Podcast appearances and mentions of Mona Hatoum

On this episode of Below the Radar, our host Am Johal is joined by Hank Bull, an artist and curator whose administration and advocacy work has greatly contributed to artist-run culture in Canada. Hank discusses his work with the Western Front and Centre A, and he also brought along some props to give us a taste of what his past radio art sounded like! Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/254-hank-bull.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/254-hank-bull.html Resources: Hank Bull: https://hankbull.ca/ The HP Show: https://wavefarm.org/ta/archive/works/vae2da Western Front: https://westernfront.ca/ Centre A: https://centrea.org/ Vancouver Art Gallery: https://www.vanartgallery.bc.ca/ Bio: Hank Bull was born in 1949 in Moh'kins'tsis/Calgary and grew up in Toronto and small towns in southern Ontario. He became interested in art and music at an early age, mentored by a librarian, Graham Barnett, and encouraged by high school instructors Paavo Airola and David Blackwood. After travels in Europe in 1968, he studied drawing and photography in Toronto under Robert Markle and Nobuo Kuobota. In 1973, he moved to xwməθkwəy̓əm (Musqueam)/Vancouver to join the newly formed artist-run centre Western Front. In this interdisciplinary setting, he was exposed to mail art, poetry, ceramics, improvised music and video. He produced a weekly radio broadcast, cabaret performances, shadow theatre and telecommunications projects. During the 1980s he travelled in Asia, Africa and Europe, organized international exchanges and helped to develop a Canadian network of artist-run centres. He has worked in collaboration with a wide range of artists, including Kate Craig, Glenn Lewis, General Idea, Robert Filliou, William S. Burroughs, Kathy Acker, Michael Snow, Mona Hatoum, Antoni Muntadas, Steve Lacy, Tari Ito, Rebecca Belmore, Germaine Koh, Khan Lee, Cornelia Wyngaarden and many others. He has filled a variety of roles as artist, curator, writer, organizer and administrator. Throughout his career, he has continued an individual practice of painting, music, photography, video, sound and sculpture. He lives at the Western Front and spends a fair amount of time in swiya, territory of shíshálh Nation, as a member of the Storm Bay Art and Conservation Society. Cite this episode: Chicago Style Johal, Am. “The World Accordion To Hank — with Hank Bull.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, October 22, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/254-hank-bull.html.

Artist and sculptor Permindar Kaur moves between the Black British Arts Movement, the Young British Artists (YBAs), and Barcelona in the 1990s, exploring the ambiguities of Indian and South Asian cultural identities, Nothing is Fixed is an idea that has grown from ⁠Permindar Kaur's 2022 exhibition at The Art House in Wakefield⁠. For their latest, in Southampton, the artist brings together the public and the private, transforming the various gallery spaces into bedrooms of a home. Beds, chairs, tables, and teddy bears - ambiguous, often unsettling, domestic objects - populate the space, as well as never-before-shown works on paper, which underline the role of drawing in their sculptural practice. Born in Britain to Sikh parents of Indian heritage, Permindar is often exhibited in the context of the Black British Arts Movement, showing with leading members of Blk Art Group like Eddie Chambers. The artist also describes their wider interactions with the ⁠YBAs, exhibitions in Japan, and influences from their formative years of practice in Barcelona, Spain, Canada, and Sweden. We discuss encounters with artists like Mona Hatoum and Eva Hesse, Helen Chadwick and Félix González-Torres, and more surrealist storytellers like Leonora Carrington and Paula Rego, alongside the material-focussed practices of Arte Povera. We trouble the category of ‘British Asian artists', exploring Permindar's work with and within particular Indian and Punjabi diasporic communities in Nottingham, Sheffield, and Glasgow, in Scotland. With series like Turbans, Permindar describes how their practice has changed over time, navigating questions of identity, representation, and the binary of non-/Western/European art practices. They share their research on a site-specific public sculpture for Southampton's yearly Mela Festival, a long-established event which represents, rather than ‘reclaims' space for, different South Asian cultures - and lifelong learning, from younger artists. Permindar Kaur: Nothing is Fixed ran at John Hansard Gallery in Southampton until September 2024, closing with the launch of an exhibition book of the same name, supported by Jhaveri Contemporary in Mumbai. Sculpture in the Park is on view at Compton Verney in Warwickshire until 2027. Kaur also presented work in A Spirit Inside, an exhibition of works from the Women's Art Collection and the Ingram Collection, at Compton Verney until September 2024. Bloomberg New Contemporaries 2024 opens in venues across Plymouth on 28 September 2024, and travels to the Institute of Contemporary Arts (ICA) in London from 15 January 2025. For more, you can read my article in gowithYamo. Hear curator Griselda Pollock, from ⁠Medium and Memory (2023)⁠ at HackelBury Fine Art in London: pod.link/1533637675/episode/37a51e9fab056d7b747f09f6020aa37e Read into Jasleen Kaur's practice, and the Turner Prize 2024, in gowithYamo: gowithyamo.com/blog/jasleen-kaur-interview And other artists connected to Glasgow, including Alia Syed (instagram.com/p/C--wHJsoFp6/?img_index=1), and ⁠Ingrid Pollard, in the episode from Carbon Slowly Turning (2022)⁠ at MK Gallery in Milton Keynes, the Turner Contemporary in Margate, and Tate Liverpool, and Invasion Ecology (2024): pod.link/1533637675/episode/4d74beaf7489c837185a37d397819fb8. For more about toys and unsettling ‘children's stories', hear Sequoia Danielle Barnes on Br'er Rabbit and the Tar Baby (2024) at Edinburgh Sculpture Workshop: pod.link/1533637675/episode/2b43d4e0319d49a76895b8750ade36f8 And listen out for more from Bloomberg New Contemporaries 2024 - coming soon. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

