Podcast appearances and mentions of martin gropius bau

Episode 445 / Henry Ward is an artist, writer, and educator living in London. He works primarily as a painter, but also makes drawings and small sculptures. He is interested in exploring the language of paint by investigating the threshold between abstraction and representation.  He was shortlisted for the Trinity Buoy Wharf Drawing Prize in 2018, 2019 and 2022, and longlisted for the Contemporary British Painting Prize 2021. He was included in the inaugural “The Football Art Prize” in 2022. His work has been included in numerous exhibitions. The first substantial publication about his work, “Shed Paintings – Henry Ward”, was published in February 2021 by Hato Press and features 101 works on paper and an essay by Ben Street.  He is the Director for Freelands Foundation and launched the Freelands Painting Prize in 2020. Previously he was Head of Education at Southbank Centre and worked in a variety of roles at Welling School, a Specialist Visual Arts College, where he led on the school's specialism. In 2002 he established the alTURNERtive Prize, an annual award celebrating outstanding student practice. In 2011 he founded the biannual arts and education periodical, æ. He is a visiting lecturer at UK art schools including Bath Spa University, University of Brighton, Manchester School of Art, Plymouth College of Art and Wolverhampton School of Art, and a mentor on the Turps Art School Correspondence and off-site courses. He has written and lectured widely on the arts and education, with a particular focus on teaching as an artistic practice. He was an advisor for Martin Gropius Bau, Berlin from 2018-21 and curated a two day event, “Assembly”, investigating approaches to public engagement in 2018 and a follow up, “Assembly II” in 2021.  In 2023 he undertook a residency at the Albers Foundation in Connecticut.

Aidan Baker with Richard Baker [00:25] "Western Salvia" Smudging Backwards BW06 2012 Remeber kids, friends don't let friends smudge with white sage. Dwarf Chorus [04:19] "Bluddle-Uddle-Um-Dum (The Washing Song)" Snow White and the Seven Dwarfs Disneyland 1201 1968 Don't forget behind the ears

Probst, Carsten www.deutschlandfunkkultur.de, Fazit

Les Amis des Beaux-Arts organisent la masterclass de Bertrand Lavier, en dialogue avec Bernard Blistène. Né en 1949 à Châtillon sur Seine, Bertrand Lavier vit et travaille à Paris et Aignay-le-Duc, près de Dijon (France). Bertrand Lavier est aujourd'hui l'une des figures majeures de la scène artistique contemporaine. Virtuose et inventif, il ne cesse de détourner les objets de la réalité, leurs codes et leurs représentations pour les "transfigurer" en œuvres d'art. Le monde des images lui appartient. Il s'en amuse et construit avec précision une œuvre où l'humour tient d'une mécanique de précision incisive. Son travail a fait l'objet d'un nombre considérable d'expositions personnelles et collectives dans le monde entier parmi lesquelles : au Centre Pompidou, au Musée d'Art Moderne de la Ville de Paris, au Grand Palais, au Musée du Louvre, au Musée d'Orsay, au musée du quai Branly–Jacques Chirac, au Palais de Tokyo, à la Monnaie de Paris, à la Bourse de Commerce–Pinault Collection à Paris et à la Punta della Dogana–Pinault Collection à Venise, à la Fondation Louis Vuitton à Paris et à l'Espace Louis Vuitton à Tokyo, au Château de Versailles, à la Fondation Vincent van Gogh à Arles, au Consortium de Dijon, à la Tate Gallery et à la Serpentine Gallery de Londres, à la Villa Sauber à Monaco, au Palais des Beaux Arts à Bruxelles, au Musée Middelheim à Anvers, au Martin Gropius Bau à Berlin, à la Haus der Kunst à Munich, à la Kunsthalle Fridericianum à Cassel, à la Frankfurter Kunstverein à Francfort sur le Main, au MAMCO Musée d'art moderne et contemporain à Genève, à la Kunsthalle de Berne, au Macro Museo d'Arte Contemporanea di Roma et à la Villa Médicis à Rome, au mumok museum moderner Kunst stiftung Ludwig Wien à Vienne, au musée de l'Ermitage à Saint Pétersbourg, au Solomon R. Guggenheim Museum, au MoMA PS1 et au Swiss Institute à New York, au Musée d'Art Contemporain de San Diego, à la Maison Hermès Dosan Park à Séoul, au Hong Kong Museum of Art, à l'Hôtel Le Bristol, Paris, ainsi que dans le cadre de la Biennale de Venise. Son travail est actuellement l'objet d'une exposition personnelle à la Fosun Foundation à Chendgu (Chine). Sa sculpture Quelque chose de… , conçue pour rendre hommage à Johnny Hallyday, est installée sur l'esplanade Johnny Hallyday (8 boulevard de Bercy) à Paris depuis septembre 2021. Bernard Blistène, né en 1955 à Paris, est un historien de l'art, conservateur et directeur de musées français. Il a été conservateur puis directeur du Musée national d'art moderne, entre 2013 et 2021. Il avait été précédemment directeur des Musées de Marseille, Inspecteur général de la création du Ministère de la Culture et directeur du Département du développement culturel du Centre Pompidou. On lui doit plus d'une centaine d'expositions à travers le monde ainsi que la création du Nouveau festival du Centre Pompidou en 2009. En 2021, Bernard Blistène est nommé Président du programme « Mondes Nouveaux », voulu par le Président de la République et destiné aux artistes de toutes disciplines. Lundi 12 décembre 2022 Amphithéâtre des Loges Crédit photo : © Archives kamel mennour, 2022

Reber, Simonewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Johann Merrich's Brevi Storie: The EMS Series Johann Merrich's Brevi Storie [Short Stories] inaugurates a new chapter dedicated to the past, present and future of Electronic Music Studios: are EMS still active? Who works there and how? The podcast series includes a collection of interviews, sounds and music to discover EMS' legacies and new talents. Episode #5 From Istanbul to Berlin is dedicated to the history of Turkish electronic music, narrated by Başak Günak. Berlin-based, Istanbul born Başak Günak is a musician, composer and sound artist, also internationally known as AH! KOSMOS in the field of electronic music. She released two LPs from Compost Records & Denovali Records and numerous EPs. Both timeless and otherworldly, Günak's work unconsciously defies being tied to a genre, tapping into something beyond an immediate surrounding or experience to communicate something more transcendental. Günak uses polyrhythms, electronic composition and found sounds to build a mystical world of modulation into which one can sink and be carried away.Günak pursues her sound experimentations as a sound artist, composing soundscapes for theater, contemporary dance, film and visual art projects, and realising site-specific performances. Her works have been featured worldwide in several festivals and institutions, such as Barbican Theatre, Berlin CTM, Sonar Festival, Rotterdamse Schouwburg, Kunstmuseum Basel, Prague Quadrennial and Istanbul International Theatre Festival. In 2020, she presented her latest solo sound installation THE WELL, a piece for 11 speakers and performance in VKV Museum Istanbul. In 2021, she has done composition and sound design for Berlin State Museums, Kunstmuseum Basel and granted a residency in HELLERAU for her upcoming sound installation. Currently, she is working on compositions for a project in Martin-Gropius Bau. More about Ah! Kosmos: https://ahkosmos.com/ http://instagram.com/ahkosmos Picture credit: Arda Funda Track list: 1. Ah! Kosmos, “Out-Ro-In-Growth” 2. Ah! Kosmos, “Trace of Waterfalls” 3. Bülent Arel/Daria Semegen, “Music for String Quartet and Tape” [excerpt], 1980 4. Ilhan Mimaroğlu, “Immolation Scene"[excerpt], 1983 5. Gökçen Kaynatan “Cennet Dünyamiz" [excerpt], 1968 c.a. 6. Bülent Arel, “Stereo Electronic Music N°1” [excerpt], 1960 7. Cenk Ergün, Forge, 2008 8. Alper Maral, "Sho", 2001 9. Ilhan Mimaroğlu, “Agony”, [excerpt], 1965 Do not miss the previous episode: From From Athens to Toronto -> https://www.spreaker.com/user/8877612/brevistorie-ems-ep-4-mantha-katsikana

