalle Bremen, in 2012.

Moments. Eine Geschichte der Performance in 10 Akten | Artist Talk Exhibition 08.03.2012 – 29.04.2012 Channa Horwitz’s conceptual series Sonakinatography comprises drawings, performances and musical compositions. She includes sound and movement, in other words temporal structures, in her minimalist notational system. By means of a mathematical order based on the sequence 1‒8, Horwitz extends the rigid structures of seriality to infinite variation possibilities. The linear logic, the monosyllabic rhythm of which can be modulated and multiplied in an infinite variety of ways, Horwitz has also repeatedly staged in concrete performative musical acts. Moments shows two of these earlier realizations and a new interpretation, as well as a selection of minimalist drawings on which these are based. Horwitz’s work in the performance field, originating in a strictly spatial system, has an aesthetic concept. Short Biography In her works, the North American performance and conceptual artist Channa Horwitz (*1932 in Los Angeles, USA) has been experimenting since the beginning of the 1960s with numbers, rhythms, movements as well as spatial and temporal structures: she records diagrams temporally, which may be read as musical scores; movements are translated into colored schemes. The compositions thus created are, to some extent, designed as choreography or augmented in multimedia interpretations. As performance artist, Horwitz works together, among others, with Allan Kaprow. Horwitz’s minimalist-structural work, which could be viewed at the beginning of 2010 at Solway-Jones Gallery (Los Angeles), is currently experiencing international rediscovery and re-evaluation as the work of one of the most important North American artists of her generation.