I am so thrilled to say that my guest on the GWA Podcast is one of the most esteemed curators in the world, Naomi Beckwith. Currently the Deputy Director and Jennifer and David Stockman Chief Curator at the Solomon R. Guggenheim Museum, NY, where she plays an instrumental role in shaping the museum's vision, Beckwith's career has seen her curate some of the groundbreaking shows in recent years. At the MCA Chicago, she curated Howardena Pindell: What Remains to Be Seen – the first survey of the 20th and 21st century pioneer, as well as The Freedom Principle: Experiments in Art and Music that looked at the legacy of 1960s African American avant-garde and its impact on art and culture today. Among many others, she also staged the first ever US solo exhibition by Lynette Yiadom-Boakye at the Studio Museum in Harlem. Beckwith was part of the team that realised Grief and Grievance: Art and Mourning in America, conceived by Okwui Enwezor for the New Museum, as well as shows featuring Arthur Jafa and Laurie Simmons. She has dedicated her career to the impact of identity and multidisciplinary practices within contemporary art, and has just been granted the David Driskell Prize 2024. But the reason why we are speaking with Beckwith today is because she has just unveiled a new group exhibition at the Guggenheim – By Way of Working – that brings together artists across mediums, and generations – from Mona Hatoum, Joseph Beuys, Robert Rauschenberg, and Senga Nengudi: the artist we are very excitingly discussing today. Chicago-born Nengudi is hailed for her works across sculpture to performance, that explore the human form in all its many iterations through her early training in dance, and I can't wait to find out more. -- LINKS: Naomi's exhibition: https://www.guggenheim.org/exhibition/by-way-of-material-and-motion-in-the-guggenheim-collection https://www.guggenheim.org/about-us/staff/naomi-beckwith https://www.sengasenga.com/ https://www.artnews.com/feature/senga-nengudi-who-is-she-why-is-she-important-1234591161/ https://www.youtube.com/watch?v=DutixbTscWM https://www.moma.org/calendar/exhibitions/5078 -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

À partir d'elle.Des artistes et leur mèreLE BAL, Parisdu 12 octobre 2023 au 25 février 2024Interview de Julie Héraut, Responsable Exposition et Recherche chez LE BAL, et commissaire de l'expositionpar Anne-Frédérique Fer, à Paris, le 11 octobre 2023, durée 23'45, © FranceFineArt.https://francefineart.com/https://francefineart.com/2023/10/18/3490_a-partir-d-elle_le-bal/communiqué de pressecommissariat :Julie Héraut, Responsable Exposition et Recherche chez LE BAL« Sans doute je serai mal, tant que je n'aurai pas écrit quelque chose à partir d'elle ». Cette phrase de Roland Barthes dans son Journal de deuil en date du 15 décembre 1978, un peu plus d'un an après la mort de sa mère, annonce l'écriture au printemps 1979 de son célèbre ouvrage La Chambre claire. Essai théorique sur la nature du médium photographique, le texte s'articule autour d'une quête : retrouver, en image, la vérité du visage aimé, celui de sa mère disparue.La mère, dont le regard est certainement le premier miroir de soi mais aussi du monde qui nous entoure, reste l'un des motifs fondamentaux de l'histoire de l'art. Les oeuvres assemblées ici, éminemment distinctes tant par les contextes dans lesquelles elles ont été conçues (sociaux, géographiques, temporels) que par les approches formelles et esthétiques qui ont guidé leur réalisation, ont toutes en commun de dépasser le seul témoignage intime. Entre critique sociale, quête de soi, conjuration ou apaisement, qu'elles incarnent la réalité de la présence ou les effets de l'absence, toutes mettent en jeu la question de la filiation et ce qu'il en reste.Celle que nous croyons si bien connaître n'est-elle pas toujours une énigme, une image qui requiert un acte conscient, volontaire, de mise au point – Asareh Akasheh, Gao Shan, Dirk Braeckman, Hervé Guibert ? Son histoire, celle tue ou celle transmise, en héritons-nous – Anri Sala, LaToya Ruby Frazier, Michele Zaza, Karen Knorr ? Quand un éloignement physique s'impose, comment combler la distance – Mona Hatoum, Chantal Akerman ? Dans ces tête-à-tête, l'implication volontaire de la mère au sein des dispositifs formels imaginés par les artistes devient souvent propice à l'humour et à l'irrévérence – Ragnar Kjartansson, Ilene Segalove, Hannah et Bernhard Blume – quand ils ne sont pas l'occasion d'interroger, défier ou repenser les règles d'un ordre social et moral pesant voire annihilant – Michel Journiac, Christian Boltanski, Mark Raidpere. Enfin quand la mère tend à disparaitre – Jochen Gerz, Paul Graham, Pier Paolo Pasolini – ou qu'elle n'est déjà plus, comment se construit une nouvelle image – Lebohang Kganye, Sophie Calle, Rebekka Deubner, Ishiuchi Miyako, Hélène Delprat ?De personnage, la mère devient ici figure, d'accès au monde, de jeu, d'identification, mais aussi de perte et de nostalgie : « Pour vous livrer le fond de mon émoi, l'image de ma mère » – Samuel Beckett.Julie Héraut Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