Akinbode Akinbiyi. Künstler, Berlin. Zitate aus dem Podcast: »Ich bin ein Wanderer und Beobachter. Ich interessiere mich sehr für das Urbane.« »Ich behaupte jede Form erzählt.« »Wenn ich jemanden anschaue, dann kann ich sie/ihn mit der Zeit lesen.« »Der Begriff AUFNAHME passt sehr schön zu dem, was ich versuche zu machen.« »Es ist vielleicht schon alles gesagt worden, aber ich habe meinen Teil noch nicht dazu beigetragen.« »Ich hoffe, die Momente, die ich fotografiere, werden immer tiefer und tiefer und tiefer.« »Ich denke in Erzählungen.« »Der Rand eines Geschehnisses interessiert mich mehr als sein Zentrum.« »Kleine, kurze, prägnante Momente erzählen viel mehr über uns.« »Ich habe den Eindruck, viele Menschen wollen sich nicht mit der Umwelt, die sie umgibt, auseinandersetzen.« »Ich versuche das, was ich sehe, mit der Kamera zu dekonstruieren.« »Bilder sind für Menschen sehr sehr wichtig. Wir denken in Bildern.« »Die Redewendung vom blinden Fleck fasziniert mich sehr.« Akinbode Akinbiyi wurde 1946 in Oxford, England von nigerianischen Eltern geboren. Schule und Universität absolvierte er in Nigeria, England und in Deutschland. Seit 1977 arbeitet er weltweit als freiberuflicher Fotograf. 1987 erhielt er das »STERN Reportage Stipendium« für die fotografische Arbeit in den Städten Lagos, Kano und Dakar. 1993 war er Mitbegründer von »UMZANZSI«, einem Kulturzentrum in Clermont Township im südafrikanischen Durban. Er bezeichnet sich selbst als Beobachter und Wanderer, und es zieht ihn immer wieder in weitläufige Groß- und Megastädte auf der ganzen Welt. Er arbeitet auch als Kurator und als Dozent in Deutschland, Nigeria, Sudan, Schweden, England, USA und Griechenland. 2017 nahm er an Documenta 14 teil. 2019 waren seine Arbeiten auf der »Chicago Architecture Biennial«, 2020 auf dem Houston Foto-Fest und im Martin-Gropius-Bau in Berlin zu sehen. 2021 wurde ihm der Verdienstorden der Bundesrepublik Deutschland verliehen. Er lebt und arbeitet in Berlin. https://de.wikipedia.org/wiki/Akinbode_Akinbiyi https://www.duesseldorfphotoplus.de/ https://www.instagram.com/duesseldorfphotoplus/ Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Privat Idee, Produktion, Redaktion, Moderation: Andy Scholz http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2022. Andy Scholz wurde 1971 in Varel am Jadebusen geboren. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Design an der HBK Braunschweig und Fotografie/Fototheorie in Essen an der Folkwang Universität der Künste. Seit 2005 ist er freier Künstler, Autor sowie künstlerischer Leiter und Kurator vom FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 unterrichtet er an verschiedenen Instituten, u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum, seit 2022 auch an der Pädagogischen Hochschule in Ludwigsburg. Im ersten Lockdown, im Juni 2020, begann er mit dem Podcast. Er lebt und arbeitet in Essen. http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ https://festival-fotografischer-bilder.de/ https://www.instagram.com/festivalfotografischerbilder/ http://andyscholz.com/ https://www.instagram.com/scholzandy/

Singen kann man überall: zu Hause, im Freien, im Konzertsaal. Doch im Museum? Die Künstlerin Ayumi Paul versteht Gesang als Skulptur. Zweimal monatlich – jeweils zum Vollmond und zu Neumond – lädt sie Interessenten mit oder ohne musikalische Vorbildung in den Berliner Martin-Gropius-Bau zum „Singing Project“ ein. Was dort geschieht, weiß Oliver Kranz.

Probst, Carstenwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Neil Koenig, former Senior BBC producer and current ideaXme board advisor and guest interviewer, interviews Daniel Birnbaum, artistic director Acute Art. Chapter headings: 00:00We're here to idea everyone! To fire up your curiosity and connect you with the people and ideas that shape our world. 00:20 Welcome to ideaXme. I'm Neil Koenig. 00:25 For more than 50 years the Serpentine Gallery has shown work by some of the world's most famous contemporary artists. 00:38 This creature is a product of augmented reality. 01:04 A parallel digital version of the show has been launched in Fortnite, a hugely popular video game developed by Epic Games. 01:15 The artistic director of Acute Art and curator of the New Fiction show is Daniel Birnbaum. 38:04 At the centre of the game is a replica of the Serpentine Gallery. 38:57 I think it will be the best attended exhibition ever produced. 39:42 What kind of work is on show in both worlds? 39:52 KAWS, many people know his work. 41:15 On the Acute Art App and you can place those paintings in your living room. 41:26 It is an exhibition that lives in 3 worlds. 51:33 Maybe that hybrid world will be the future of art. 52:45 There will be entirely new kinds of platforms I think. The pandemic has had an impact on most aspects of our lives, and the art world is no exception. With many galleries and museums closed, there's an urgent need for new ways to experience art. Technology might provide some answers, and one enterprise at the forefront of developments is Acute Art, which collaborates with artists on projects involving virtual and augmented reality. Acute Art has already worked with many high-profile artists, including Ai Weiwei, Marina Abramović, Nathalie Djurberg & Hans Berg, Olafur Eliasson, Antony Gormley, Anish Kapoor, Bjarne Melgaard, Jeff Koons and many more. The most recent project that Acute Art has been involved in is NEW FICTION, the first major solo exhibition in London by KAWS (Brian Donnelly b.1974). The show, which opened in January 2022 at the Serpentine gallery in London's Hyde Park, includes new and recent works in physical and augmented reality. A parallel digital version of the exhibition launched simultaneously in Fortnite, the hugely popular video game developed by Epic Games. In addition, an app developed by Acute Art will “offer a bridge between the virtual and the physical worlds”. All the paintings and sculptures in the exhibition, as well as a miniature version of the entire show, will exist as AR works on the app, which can be viewed at home by audiences around the world, and shared on social media. In this interview, producer, journalist and ideaXme board adviser Neil Koenig talks to Acute Art's artistic director, Daniel Birnbaum, about his career in the art world, the creative challenge of curating the NEW FICTION show, and what part technologies such as augmented and virtual reality might play in the future development of art. Before joining Acute Art in January 2019, Daniel Birnbaum was Director of Moderna Museet in Stockholm. Previously, he curated the 1st Moscow Biennale (2005), “Airs de Paris” (with Christine Macel) at the Centre Pompidou (2007), the 2nd Yokohama Triennial (2008), and “Zero” (with Tijs Visser) at Martin-Gropius-Bau in Berlin (2015). In 2009 he was director of the 53rd Venice Biennale. Daniel Birnbaum co-authored ‘Spacing Philosophy: Lyotard and the Idea of the Exhibition' with Swedish philosopher and professor Sven-Olov Wallenstein published by Sternberg Press in September 2019. Video footage of Fortnite game courtesy of Epic Games © Epic Games. Video stills shot by Neil Koenig. Video and stills from Acute Art App. Links: David Birnbaum: https://acuteart.com/tag/daniel-birnb... Acute Art: https://acuteart.com https://www.serpentinegalleries.org https://www.epicgames.com/fortnite/en... Neil Koenig: https://www.linkedin.com/in/neilkoenig/ https://twitter.com/neilkoenig?lang=en ideaXme links: ideaXme https://radioideaxme.com ideaXme is a global network - podcast on 12 platforms, 40 countries, mentor programme and creator series. Mission: To share knowledge of the future. Our passion: Rich Connectedness™!