mit Dr. Söke Dinkla, Direktorin des wohl weltberühmten Lehmbruck Museums und Mona Hatoum

Nick Aikens and Elizabeth Robles discuss The Place Is Here (Sternberg Press, 2019) and the range of perspectives on black art in Thatcherite Britain offered by the collection of artworks, essays, and conversations found in the book. The Place Is Here begins to write a missing chapter in British art history: work by black artists in the Thatcherite 1980s. Richly illustrated, with more than two hundred color images, it brings together artworks, essays, archives, and conversations that map the varying perspectives and approaches of a group of artists who challenged the dominance of white heterosexual men in the canon of contemporary art. The many artists discussed and displayed here do not make up a “movement” or a school or a chronological progression, but represent the diverse interests and activities of artists across a decade and beyond. They grapple with black nationalism, anti-colonialism and postcolonialism, anti-Thatcherism, black feminism, black queer subjectivity, psychoanalysis, forms of narrative and documentary image-making, in different ways and through different modes of representation across a range of media. The book, which grows out of a series of exhibitions that began in 2014, offers essays, close readings of selected works, panel discussions, and archival presentations, bringing together different voices and generational perspectives. Contributions come from the artists themselves, established scholars, and younger practitioners, critics, and art historians. They discuss the exhibitions, call for a reappraisal of dominant art historical approaches, and consider the use and role of the archive in artworks; look at works by Mona Hatoum, Martina Atille, Said Adrus, Chila Kumari Burman, and Pratibha Parmar; and present key documents and other material. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux 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

Nick Aikens and Elizabeth Robles discuss The Place Is Here (Sternberg Press, 2019) and the range of perspectives on black art in Thatcherite Britain offered by the collection of artworks, essays, and conversations found in the book. The Place Is Here begins to write a missing chapter in British art history: work by black artists in the Thatcherite 1980s. Richly illustrated, with more than two hundred color images, it brings together artworks, essays, archives, and conversations that map the varying perspectives and approaches of a group of artists who challenged the dominance of white heterosexual men in the canon of contemporary art. The many artists discussed and displayed here do not make up a “movement” or a school or a chronological progression, but represent the diverse interests and activities of artists across a decade and beyond. They grapple with black nationalism, anti-colonialism and postcolonialism, anti-Thatcherism, black feminism, black queer subjectivity, psychoanalysis, forms of narrative and documentary image-making, in different ways and through different modes of representation across a range of media. The book, which grows out of a series of exhibitions that began in 2014, offers essays, close readings of selected works, panel discussions, and archival presentations, bringing together different voices and generational perspectives. Contributions come from the artists themselves, established scholars, and younger practitioners, critics, and art historians. They discuss the exhibitions, call for a reappraisal of dominant art historical approaches, and consider the use and role of the archive in artworks; look at works by Mona Hatoum, Martina Atille, Said Adrus, Chila Kumari Burman, and Pratibha Parmar; and present key documents and other material. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Nick Aikens and Elizabeth Robles discuss The Place Is Here (Sternberg Press, 2019) and the range of perspectives on black art in Thatcherite Britain offered by the collection of artworks, essays, and conversations found in the book. The Place Is Here begins to write a missing chapter in British art history: work by black artists in the Thatcherite 1980s. Richly illustrated, with more than two hundred color images, it brings together artworks, essays, archives, and conversations that map the varying perspectives and approaches of a group of artists who challenged the dominance of white heterosexual men in the canon of contemporary art. The many artists discussed and displayed here do not make up a “movement” or a school or a chronological progression, but represent the diverse interests and activities of artists across a decade and beyond. They grapple with black nationalism, anti-colonialism and postcolonialism, anti-Thatcherism, black feminism, black queer subjectivity, psychoanalysis, forms of narrative and documentary image-making, in different ways and through different modes of representation across a range of media. The book, which grows out of a series of exhibitions that began in 2014, offers essays, close readings of selected works, panel discussions, and archival presentations, bringing together different voices and generational perspectives. Contributions come from the artists themselves, established scholars, and younger practitioners, critics, and art historians. They discuss the exhibitions, call for a reappraisal of dominant art historical approaches, and consider the use and role of the archive in artworks; look at works by Mona Hatoum, Martina Atille, Said Adrus, Chila Kumari Burman, and Pratibha Parmar; and present key documents and other material. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Nick Aikens and Elizabeth Robles discuss The Place Is Here (Sternberg Press, 2019) and the range of perspectives on black art in Thatcherite Britain offered by the collection of artworks, essays, and conversations found in the book. The Place Is Here begins to write a missing chapter in British art history: work by black artists in the Thatcherite 1980s. Richly illustrated, with more than two hundred color images, it brings together artworks, essays, archives, and conversations that map the varying perspectives and approaches of a group of artists who challenged the dominance of white heterosexual men in the canon of contemporary art. The many artists discussed and displayed here do not make up a “movement” or a school or a chronological progression, but represent the diverse interests and activities of artists across a decade and beyond. They grapple with black nationalism, anti-colonialism and postcolonialism, anti-Thatcherism, black feminism, black queer subjectivity, psychoanalysis, forms of narrative and documentary image-making, in different ways and through different modes of representation across a range of media. The book, which grows out of a series of exhibitions that began in 2014, offers essays, close readings of selected works, panel discussions, and archival presentations, bringing together different voices and generational perspectives. Contributions come from the artists themselves, established scholars, and younger practitioners, critics, and art historians. They discuss the exhibitions, call for a reappraisal of dominant art historical approaches, and consider the use and role of the archive in artworks; look at works by Mona Hatoum, Martina Atille, Said Adrus, Chila Kumari Burman, and Pratibha Parmar; and present key documents and other material. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Nick Aikens and Elizabeth Robles discuss The Place Is Here (Sternberg Press, 2019) and the range of perspectives on black art in Thatcherite Britain offered by the collection of artworks, essays, and conversations found in the book. The Place Is Here begins to write a missing chapter in British art history: work by black artists in the Thatcherite 1980s. Richly illustrated, with more than two hundred color images, it brings together artworks, essays, archives, and conversations that map the varying perspectives and approaches of a group of artists who challenged the dominance of white heterosexual men in the canon of contemporary art. The many artists discussed and displayed here do not make up a “movement” or a school or a chronological progression, but represent the diverse interests and activities of artists across a decade and beyond. They grapple with black nationalism, anti-colonialism and postcolonialism, anti-Thatcherism, black feminism, black queer subjectivity, psychoanalysis, forms of narrative and documentary image-making, in different ways and through different modes of representation across a range of media. The book, which grows out of a series of exhibitions that began in 2014, offers essays, close readings of selected works, panel discussions, and archival presentations, bringing together different voices and generational perspectives. Contributions come from the artists themselves, established scholars, and younger practitioners, critics, and art historians. They discuss the exhibitions, call for a reappraisal of dominant art historical approaches, and consider the use and role of the archive in artworks; look at works by Mona Hatoum, Martina Atille, Said Adrus, Chila Kumari Burman, and Pratibha Parmar; and present key documents and other material. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

All of a Quiver at Kindl – Center for Contemporary Art is one of three exhibitions that present the work ...

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

Probst, Carstenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Episode Summary:The current episode is co-hosted with Simon Butler, an artist, curator and founder of MigrateArt, an art charity that helps those impacted by the biggest humanitarian crisis of our time. In the current episode we meet a Myanmar-born graffiti artist Bart Was Not Here, who creates a body of work full of escapism and dry humour by mixing text and imagery from Burmese and global pop culture. In this candid conversation we talk about Bart's artistic journey from discovering graffiti, to experiencing anti-muslim hatred, and being forced to leave the country, as Bart shares with us his thoughts on the harsh reality of Myanmar and the misrepresentation of Burmese culture globally.The Speaker:Bart Was Not Here, born on 19.2.1996 in Yangon, Burma, is a visual artist working with paintings, illustrations, murals, and sculptures based in Paris. He started painting graffiti on the streets of Yangon under the alias “Bart Was Not Here” when he was in 8th grade and he graduated high school in 2011-2012. He committed to painting graffiti and street art with his crew R.O.A.R after high school and went to Lasalle College of the Arts in Singapore in 2014. He got a Fine Arts Diploma from Lasalle in 2018. As a graffiti artist he participated in a great number of group exhibitions in Burma as well as overseas. He debuted his solo exhibition titled God Complex at Myanm/art gallery in 2019. He has showcased his paintings in Saatchi Gallery as well as The Secretariat Building in Myanmar. His artworks are usually figurative with vibrant colored patterns and humorous text serving as punchlines. He is interested in world-building and storytelling within his art as he is inspired by the likes of Hieronymous Bosch, David Lynch, Neil Gaiman, and Jean “Moebius” Giraud. Kyaw Moe Khine is open to working with different concepts in his art but he loves working in the areas of myth, religion, icons, pop culture, and satire. He also believes humour can be used as a weapon in art. He's in the middle of his art residency at Cité Internationale des Arts, Paris.The Co-Host:Simon Butleris a curator, social entrepreneur and artist based in London. He founded Migrate Artin 2016 after visiting the Calais Jungle refugee camp in France for the first time. This poignant experience inspired him to use his years of experience in the art world to help those impacted by the biggest humanitarian crisis of our time. To date, Migrate Art has raised over £550,000, helped thousands of people across Europe and the Middle East and worked with some of the world's leading artists including Anish Kapoor, Mona Hatoum, Antony Gormley, Rachel Whiteread and Raqib Shaw.Host: Farah Piriye, ZEITGEIST19 FoundationSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.comFollow us on Instagramand TwitterHelp us to continue our mission and to develop our podcast: Donate