Jessica Backhaus was born in Cuxhaven, Germany in 1970 and grew up in an artistic family. At the age of sixteen, she moved to Paris, where she later studied photography and visual communications. Here she met Gisele Freund in 1992, who became her mentor. In 1995 her passion for photography drew her to New York, where she assisted photographers, pursued her own projects and lived until 2009. Jessica Backhaus is regarded as one of the most distinguished voices in contemporary photography in Germany today. Her work has been shown in numerous solo and group exhibitions, including the National Portrait Gallery, London, and the Martin-Gropius-Bau, Berlin, MARTa Herford and the Kunsthalle Erfurt. To date, she has ten publications to her name; Jesus and the Cherries, 2005, What Still Remains, 2008, One Day in November, 2008, I Wanted to See the World, 2010, One day – 10 photographers, 2010, Once, still and forever, 2012, Six degrees of freedom, 2015, A TRILOGY, 2017, Far away but close, 2019 and Cut Outs, 2021. All books are published by Kehrer Verlag, Heidelberg except Far away but close that was published by Another Place Press, Scotland.Her work is also featured in the book: Women Photographers by Boris Friedewald (Prestel Verlag 2014 and 2018). Her photographs are in many prominent art collections including Taunus Sparkasse, Germany, Art Collection Deutsche Börse, Germany, ING Art Collection, Belgium, Collection of the Museum of Fine Arts, Houston, USA and the Margulies Collection, Miami, USA. Jessica Backhaus is represented by Robert Morat Galerie in Berlin, Galerie Anja Knoess in Cologne, Petra Becker/ International Art Bridge in Meggen, Robert Klein Gallery in Boston, Bridgette Mayer Gallery in Philadelphia, MiCamera Gallery in Milan, Carlos Carvalho ARTE CONTEMPORÂNEA in Lisbon and Wouter van Leeuwen Gallery in Amsterdam. Interview with Jessica Backhaus recorded by Michael Dooney on 21. May 2021 in Prenzlauer Berg, Berlin.   NOTES Full episode transcript (online soon) Jessica Backhaus Official: http://jessicabackhaus.com/ Instagram: https://www.instagram.com/jessica_backhaus/ Facebook: https://www.facebook.com/jessicabackhaus70 Cut Outs Photo book from Kehrer Verlag The Eye Sees, Arles with Robert Morat PHOTO LONDON with Robert Morat PHOTO BASEL with Robert Morat PARIS PHOTO Paris Photo with Robert Morat Paris Photo–Aperture Foundation PhotoBook Awards Elles x Paris Photo 2021 curated by Nathalie Herschdorfer

The musical concerts mentioned at the end of the interview can be explored through this link. Below are two examples of concerts and Sir Norman Rosenthal's biography is beneath that. Norman Rosenthal was born in Cambridge, UK, in 1944, the son of Paul Rosenthal and Kaethe Zucker, who came to England in 1941 and 1939 respectively. He was educated at Westminster City Grammar School and the University of Leicester, where he graduated in 1966 with a degree in history. He undertook postgraduate studies at the School of Slavonic and Eastern Studies, as well as the Free University of Berlin. Norman Rosenthal organised his first exhibition in 1965 Artists in Cornwall at the Leicester Museum and Art Gallery in connection with the University Arts Festival. Since that time his professional career took him to Thomas Agnew & Sons, the well known firm of London art dealers, as librarian and researcher from 1966 – 1970; Brighton Museum and Art Gallery as exhibition officer from 1970 – 1971; Artist's Market, a non-profit making gallery in Covent Garden, as organiser; from 1973 to 1976 director of European art exhibitions at The Institute of Contemporary Arts, London, responsible for two festivals, one in 1974 devoted to contemporary German culture, which inter alia brought Joseph Beuys to London for the first time, where he made his famous blackboard environment Richtkräfte, now belonging to the Nationalgalerie Berlin. The other, in 1975, was devoted to contemporary Greek culture, which brought inter alia Jannis Kounellis to London. From 1977 –December 2007 Norman Rosenthal was Exhibitions Secretary of the Royal Academy of Arts, London, where he enabled and organised all loan exhibitions, including Robert Motherwell 1978; Post Impressionism 1979-1980; A New Spirit in Painting 1981; Painting in Naples 1981;  David Hockney: A Drawing Retrospective 1995; Sensation 1997; Joseph Beuys: The Secret Block for a Secret Person in Ireland 1999; Georg Baselitz 2007; and many more. Many of the above exhibitions were organised in conjunction with major museums, largely in Europe and in North America. Norman Rosenthal has been particularly associated with a series of exhibitions at the Royal Academy documenting the art of the 20th Century, including German art in the Twentieth Century 1985; British Art in the Twentieth Century 1987; Italian Art in the Twentieth Century 1989; Pop Art 1991; American Art in the Twentieth Century 1993. At the Martin Gropius-Bau, the leading exhibition venue in Berlin, Norman Rosenthal was jointly responsible for two ground-breaking exhibitions of contemporary art: Zeitgeist in 1982 and Metropolis 1991, as well as The Age of Modernism- Art in the 20th Century, 1997. In 2005 Norman Rosenthal was curator of the exhibition From Luther to the Bauhaus – National Treasures from Germany, for the Konferenz National Kultureinrichtungen [KNK], in collaboration with the Kunst – und Ausstellungshalle der Bundesrepublik Deutschland [KAH], Bonn. Appointments and awards include: 1985-2000 Member of the Board of the Palazzo Grassi, Venice 1987 Honorary Fellow of the Royal College of Art, London 1988 Chevalier de l'Ordre de Arts et Lettres of the French Republic 1989 Cavaliere Ufficiale of the Italian Republic 1993 Bundesverdienstkreuz of the Federal Republic of Germany 1994-1998 Opera Advisory Board, Royal Opera House, Covent Garden 2002-2012 Appointed to Board of Trustees, Thyssen Bornemisza Foundation, Madrid 2003 Officier de l'Ordre des Arts et Lettres of the French Republic 2003 Honorary Degree of Doctor of Letters [D, Litt] University of Southampton 2004-2007 Member of Board of Trustees, Baltic Centre for Contemporary Art, Gateshead 2005 Member of Comité Scientifique, Réunion des Museés Nationaux, Paris 2006 Honorary degree of Doctor of Letters [D, Litt] University of Leicester 2006 Member of the Order of the Aguila Azteca of the Federal Republic of Mexico

Digital networks have centralized power over identities and information, creating problems for both markets and democracy. Does the solution require more shared agency over data? What might that look like? This panel discussion is structured around thought experiments to find solutions to this issue. SPEAKERS Matt Prewitt is RadicalxChange Foundation’s president, a writer and blockchain industry advisor, and a former plaintiff’s side antitrust and consumer class action litigator and federal law clerk. Nick Vincent is a Ph.D. student in Northwestern University's Technology and Social Behavior program and is part of the People, Space, and Algorithms Research Group. His broad research interests include human-computer interaction, human-centered machine learning, and social computing. His research focuses on studying the relationships between human-generated data and computing technologies to mitigate the negative impacts of these technologies. His work relates to concepts such as "data dignity", "data as labor", "data leverage", and "data dividends". Kaliya Young also known as the "Identity Woman" has spent the last 15 years working to bring about the creation of a new layer of the internet for people based on open standards. She co-founding the Internet Identity Workshop, which was recently profiled in the Wired UK. In 2017 she graduated in the very first cohort from UT Austin's iSchool with a Master of Science in Identity Management and Security. Her master's thesis The Domains of Identity: A framework for understanding identity systems in contemporary society is being published this month by Anthem Press. In 2019, she traveled to India for two months as a New America India-US Public Interest Technology fellow to study Aadhaar their national ID system. She co-founded HumanFirst.Tech with Shireen Mitchel, a project focused on creating space for diverse voices and building a more inclusive industry. In 2012 she was recognized as a Young Global Leader by the World Economic Forum and Fast Company named her as one of the most influential women in tech in 2009. She consults with governments, NGO’s, startups, and enterprises on decentralized identity technologies. MODERATOR Jennifer Morone is the CEO of RadicalxChange Foundation and a multidisciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience in relation to technology, economics, politics, and identity, and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as The Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer.