Joining Tom Jackson to discuss the postcards from their pasts are broadcaster and academic TOM SHAKESPEARE (Disability Rights and Wrongs) and Classic FM's ANNE-MARIE MINHALL. We uncover teenage memories from East Anglia, Viking marauders in Newcastle, the cricketing knowhow of Alf Gover and unresolved complexity in Mona Hatoum's sculptures. Plus Motorhead on the Isle of Man, Lonnie Donegan in Blackpool, Red Cabbage and the mystery of the Mexican Jumping Bean. God bless you always. and grant you a 4 and a half inch lolly. Wish you were here? See acast.com/privacy for privacy and opt-out information.

Episode Summary:The current episode is co-hosted with our former guest speaker Simon Butler, a curator, artist and founder of MigrateArt, a platform that helps those impacted by the biggest humanitarian crisis of our time. Together we meet Ken Nwadiogby, a Nigerian artist whose artistic research is focused on gender equality, African culture, and Black power. Ken was named by Guardian Life as one of the most “Outstanding Personalities of 2019” in recognition of his contributions to the Nigerian arts community.In this candid conversation we discuss how Ken is utilising his practice as a tool for social change, raising awareness of such themes as racism, police brutality, sexism, xenophobia and more. Ken shares his thoughts on cultural revolution, how to respond back to society when it speaks to us, what it means to be a Nigerian artist in today's climate and how Contemporealism, a new method of visual communication coined by the artist himself, was born.The Speaker:Ken Nwadiogbu (b. 1994, Lagos, Nigeria) is a visual artist who creates innovative conceptual drawings on various surfaces as he engages in multidisciplinary modes of storytelling. Nwadiogbu earned a B.Sc. in Civil and Environmental Engineering from the University of Lagos, Nigeria. His interest in art, as well as his career began while he earned his degree despite no formal training. Inspired by issues relating to him and those around, he began creating works that reflect the everyday struggles of people, with the hopes of making a change in his community. Popularly known as KenArt, Nwadiogbu is credited for introducing the “Contemporealism” movement and is constantly revitalising his practice by challenging modes of Black representation. A core focus for Nwadiogbu is to inspire and encourage young creatives. He does this through public speaking and mentorship, as well as through his creative companies; Artland Contemporary Limited and KINGS Management. He nurtures an art collective called ‘Title Deed' and co-found Artists Connect NG, the largest artist gathering in Nigeria, created to foster creativity, collaboration and community.Follow Ken's journey on InstagramThe Co-Host:Simon Butler is a curator, social entrepreneur and artist based in London. He founded Migrate Art in 2016 after visiting the Calais Jungle refugee camp in France for the first time. This poignant experience inspired him to use his years of experience in the art world to help those impacted by the biggest humanitarian crisis of our time. To date, Migrate Art has raised over £550,000, helped thousands of people across Europe and the Middle East and worked with some of the world's leading artists including Anish Kapoor, Mona Hatoum, Antony Gormley, Rachel Whiteread and Raqib Shaw.Host: Farah Piriye, ZEITGEIST19 FoundationSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.com Follow us on Instagram and TwitterHelp us to continue our mission and to develop our podcast: Donate

El nuevo de Ortiga suena en este S21. También Booka Shade, Cody Currie y Argia, entre otras novedades. En Contenedores de Arte la artista británica de origen palestino Mona Hatoum, que expone en el IVAM de Valencia. Escuchar audio

L'arte può essere un linguaggio universale, capace di mettere in contatto culture diverse e lontane tra loro, ma può anche servire a rivendicare un'identità cancellata e rimossa. Ed è per questo che spesso l'arte ha dato voce a chi è stato costretto a lasciare il proprio Paese per potersi guadagnare da vivere o per veder rispettati i propri diritti di essere umano. Dalle sanguigne performance di Tania Bruguera all'elegante visione del postcolonialismo offerta da Yinka Shonibare, fino alle commoventi intuizioni di Emily Jacir, l'arte ha raccontato in diversi modi l'esperienza della migrazione, ma Costantino e Francesco riescono a portare un po' di leggerezza anche su un tema duro come questo, parlando del profondo legame tra Kader Attia e i formaggini e offrendo un punto di vista molto originale sulle trovate di Ai Weiwei.In questa puntata si parla di CAMP, Tania Bruguera, Yinka Shonibare, Massimo Bottura, William Hogart, Robert Louis Stevenson, Oscar Wilde, Okwui Enwezor, Kader Attia, Emmanuel Macron, Georges Adéagbo, Régine Cuzin, André Magnin, Harald Szeemann, Mona Hatoum, Hillary Clinton, Emily Jacir, Malala Andrialavidrazana, Danh Vo, Ai Weiwei, Charles-Maurice de Talleyrand-Périgord, Victor Burgin e Art & Language.