(00:00:38) Der Zürcher Autor Thomas Meyer hat einen neuen Essay veröffentlicht. In «Was soll an meiner Nase bitte jüdisch sein?» thematisiert er den subtilen, alltäglichen Antisemitismus. Er gewähre Einblicke, die aufrütteln, sagt unser Literaturredaktor Felix Münger. Weitere Themen: (00:04:55) «Lockdown»: Die Macher eines neuen Kartenspiels lassen sich von der Pandemie inspirieren. (00:08:53) Ökozid: Können Verbrechen an der Natur ebenfalls am Internationalen Strafgerichthof in Den Haag verfolgt werden? (00:13:06) Serie «Traumpfad»: Australien-Korrespondet Urs Wälterlin ist auf dem Weg zum roten heiligen Berg Uluru. (00:17:45) Yayoi Kusama: Der japanischen Künstlerin ist aktuell im Martin-Gropius-Bau in Berlin eine Retrospektive gewidmet.

Themen der Sendung: Corona Impf-Priorisierung soll aufgehoben werden, Diskussion über Internet-Protestaktion prominenter Schauspieler und Schauspielerinnen, Die Meinung, Bundeskanzlerin Merkel sagt vor Untersuchungsausschuss im Wirecard-Skandal aus, Steigende Preise für Holz, Weitere Meldungen im Überblick, #mittendrin aus Westensee: Übernahme eines Campingplatzes, Ausstellung von japanischer Künstlerin Yayoi Kusama im Martin-Gropius-Bau, Das Wetter

Themen der Sendung: Corona Impf-Priorisierung soll aufgehoben werden, Diskussion über Internet-Protestaktion prominenter Schauspieler und Schauspielerinnen, Die Meinung, Bundeskanzlerin Merkel sagt vor Untersuchungsausschuss im Wirecard-Skandal aus, Steigende Preise für Holz, Weitere Meldungen im Überblick, #mittendrin aus Westensee: Übernahme eines Campingplatzes, Ausstellung von japanischer Künstlerin Yayoi Kusama im Martin-Gropius-Bau, Das Wetter

Themen der Sendung: Corona Impf-Priorisierung soll aufgehoben werden, Diskussion über Internet-Protestaktion prominenter Schauspieler und Schauspielerinnen, Die Meinung, Bundeskanzlerin Merkel sagt vor Untersuchungsausschuss im Wirecard-Skandal aus, Steigende Preise für Holz, Weitere Meldungen im Überblick, #mittendrin aus Westensee: Übernahme eines Campingplatzes, Ausstellung von japanischer Künstlerin Yayoi Kusama im Martin-Gropius-Bau, Das Wetter

Themen der Sendung: Corona Impf-Priorisierung soll aufgehoben werden, Diskussion über Internet-Protestaktion prominenter Schauspieler und Schauspielerinnen, Die Meinung, Bundeskanzlerin Merkel sagt vor Untersuchungsausschuss im Wirecard-Skandal aus, Steigende Preise für Holz, Weitere Meldungen im Überblick, #mittendrin aus Westensee: Übernahme eines Campingplatzes, Ausstellung von japanischer Künstlerin Yayoi Kusama im Martin-Gropius-Bau, Das Wetter

Themen der Sendung: Corona Impf-Priorisierung soll aufgehoben werden, Diskussion über Internet-Protestaktion prominenter Schauspieler und Schauspielerinnen, Die Meinung, Bundeskanzlerin Merkel sagt vor Untersuchungsausschuss im Wirecard-Skandal aus, Steigende Preise für Holz, Weitere Meldungen im Überblick, #mittendrin aus Westensee: Übernahme eines Campingplatzes, Ausstellung von japanischer Künstlerin Yayoi Kusama im Martin-Gropius-Bau, Das Wetter

Themen der Sendung: Corona Impf-Priorisierung soll aufgehoben werden, Diskussion über Internet-Protestaktion prominenter Schauspieler und Schauspielerinnen, Die Meinung, Bundeskanzlerin Merkel sagt vor Untersuchungsausschuss im Wirecard-Skandal aus, Steigende Preise für Holz, Weitere Meldungen im Überblick, #mittendrin aus Westensee: Übernahme eines Campingplatzes, Ausstellung von japanischer Künstlerin Yayoi Kusama im Martin-Gropius-Bau, Das Wetter

Meet the RadicalxChange(s) podcast and its hosts Jennifer Morone and Matt Prewitt. Jennifer Lyn Morone is RadicalxChange Foundation's CEO and a multidisciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience with technology, economics, politics, and identity, and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world, including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as The Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer.Matt Prewitt is RadicalxChange Foundation's president, a writer and blockchain industry advisor, and a former plaintiff's side antitrust and consumer class action litigator and federal law clerk.This trailer featured RadicalxChange(s) interviews with Fred Turner, Jo Guldi, and Tom Atlee. Credits• Production by Angela Corpus and Jennifer Morone• Editing and Sound Engineering by Jennifer Morone• Music by MagnusMoone “Wind in the Willows” is licensed under a Attribution-NonCommercial-ShareAlike 3.0 International License (CC BY-NC-SA 3.0) If you like this podcast you might also like our other series called “RadicalxChange Replayed.”  RadicalxChange is a global movement for next-generation political economies. It advances plurality, equality, community, and decentralization through upgrades of democracy, markets, the data economy, the commons, and identity. Find out more about RadicalxChange at www.radicalxchange.org.  Founded by Glen Weyl during the wake of public discussion about his book “Radical Markets” in 2018, RadicalxChange Foundation is a 501(c)(3) nonprofit dedicated to advancing the RxC movement, building community, and educating about democratic innovation. Please support RadicalxChange Foundation and productions like this with a crypto or PayPal donation.

In 2020, ideological conflicts reached a fever pitch, and the media landscape has become extraordinarily disorienting. Are we simply heading into a more fragmented era? This panel aims to find the light at the end of the tunnel, discussing all kinds of approaches to discover common ground for a more nuanced and vital politics. SPEAKERS Paula Berman is a researcher and builder at the intersection of technology and democracy. She is a founding member of Democracy Earth Foundation, a non-profit organization backed by Y Combinator and Templeton World Charity Foundation, building open-source censorship-resistant digital democracies. Jennifer Lyn Morone is the RadicalxChange Foundation CEO and a multidisciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience about technology, economics, politics, and identity, and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world, including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as The Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer. Mark R. Reiff is the author of five books, including In the Name of Liberty: The Argument for Universal Unionization (Cambridge University Press, 2020); On Unemployment, Volume I and II (Palgrave Macmillan, 2015), and Exploitation and Economic Justice in the Liberal Capitalist State (Oxford University Press, 2013). He has taught political, legal, and moral philosophy at the University of Manchester, the University of Durham, the University of California at Davis, Sonoma State University, and the Frankfurt School of Finance & Management. Before returning to academia in 1998, he was a practicing lawyer, representing clients in commercial litigation matters for many years. In 2008-09 he was a Faculty Fellow at the Safra Center for Ethics at Harvard University. His current book project is called The Unbearable Resilience of Illiberalism. Abstracts of all his work, plus excerpts from his books, samples of his papers, and more, are available on his website: www.markreiff.org. MODERATOR Leon Erichsen is an entrepreneurship and technology evangelist at RadicalxChange Foundation, a nonprofit organization building next-generation political economies. Previously, he has worked as a venture analyst for the Blockchain Labs of Accelerator Frankfurt, a crypto-focused go-to-market program for early-stage startups. He graduated with the Class of 2020 in Management, Philosophy & Economics (B.Sc.) at the Frankfurt School of Finance & Management, where he directed the student initiatives FS Blockchain and FS Model United Nations.

This history of the corporation is a meandering and expanding one but one thing that is common among them, more often than not, is that the profit motive overshadows the potential negative impacts they have on society and the place we all call home. While today’s landscape of corporate structure has broadened to include more mission driven, or worker owned structures, there remain mechanisms in place and questions left unasked that keep the corporation fundamentally flawed. In this session we will hear from leading experts who are asking those questions and are developing mechanisms that can radically move the goalpost. SPEAKERSColin Mayer is the Peter Moores Professor of Management Studies at the Saïd Business School at the University of Oxford. He is a Fellow of the British Academy and the European Corporate Governance Institute, a Professorial Fellow of Wadham College, Oxford and an Honorary Fellow of Oriel College, Oxford and St Anne’s College, Oxford. He is a member of the UK Competition Appeal Tribunal, the UK Government Natural Capital Committee, and the Board of Trustees of the Oxford Playhouse. He was appointed Commander of the Order of the British Empire (CBE) in the 2017 New Year Honours. He was chairman of Oxera Ltd. between 1986 and 2010 and is a director of the energy modelling company, Aurora Energy Research Ltd. He leads the British Academy enquiry into “the Future of the Corporation” and his most recent book Prosperity: Better Business Makes the Greater Good is published by Oxford University Press. Michelle Meagher is a Senior Policy Fellow at the University College London Centre for Law, Economics and Society and co-founder of the Inclusive Competition Forum, a think tank focused on democratising corporate power and the enforcement of competition law. Michelle is a UK- and US-qualified lawyer, specialising in competition law and corporate governance. Michelle sits on the corporate governance committee of the Institute of Chartered Accountants in England and Wales. Michelle's first book, Competition is Killing Us: How Big Business is Harming Our Society and Planet - and What To Do About It, will be published by Penguin Business in September 2020. Nathan Schneider is an assistant professor of media studies at the University of Colorado Boulder, where he leads the Media Enterprise Design Lab. He is the author of Everything for Everyone: The Radical Tradition that Is Shaping the Next Economy, published by Nation Books, and two previous books, God in Proof: The Story of a Search from the Ancients to the Internet and Thank You, Anarchy: Notes from the Occupy Apocalypse, both published by University of California Press. His articles have appeared in publications including Harper’s, The Nation, The New Republic, The Chronicle of Higher Education, The New York Times, The New Yorker, and others, along with regular columns for America, a national Catholic weekly. He has lectured at universities including Columbia, Fordham, Harvard, MIT, NYU, the University of Bologna, and Yale. In 2015, he co-organized “Platform Cooperativism,” a pioneering conference on democratic online platforms at The New School, and co-edited the subsequent book, Ours to Hack and to Own: The Rise of Platform Cooperativism, a New Vision for the Future of Work and a Fairer Internet. Follow his work on social media at @ntnsndr or at his website, nathanschneider.info. Jennifer Lyn Morone is the CEO of RadicalxChange Foundation and a multi-disciplinary visual artist, activist, and filmmaker. Her work focuses on the human experience in relation to technology, economics, politics, and identity and the moral and ethical issues that arise from such systems. Her interests lie in exploring ways of creating social justice and equal distribution of the future. Morone is a trained sculptor with BFA from SUNY Purchase and earned her MA in Design Interactions at the Royal College of Art in London with Dunne and Raby. Her work has been presented at institutions, festivals, museums, and galleries around the world including ZKM, Kunsthalle Düsseldorf, Ars Electronica, HEK, the Martin Gropius Bau, the Science Gallery, Transmediale, SMBA, Carroll/Fletcher Gallery, panke.gallery, Aksioma, Drugo more, and featured extensively on international media outlets such as the Economist, WIRED, WMMNA, Vice, the Guardian, BBC World News, Tagesspiegel, Netzpolitik, the Observer.

Na capital alemã, a 11ª Bienal de Arte Contemporânea abre as portas com restrições impostas pela pandemia, e presença recorde de brasileiros. A RfI conversou com exclusividade com a paulistana Lisette Lagnado, que vive há quase dois anos em Berlim, e integra o corpo de curadores. Por Cristiane Ramalho, correspondente da RfI em Berlim Ainda é verão na capital alemã, mas o ar é denso para quem assiste ao vídeo “Marcha a Ré”, exibido logo na sala de entrada do Instituto de Arte Contemporânea KW – uma das quatro locações desta 11ª Bienal de Berlim. Gravado em São Paulo, em agosto, com um cortejo fúnebre com mais de cem carros, o filme foi a opção do Teatro da Vertigem para substituir a performance que o grupo faria em Berlim, não fosse a COVID-19. Dos fones de ouvido higienizados, oferecidos aos visitantes, chega a trilha sonora: sons de respiradores, e o hino nacional tocado de trás para frente. Visto de máscara – item obrigatório nessa Bienal – é ainda mais sufocante. Na mostra, o filme é apresentado como uma obra que aborda “a necropolítica do regime populista de extrema-direita no Brasil, engajado num genocídio contra a sua própria população”. A direção é de Eryk Rocha, com participação do artista plástico Nuno Ramos. “O projeto é o direito ao luto por essas mais de cem mil vítimas da pandemia, que poderiam ter sido evitadas”, diz à Rfi a curadora e crítica de arte Lisette Lagnado, de 59 anos. “É como se a gente estivesse na UTI”. Um imenso estandarte com um rosto de mulher, que se destaca no cortejo em marcha a ré, poderia ser a bandeira desse país de luto. O rosto é uma reprodução de um dos retratos da Série Trágica, de 1947, do artista Flávio de Carvalho (1899 – 1973), que registrou a própria mãe em seus últimos dias de vida, nos anos 30.   “É uma figura que emblematiza essa nação que está morrendo, sem perspectiva de ajuda diante da falta de empatia, e da negligência do poder público em relação à população”, diz Lisette. “E o Eryk conseguiu algo muito bonito: quando a imagem da mãe se mexe, parece que ela está respirando. É quase uma sobrevida”. Um fac-símile dos nove retratos da Série Trágica - que provocou escândalo à época, faz parte da mostra e pode ser visto no Martin Gropius Bau. Flávio de Carvalho, segundo a curadora, foi o ponto de partida para a seleção das demais participações brasileiras: “Flávio foi nosso álibi. Uma espécie de vanguarda entre o modernismo tropical, depois de Tarsila, e o período neoconcreto, ele representa um momento que as pessoas não conhecem muito bem”. Confinamento como lugar de expressão A priori, não se pensou numa presença brasileira de peso, diz Lisette, que também foi curadora da 27ª Bienal de São Paulo (2006). Mas a participação do país acabou sendo recorde na Bienal, que tem por tema este ano “The crack begins within” (“A fissura começa por dentro”). Entre os convidados para explorar essas fissuras, estão Virginia de Medeiros, Gil DuOdé, Virginia Borges, Pedro Moraleida e Castiel Vitorino Brasileiro. Pinturas do acervo do Museu de Imagens do Inconsciente, do Rio, e do Museu de Arte Osório Cesar, de São Paulo, também integram a seleção. São 22 obras dos artistas Adelina Gomes (1916-1984) e Carlos Pertuis (1910-1977), que freqüentaram o ateliê de arte criado, em 1946, pela psiquiatra Nise da Silveira, pioneira na luta antimanicomial no Brasil. As pinturas revelam a riqueza do universo inconsciente desses pacientes. “De certa maneira, a presença dessas pessoas que viveram tanto tempo confinadas é para nós uma esperança. A de que o confinamento não seja necessariamente uma prisão, mas um lugar de expressão”, diz Lisette. Nacionalismo tóxico Dentro da temática “Museus Invertidos”, voltada para “uma contranarrativa ao discurso hegemônico ocidental”, há ainda o Museu da Solidariedade Salvador Allende. A intenção, diz a curadora, foi trazer para Berlim exemplos de resistência de museus “extremamente vulneráveis” no contexto latino-americano: “Eles tiveram que construir seus acervos a despeito de regimes militares e da falta de apoio e de compreensão dos poderes públicos”. Lisette divide a curadoria da Bienal com a chilena Maria Berríos, a argentina Renata Cervetto, e o espanhol Agustín Pérez. Uma formação que se refletiu na escolha das obras, e na presença privilegiada de artistas desses quatro países. Lisette justifica: “A Bienal de Berlim não é como a de Veneza, onde há pavilhões nacionais para cobrir o planeta. Nos interessa falar dos nossos contextos. A partir dessas realidades, abordamos temas que nos afligem, como a destruição da noção de patriarcado, as religiões monoteístas, que vêm trazendo fanatismo, e um nacionalismo tóxico, em termos políticos e de diversidade sexual”. Aberta no dia 5 de setembro, a Bienal de Arte Contemporânea de Berlim vai até 1º de Novembro, e pode ser vista ainda na daadgalerie e no ExRotaprint. Por conta das restrições sanitárias da COVID-19, é preciso reservar o ingresso com antecedência, pela internet.  