In this episode, Maria discusses the life and career of Palestinian British artist, Mona Hatoum, with Jordan and the listeners. Staunchly opposing the restrictive boundaries of an identity many have assumed for her, Hatoum explores the complexities of gender and inequality not just in the Middle East, but globally. Through a practice of multimedia, namely film and sculpture, the artist tackles issues that are often interchangeable with respect to Western and Middle Eastern cultures -- and, in the rare instance, are deeply personal and autobiographical.

Valeria Facchin is the Project Manager & Assistant Curator ay Fiorucci Art Trust, as well as the co-founder of W21, an on-going participatory art project focusing on post-feminism and intersectional practice in art, science, culture, and technology. She is a curator and researcher specialised in digital art and XR. With a focus on visual studies, her work explores the relationship between bodies, technologies and future ecosystems. She holds an MA in History of Art from Ca' Foscari University, and an MA in Curatorial Museum studies from The Courtauld Institute of Art. She is currently pursuing a specialization in Virtual Reality, Goldsmith University. She is currently working as Assistant Curator to Milovan Farronato at Fiorucci Art Trust, London. As part of the Fiorucci Art Trust team, she is collaborating with institutions such as Serpentine Galleries. Before joining the Fiorucci Art Trust she held curatorial positions, among the others, at the Science Museum and Somerset House, London, and 58. Esposizione Internazionale d'Arte La Biennale di Venezia. Valeria is part of NECS, European Network for Cinema and Media Studies and CAS, Computer Arts Society, and she served as a young trustee of Science Gallery Venice since its inception. She usually speaks in panels and conferences about the use and impact of digital art in contemporary art practice. She is currently developing, as part of Anthropocene Campus – an initiative by HKW and Max Planck Institute in partnership with Ca' Foscari University – a VR art installation, which will take place during the 17th Esposizione Internazionale d'Architettura La Biennale di Venezia. Together with Delanie Linden and Indrani Saha, PhD students from MIT, she founded W21, an on-going participatory art project focusing on post-feminism and intersectional practice in art, science, culture, and technology. In 2021, W21 was selected by the European Commission for innovation in the arts & tech. Valeria has independently curated an array of exhibitions and collaborated, amongst others, with artists including Helen Cammock, Joana Escoval, Mona Hatoum, Susan Hiller, Lubaina Himid, Marysia Lewandowska, Kathy Prendergast, and Lucy Skaer. I LIKE NETWORKING is the mentoring and networking platform for women and non-binary people in the creative industries. Our mentoring programme is now open for applications. Stay in touch with us on Instagram and subscribe to our newsletter to stay in the loop and access many perks. You can also join our community or our supporter's circle.

En 1980, Chantal Crousel fonde sa galerie d'art éponyme avec l'intention de rendre compte des mutations de la création contemporaine internationale en France et dans le monde. D'origine belge, elle fait le choix de représenter des artistes de différentes nationalités participant à l'élaboration d'un langage universel à travers une grande variété de médiums. L'orientation artistique des premières années de la galerie est marquée par une nouvelle génération d'artistes issus des mouvements artistiques européens et américains inédits à la fin des années 1970, notamment Tony Cragg, Gilbert & George ou Cindy Sherman. Chantal Crousel réalise les premières expositions en France de Gabriel Orozco, Mona Hatoum, Absalon, Melik Ohanian ou Rirkrit Tiravanija. En 2000, son fils Niklas Svennung la rejoint. Installée rue Charlot depuis 2005, et aujourd'hui dirigée par Niklas Svennung, la galerie perpétue un dialogue artistique, à la fois poétique et conscient, en représentant des artistes, jeunes ou établis, qui, pour la plupart, questionnent l'espace social en employant des formes nouvelles au service d'idées novatrices.

Episode Summary:In the wake of the myriad crises of the past two decades - art helps the world to be felt - by its inhabitants - spurring thinking, engagement and even action. In this episode we meet Simon Butler, founder of Migrate Art Charity, who delves into most pressing issues of today that the media and global society are disconnected from. We talk about his latest project The Scorched Earth, turning ash from burnt crops of Iraqi Kurdistan into art, organised in direct response to widespread deliberate destruction of the war-torn fields that impact the economy, ecosystem, and intimidating local communities. Simon explains to us how he changes the perspective on charity auctions, using the voice of significant artists, advocating that We are part of a larger We.The Speaker:Simon Butler is a curator, social entrepreneur and artist based in London. He founded Migrate Art in 2016 after visiting the Calais Jungle refugee camp in France for the first time. This poignant experience inspired him to use his years of experience in the art world to help those impacted by the biggest humanitarian crisis of our time. To date, Migrate Art has raised over £550,000, helped thousands of people across Europe and the Middle East and worked with some of the world's leading artists including Anish Kapoor, Mona Hatoum, Antony Gormley, Rachel Whiteread and Raqib Shaw.Follow Migrate Art's Journey on Instagram and TwitterHosts: Farah Piriye & Elizabeth ZhivkovaSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.com Follow us on Instagram and Twitter

Day 43: Mona Hatoum

In Sebastian Barry's inaugural speech as Laureate for Irish Fiction earlier this year, he stated that Ireland was in a 'golden age of prose'. As Northern Irish writer Anna Burns scooped the Man Booker Prize for her novel Milkman last month, Front Row hears voices from the No Alibis bookstore in Belfast. We speak to former Irish Laureate and Booker Prize winner Anne Enright; Professor of Irish History and Literature, Roy Foster; award-winning, Belfast-born writer Lucy Caldwell; and writer, editor and journalist Sinead Gleeson. They discuss the renaissance in Irish writing, its roots in Irish storytelling and love of language, and how the border - now at the heart of the Brexit debate - is being written about by a new generation of writers, north and south.And Front Row exclusively announces the winner of this year's Hepworth Sculpture Prize, hearing live from the victor and from the Chief Curator of The Hepworth Wakefield, Andrew Bonacina. This year's shortlist includes Mona Hatoum, Michael Dean, Phillip Lai, Magali Reus, and Cerith Wyn Evans.Presenter: Kirsty Lang Producer: Sarah Johnson

Bohemian Rhapsody, the new biopic of Queen frontman Freddie Mercury, is finally in cinemas after eight years in the making. During production, two leading actors quit the project before Rami Malek took on the role of Freddie Mercury, Kate Mossman considers if film is worth the wait.As he approaches his 80th birthday this week, the conductor and composer Howard Blake looks back over his career which has included more than 700 compositions, including the music for 65 films – most famously for The Snowman - and his Piano Concerto to mark Princess Diana's 30th birthday.The Hepworth Prize for Sculpture is worth £30,000 to the winning artist recognised for their contribution to contemporary sculpture. This week an exhibition opens at Hepworth Wakefield showing the shortlisted artists Michael Dean, Mona Hatoum, Magali Reus, Phillip Lai and Cerith Wyn Evans. Art critic Adrian Searle considers their work and what they tell us about sculpture in the UK today. Presenter: Kirsty Lang Producer: Kate Bullivant

Youngstown artist Mia Catherine Allonby discusses her education at Leeds College of Art, being new to America & married life, leaving the art world for rock stardom & her influences Paula Chambers, Diane Arbus, Nan Goldin, & Mona Hatoum. Recorded by Heather Seno as part of the Women Among Them exhibition at The Soap Gallery

A glimpse into the work of an extraordinary woman

This podcast features exclusive interviews with the Traces of War artists Jananne Al-Ani, Baptist Coelho and Shaun Gladwell. Traces of War, reimagines war beyond its exceptionality, locating it in spaces where it would be least expected. At the same time, the art works reveal the sheer power of the everyday, as life itself and in its most ordinary makes its presence felt in the most dangerous locations of war. Artists from Goya to Dix variously and differently reveal the horrors of war and its imprint upon the body and the body politic, as if we might easily contrast the peace of the everyday with the destructive exceptionalism of war. However, the everyday also has a capacity to make its imprint on war, and this is shown most strongly in, for example, Mona Hatoum’s steel installation, Grater Divide (2002), where an everyday object, such as a kitchen utensil, acquires a menacing, frightening presence. For more information, visit http://www.kcl.ac.uk/sspp/departments/warstudies/traces/about.aspx Upcoming events: - A NEW PEACEKEEPING & PEACEBUILDING ARCHITECTURE? 24th October 2016 (12:30-14:00) in the War Studies Meeting Room (K. 6.07) - NATIONAL IDENTIFICATIONS AND INTERNATIONAL RELATIONS 24th October 2016 (18:00-19:00) War Studies Meeting Room (K6.07) - THE ORIGINS AND DYNAMICS OF GENOCIDE: POLITICAL VIOLENCE IN GUATEMALA 25th October 2016 (18:00-19:30) Weston Room Maughan Library - THE INDIA-PAKISTAN WARS AND THE CONTEMPORARY RELEVANCE OF HISTORY 27th October 2016 (17:30-19:00) War Studies Meeting Room (K6.07) - WOMEN IN WAR AND INTERNATIONAL POLITICS MOVIE NIGHT 27th October 2016 (19:00-21:00) War Studies Meeting Room (K6.07) Don’t forget to take some yummy snacks! For more information, visit http://www.kcl.ac.uk/sspp/departments/warstudies/events/