Autor: Sehgal, Tino Sendung: Kompressor Hören bis: 19.01.2038 04:14

In episode 105 UNP founder and curator Grant Scott is in his shed considering how important the history of photography is to photography today, what is 'contemporary photography'? He also reflects on the recent death of Sue Davies OBE and the foundation of The Photographer's Gallery, London.  Plus this week photographer Jessica Backhaus takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which she answer's the question ‘What Does Photography Mean to You?' Jessica Backhaus was born in Cuxhaven, Germany in 1970 and grew up in an artistic family. At the age of sixteen, she moved to Paris, where she later studied photography and visual communications. Here she met Gisele Freund in 1992, who became her mentor. In 1995 her passion for photography drew her to New York, where she assisted photographers, pursued her own projects and lived until 2009. Her work has been shown in numerous solo and group exhibitions, including the National Portrait Gallery, London and the Martin-Gropius-Bau, Berlin. To date, she has eight publications to her name including; Jesus and the Cherries, 2005, What Still Remains, 2008, One Day in November, 2008, I Wanted to See the World, 2010, Once, still and forever, 2012, Six degrees of freedom, 2015 and A TRILOGY, 2017. Her photographs are in many prominent art collections and she is represented by galleries in Berlin, Cologne, Frankfurt, Boston, Philadelphia, Milan, Lisbon and Amsterdam. http://jessicabackhaus.com You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-lifeand Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His book New Ways of Seeing: The Democratic Language of Photography was published by Bloomsbury Academic in 2019. The documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2020

Wenn's draußen viel zu früh dunkel wird - und so richtig knackig kalt, dann ist wieder Zeit für's Jazzfest Berlin. Am Donnerstagabend ging's los - aber nicht wie sonst immer im Haus der Festspiele, sondern diesmal im Martin-Gropius-Bau. Was da zu hören oder besser erleben war, berichtet Kulturreporter Jens Lehmann.

Year: 2018 Location: Toilets of McDonald’s at 48 Leicester Square, London Duration: 19 min Please note this work contains strong language. An intimate, culinary, eschatological slice of memoir, told to you as if you should remember it – an emergence from the psychedelia that precedes abandon and follows loss. Narrated in the artist’s own voice, flat meat cake pulsates with greed, and grief, and the obsessive precision of the genius and the insane. Voice: Ed Atkins Ed Atkins is an artist who makes videos, writes and draws, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world — from computer generated imagery to bathetic poetry — are hysterically rehearsed. Solo presentations include Martin-Gropius-Bau, Berlin; MMK Frankfurt; DHC/ART, Montréal (all 2017); Castello di Rivoli, Turin; The Kitchen, New York (both 2016); Stedelijk Museum, Amsterdam (2015) and The Serpentine Gallery, London (2014). An anthology of his texts, “A Primer for Cadavers”, was published by Fitzcarraldo Editions in 2016, and an extensive artist’s monograph from Skira was published in 2017. Atkins lives and works in Berlin and Copenhagen. Disclaimer: Please be aware that Cold Protein is not responsible for and does not guarantee your entrance to the locations. Access is at the discretion of each individual site, and subject to their opening hours, T&C and ticketing (if applicable).

Paul starts the day in Neukölln, meeting electronic producer and DJ Mobilegirl. Then heads over to Karl Marx Allee to grab a coffee with producer Ziúr. These two artists share a similar approach that avoids easy categorisation. Then Paul heads to the historic surroundings of the Martin Gropius Bau museum to talk with Ben Fawkes from the ISM (The Institute For Sound and Music) about how electronic music is creating it's own immersive space within the art world. https://soundcloud.com/mobilegirl https://soundcloud.com/ziurziurziur https://www.berlin-ism.com

Guest mix for Phil Smith and his "Jazz Disjunction" show. Thanks Phil! 1, William Selman - Thick Description (rrao & Clay Wilson Remix) 2. Huerta - Amaso (Celestial Mix) 3. Gene on Earth - It's a Good Day to Have a Good Day 4. Johanna Knutsson - Unreleased Work 5. DJ Apologetic - Time (Live) 6. Frank Bretschneider - live recorded excerpt of 'Approximate Accuracy' an audio visual installation piece in collaboration with Pierce Warnecke for the ISM Hexadome recorded live in April 2018 at the Martin Gropius Bau. 7. Jing - Coral Reef 8. Pariah - Seed Bank 9. Peter van Hoesen - live recorded excerpt of 'Adaptive Enquiry No. 1' an audio visual installation piece in collaboration with Heleen Blanken for the ISM Hexadome in April 2018 at the Martin Gropius Bau 10. Mea - Rosa 11. Jason Fellows - Ooosh A combination of tunes from friends and acquaintances all in the direction of ambient and beatless type affairs. There's also two live recordings taken from the 52 channel audio visual installation series the ISM Hexadome which took place in March and April of 2018 in the atrium of the Martin Gropius Bau. More info on the ISM here - http://berlin-ism.com/. Saw Pariah at Free Rotation and it was definitely one of the highlights of the festival. He's, coincidentally, just released an ambient album too, so thought i'd throw that in there. Listen ideally on headphones, particularly the live recordings since they are binaural recordings - you'll get a better sense of the spatialisation as both Peter and Frank's work were programmed to play through the 52 channel speak system that we, the ISM, helped develop in partnership with ZKM, Pfadfinderei, System180 and Meyer Sound.

Guest mix for Phil Smith and his "Jazz Disjunction" show. Thanks Phil! 1, William Selman - Thick Description (rrao & Clay Wilson Remix) 2. Huerta - Amaso (Celestial Mix) 3. Gene on Earth - It's a Good Day to Have a Good Day 4. Johanna Knutsson - Unreleased Work 5. DJ Apologetic - Time (Live) 6. Frank Bretschneider - live recorded excerpt of 'Approximate Accuracy' an audio visual installation piece in collaboration with Pierce Warnecke for the ISM Hexadome recorded live in April 2018 at the Martin Gropius Bau. 7. Jing - Coral Reef 8. Pariah - Seed Bank 9. Peter van Hoesen - live recorded excerpt of 'Adaptive Enquiry No. 1' an audio visual installation piece in collaboration with Heleen Blanken for the ISM Hexadome in April 2018 at the Martin Gropius Bau 10. Mea - Rosa 11. Jason Fellows - Ooosh A combination of tunes from friends and acquaintances all in the direction of ambient and beatless type affairs. There's also two live recordings taken from the 52 channel audio visual installation series the ISM Hexadome which took place in March and April of 2018 in the atrium of the Martin Gropius Bau. More info on the ISM here - http://berlin-ism.com/. Saw Pariah at Free Rotation and it was definitely one of the highlights of the festival. He's, coincidentally, just released an ambient album too, so thought i'd throw that in there. Listen ideally on headphones, particularly the live recordings since they are binaural recordings - you'll get a better sense of the spatialisation as both Peter and Frank's work were programmed to play through the 52 channel speak system that we, the ISM, helped develop in partnership with ZKM, Pfadfinderei, System180 and Meyer Sound.

Composer and visual artist Brian Eno returned to Berlin this week for the opening of his audio-visual installation, “Empty Formalism,” at the Martin Gropius Bau.

This week, Mumbai-based artist Jitish Kallat returns to Bad at Sports, this time from San Francisco, where he sits down with Patricia Maloney. Listeners may remember Kallat’s first appearance on the podcast on the eve of the opening for his large-scale installation, Public Notice 3 (2010-11), in the Fullerton Hall stairwell of the Art Institute of Chicago. Kallat, one of the most prominent figures of contemporary Asian art, works across a variety of media, including painting, sculpture, photography, installation, and video. He was the curator for the Kochi-Muziris Biennale, India in 2014. This year, Kallat has had several solo exhibitions, including Jitish Kallat: Public Notice 2, at the Art Gallery of New South Wales in Sydney. His Paris exhibition, The Infinite Episode, opened at the Galerie Templon in September 2015. Kallat's large permanent public sculpture unveiled in Austria in October 2015.  His solo exhibitions include Epilogue (2013-14) at the San Jose Museum of Art; Circa at the Ian Potter Museum of Art, Melbourne, Australia (2012); Fieldnotes: Tomorrow was here Yesterday at the Bhau Daji Lad Museum, Mumbai, India (2011); Likewise at Arndt, Berlin, Germany (2010); The Astronomy of the Subway at Haunch of Venison, London, UK (2010); Aquasaurus at the Sherman Contemporary Art Foundation, Paddington, Australia (2008) and Lonely Facts at the Kunsthalle Luckenwalde, Luckenwalde, Germany (1998). Kallat has participated in major exhibitions, including: India: Art Now at the Arken Museum, Ishoj, Denmark (2012-13); Indian Highway IV at MAXXI, Rome, Italy (2012) and at Musée d'art contemporain de Lyon, Lyon, France (2011); The Empire Strikes Back: Indian Art Today at Saatchi Gallery, London, UK (2010); Chalo! India: A New Era of Indian Art at Essl Museum – Contemporary Art, Klosterneuburg, Austria and at Mori Art Museum, Tokyo (both 2009), as well as Indian Highway at the Serpentine Gallery, London, UK (2008-09); Die Tropen. Ansichten von der Mitte der Weltkugel at Martin- Gropius-Bau, Berlin, Germany (2008); Urban Manners at Hangar Bicocca, Milan, Italy (2007) and Century City at Tate Modern, London, UK (2001).

Historische Orte sind immer ein bisschen seltsam. Und Berlin hat ganz schön viele davon. Vor allem da, wo die ganzen Regierungsgebäude sind, schreien einen die Epochen regelrecht an. Ich bin in der Niederkirchner-Straße 8 verabredet in der Topografie des Terrors. Direkt gegenüber dem Abgeordnetenhaus und dem Martin-Gropius-Bau. Vor mir fahren doppelstöckige Touribusse vorbei. Und ich versuche mir vorzustellen, wie es hier 1942 ausgesehen haben könnte. Ich betrete das Gelände mit gemischten Gefühlen, weil ich nicht so recht weiß, was mich erwartet. Artikel lesen: http://www.die-anachronistin.de/zwischen-den-zeiten-teil-3/ Musik: Anja Arnold | http://www.klangbuedchen.de

Götter und Schriften rund ums Mittelmeer. Symposion in memoriam Friedrich Kittler | Symposium Fr, 19.10.2012 – Sa, 20.10.2012, ZKM_Medientheater „There's someone in my head, but it's not me. Nur Atavismen wie das Urheberrecht, das ja nicht umsonst aus der Goethezeit stammt, zwingen noch zur Namensnennung von Textern und Komponisten (als ob es dergleichen im Soundraum gäbe). Viel eher wären die Schaltpläne der Anlagen und […] die Typennummern der eingesetzten Synthesizer aufzuführen.“ (Friedrich A. Kittler, 1975) In den frühen 1980er Jahren baute Friedrich A. Kittler einen modularen Synthesizer in 5 Makro-Modulen/Gehäusen. Fünf Kuben aus gebürstetem Aluminium – heute golden nikotinbrüniert – in smartem, minimalistischem Post-Braun-Design sieht man auf einem Portraitfoto hinter Kittler in seinem Regalsystem von Dieter Rams stehen. Daneben findet man Bücher und die weißen Elementen der Atelier-Anlage von Braun (auch unter Mitwirken von Dieter Rams entworfen) sowie einen elektrostatischen Kopfhörer der japanischen Marke Stax. Seit Kittlers Tod am 18. Oktober 2011 verbleibt der Synthesizer zusammen mit seinen Aufzeichnungen und Datenträgern als Teil seines Nachlasses am Deutschen Literaturarchiv in Marbach. apparatus operandi ist ein konzeptuelles Kunstprojekt von Jan-Peter E.R. Sonntag aus Setzungen verschiedener Formate. Im Zentrum des ersten Teiles steht die Anatomie des Synthesizers Friedrich A. Kittlers. Das Projekt stellt die wahrnehmungsgenerative Potenz von Apparaten in Frage und argumentiert in allen Formaten archäologisch, historisch und sinnlich; Hardware nah am Prozess, am Werden orientiert, reformuliert es eine Absage an überkommene Substanzbegriffe. apparatus operandi1::anatomie// Der Synthesizer des Friedrich A. Kittler ist als Entwurf ein Vorwurf an veraltete Institutionen, die uns in einer Art von Trägheit immer noch dienen. Dem bei der Anatomie eröffneten Gefüge - Epistemologie von Schaltungen, Kittlerphilologie, Gedächtnispraxis - sinnt Sebastian Döring nach. Sebastian Döring, geboren 1977, konzeptioniert und veranstaltet seit 2005 fröhliche Wissenschaft im Medientheater, ergründet Wissenskonfigurationen und betreibt Medienarchäologie und -epistemologie; seit 2009 am Medienarchäologischen Fundus der Humboldt-Universität zu Berlin. Seine Forschungsschwerpunkte sind die Archäologie des neuzeitlichen Subjekts, die Mediengeschichte gesetzten Rechts  und die Analyse epistemischer Dinge. http://www.medientheater.org/ Jan-Peter E.R. Sonntag, geboren 1965, ist Künstler, Komponist und Forscher. Er studierte Bildende Kunst, Kunstgeschichte, Musikwissenschaft, Komposition, Philosophie und Kognitionswissenschaften bei Rudolf zur Lippe, Ivan Illich, Umberto Maturana & Gustavo Becerra Schmidt. Workshops absolvierte er u. A. bei Albert Mangelsdorf, John Cage & Alvin Lussier; er war Assistent bei Mauricio Kagel und gründete 2002 N-solab. Sonntag erhielt zahlreiche Stipendien und Preise (Akademie Schloss Solitude, Berliner- & Deutscher Klangkunstpreis, Cynet Art Award, Haupstadtkulturfond für e-topia, emare-Mexiko und für 2012 Villa-Aurora, Los Angeles & Chambre Blanche in Quebec). Er stellte auf vielen renommierten Festivals und Institutionen aus, u.a. V2, Rotterdam; NIMK, Amsterdam; Making Waves Festival, San Francisco; Apex Art & The Kitchen, New York; Fundación Arte Y Tecnología, Madrid; Centre de Cultura Contemporània & METRONOM, Barcelona; Nacional Gallery Poznan; Academy of Arts, transmediale & Martin Gropius Bau, Berlin; Mediabiennale, Seoul Museum of Art, & Aram Art Gallery, Seoul; Laboral Centro de Arte y Creación Industrial, Gijon; Center for Contemporary Art, Torun; Museum für Kunst und Gewerbe, kampnagel, Galerie der Gegenwart & Kunstverein, Hamburg; Museum Centro Galego del Arte Contemporénea, Santiago de Compostela; ars electronica, Linz; CYBERFEST, Hermitage, St. Petersburg; HMKV, Dortmund; WKV & Staatsgallerie, Stuttgart; Skanu Mezs & RIXC, Arthall, Riga; Tent, London; 3rd Art and Science International Exhibition & Symposium, Beijing. sonntag3000@sonarc-ion.de In seinem Lebenswerk hat Medientheoretiker Friedrich Kittler (1943−2011), die Geschichte der Dichtung, der Philosophie, ja der Kultur als solche vom Kopf auf die Füße ihrer technischen und vortechnischen Medien gestellt. Was Aufschreibesysteme für die Literatur, was Befehlssätze für programmierbare Maschinen, das ist den Göttern das elementarste Medium im lateinischen Wortsinn von elementa: Buchstaben. Das Symposion »Götter und Schriften rund ums Mittelmeer«, noch zu Lebzeiten von dem deutschen Medientheoretiker Friedrich Kittler selbst vorbereitet, widmet sich dieser Hypothese. Wie bestimmen die Kontakte, Konkurrenzen, Innovationen der verschiedenen Schriften und Alphabete seit der frühesten Antike rund ums Mittelmeer die zukünftigen Geschicke des Abendlands?

Götter und Schriften rund ums Mittelmeer. Symposion in memoriam Friedrich Kittler | Symposium Fr, 19.10.2012 – Sa, 20.10.2012, ZKM_Medientheater Joulia Strauss, geboren 1974, studierte Kunst an der Neuen Akademie der Schönen Künste, Sankt Petersburg und an der Hochschulde der Künste, Berlin, bei Prof. Georg Baselitz. Strauss arbeitet an einer Herbeiführung der pythagoreischen Einheit des Wissens mit Wissenschaftlern, Philosophen, Technologie-Experten und politischen Aktivisten in Berlin, Moskau und Athen. Ihre Kunstwerke wurden in den Gruppen- und Einzelausstellungen im Martin-Gropius-Bau, Berlin, Hudson Valley Center for Contemporary Art, NY, Kunsthalle Palazzo, Schweiz, Tirana Biennale, Oostende Museum of Modern Art, Stedelijk Museum Amsterdam, Pergamonmuseum, Berlin, Guelman Gallery, Moskau, Athens Biennale 2, Moscow Biennale 4, Tate Modern, London, ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe, gezeigt. In ihrer jüngsten Veröffentlichung Modulating Politics entwickelt Strauss politische Modelle aus den Skulpturensystemen, welche die Strukturen der altgriechischen Hymnen verkörpern. Cari Machet ist Künstlerin, Multimedia-Produzentin und Aktivistin. Als Teilnehmerin von Occupy Wall Street und Occupy Berlin setzt sie sich für die direkte Demokratie ein und beteiligt sich weltweit an direkten Aktionen. In seinem Lebenswerk hat Medientheoretiker Friedrich Kittler (1943−2011), die Geschichte der Dichtung, der Philosophie, ja der Kultur als solche vom Kopf auf die Füße ihrer technischen und vortechnischen Medien gestellt. Was Aufschreibesysteme für die Literatur, was Befehlssätze für programmierbare Maschinen, das ist den Göttern das elementarste Medium im lateinischen Wortsinn von elementa: Buchstaben. Das Symposion »Götter und Schriften rund ums Mittelmeer«, noch zu Lebzeiten von dem deutschen Medientheoretiker Friedrich Kittler selbst vorbereitet, widmet sich dieser Hypothese. Wie bestimmen die Kontakte, Konkurrenzen, Innovationen der verschiedenen Schriften und Alphabete seit der frühesten Antike rund ums Mittelmeer die zukünftigen Geschicke des Abendlands? Seit dem Neolithikum gibt es im Mittelmeerraum Kulturen, deren Alphabete eng an Verwaltung und Handel, Befehlsflüsse und Gesetze gebunden sind, aber auch eine Kultur, die ihr Alphabet aus dem Schreiben von Musik und Gesangsvortrag, Vers und Götteranrufung schöpft. Einige Schriften des Mittelmeers − in Keilen, Bildschriftzeichen, Silbenschriften dargestellt − sind graphisch orientiert. Sie schreiben von den Worten der Sprache meist Konsonanten oder Konsonantengruppen. Andere, wie das griechische Alphabet, das als erstes der Welt auch Vokale schreibt, sind phonetisch orientiert und damit prinzipiell auf jede Sprache übertragbar. Mächtige Gesetzesgötter einerseits strafen und befehlen. Der Verkehr mit ihnen wird gesetzlich geregelt. Andererseits gibt es Götter, die an- und abwesend sind. Der Verkehr mit ihnen wird nicht verwaltet, sondern begangen. Wie sind diese verschiedenen Ausgestaltungen der Götterwelten in den Schriftsystemen widergespiegelt?

This week: Duncan, Brian, and Abigail Satinsky in conversation with Christine Hill at the Open Engagement conference, which took place from May 13 to 15, 2011 at Portland State University. Open Engagement is an initiative of PSU’s Art and Social Practice MFA program that encourages discussion on various perspectives in social practice. Christine Hill is an artist, musician, hobby librarian and the proprietor of Volksboutique, a former second-hand shop turned production facility operating out of Brooklyn, New York and Berlin, Germany. Hill's work proposes new investigations into mixed-media installation and performance. Examining contemporary forms of popular entertainment (for example, producing a television talk show in a New York gallery, in Pilot, 2000), imitating paradigms of elite advertising, and deploying businesses as art projects (a second-hand clothing store in Berlin, Volksboutique in 1996-97, a fully operable tour guide agency in New York in 1999) Hill investigates the proximity of contemporary art to mass entertainment, consumerism, and popular culture. In the process, she proposes new roles for viewers (as consumers, tourists, members of a TV audience), redefines artistic spaces of exhibition (as stores, studios, catwalks), and reinvents a mobile artistic identity (whether as talk show host, store owner, or tour guide). She defines these interventions as 'Organizational Ventures.' Hill has exhibited and lectured widely internationally. She has been the subject of numerous publications and she shows regularly. Recent solo exhibitions include Ronald Feldman Fine Arts, New York; Galerie EIGEN+ART, Berlin; the Museum of Contemporary Art Leipzig; the MigrosMuseum in Zurich and the Museum of Contemporary Art, Cleveland. Forthcoming projects include collaboration with the curator Mary Jane Jacob for Chicago's Sullivan Galleries and a solo presentation at the Martin Gropius Bau in Berlin, both in 2009. She was included in documenta X in 1997, and has participated in numerous international group exhibitions. Her work has been reviewed extensively, including in Artforum, The New York Times, The Village Voice, Art in America and in considerable international publications. The "Volksboutique Style Manual" is in the collection of the Museum of Modern Art, New York. The Volksboutique project "Minutes" was included in the 2007 Venice Biennale under the curation of Robert Storr. Christine Hill is Professor and Chair of Media, Trend and Public Appearance at the Bauhaus University in Weimar, Germany. www.volksboutique.org

Komiker, Kabarettist, Autor und Filmproduzent. Karl Valentin – Freak oder Genie? Preslisa geht der Frage in der Karl Valentin Ausstellung im Martin-Gropius-Bau nach. An ihrer Seite ist dieses Mal Dr. Zinfert - eine Valentin Expertin der FU Berlin.