Ben Elton has a new sitcom on BBC2; Upstart Crow starring David Mitchell as The Bard of Avon. Could it be a return to his golden form of Blackadder? A Midsummer Night's Dream is the first production by Emma Rice, the new Artistic Director at London's Globe Theatre. Does it auger well for her residency? Terrence Malick is a much-admired film director whose recent work has received very mixed critical responses. Will his latest, Knight of Cups, be admired or reviled? Novelist Louise Erdrich is of North American Indian descent and her work reflects this. Her newest - LaRose - is set in the world of the Ojibwe tribe Mona Hatoum has a retrospective of her work at Tate Modern - how well does or can it chronicle her conceptual art? Tom Sutcliffe's guests are Elif Shafak, Denise Mina and Boyd Tonkin. The producer is Oliver Jones.

The artist Mona Hatoum has a major survey of her work at Tate Modern in London. It includes her early performance works, such as when she walked through Brixton after the race riots barefoot, but with heavy boots tied to her ankles. And her later large installations such as a floor of marbles; beautiful but dangerous to walk on. She describes how the political and personal has always influenced her work.Alexander Masters' first book Stuart: A Life Backwards, a biography of a homeless man, won prizes before being adapted for television and the stage. As his latest book is published, A Life Discarded - inspired by the discovery in a skip of a 148 volumes of a personal diary - the author discusses the appeal of the overlooked.Starring Harry Enfield as Prince Charles, The Windsors is a new six-part comedy soap opera that takes a weekly peek behind the curtains of Britain's most famous family. Its creators Bert Tyler-Moore and George Jeffrie discuss the challenges they set themselves.Charles Dance is the latest Shakespearean to nominate his favourite dramatic character - Coriolanus.Presenter Samira Ahmed Producer Jerome Weatherald.

"+ and -" animated #sculpture by Mona Hatoum, on display in Centre #Pompidou, #Paris

'The first thing you find out in any textbook about maps is that they don't work. There's no such thing as a good map.' What is a map? And what is a map’s relation to the real world? In Mapping it Out: An Alternative Atlas of Contemporary Cartographies (Thames and Hudson) a stellar cast of modern artists, architects, scientists and theorists, including Yoko Ono, Mona Hatoum, Tim Berners-Lee, Anish Kapoor and Damien Hirst, reimagine, vertiginously, the visual techniques we use for representing space, time and reality. Hans Ulrich Obrist, curator, art critic and the originator of the project, joined us at the Bookshop in conversation with the novelist Tom McCarthy, who provided the introduction to the book. See acast.com/privacy for privacy and opt-out information.

Emily Carr University of Art + Design proudly presents renowned artist Mona Hatoum, as part of the Fall 2009 Speaker Series. Hatoum is a Palestine artist born in Beirut. Her poetic and political oeuvre is realized in a range of media, including installations, sculpture, video, photography and works on paper. She has participated in numerous important group exhibitions including The Turner Prize (1995), Venice Biennale (1995 and 2005). Solo exhibitions include Centre Pompidou, Paris (1994), The New Museum of Contemporary Art, New York (1998), Tate Britain, London (2000), Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005).

he Rennie Collection Speaker Series and Emily Carr University of Art + Design are pleased to present a public lecture by Dr. Cliff Lauson, Curator, Hayward Gallery at Southbank Centre, London, UK. Dr. Lauson's recent exhibitions include Tracey Emin (Love Is What You Want), Ernesto Neto (The Edges of the World) and Ron Terada (Ron Terada: Who I Think I Am). In addition to publishing texts in each of these exhibition catalogues, he has written for Art Monthly and contributed to Vitamin D: New Perspectives in Drawing. He wrote on Vancouver art and artists, in discussion with Lawrence Weiner and Dan Graham, for Fillip. Dr. Lauson is a former Assistant Curator at Tate Modern (2005 -2009) and the Education and Public Programmes Coordinator at UBC Museum of Anthropology (1998-2003). He received his BA, in English Literature from The University of British Columbia in 2001, his MA in 2004 and his PhD in 2009 in the History of Art from University College London. Lauson is presently working with artist David Shrigley for the upcoming Hayward Gallery exhibition David Shrigley: Brain Activity from February to May 2012, and is writing the catalogue essay for the Damian Moppett exhibition at the Rennie Collection at Wing Sang (opening November 26). Dr. Lauson will be speaking about his curatorial experiences and providing an update on what is happening in the London art scene. Rennie Collection, one of the largest collections of contemporary art in Canada, has evolved over a number of years to focus on works related to identity, social injustice, appropriation, painting and photography. In 2009, renovations were completed on the oldest building in Vancouver’s Chinatown to display the collection to the public. Previous exhibitions have included Mona Hatoum, Richard Jackson, Amy Bessone and Thomas Houseago, and Martin Creed. Rennie Collection at Wing Sang holds two exhibitions a year with supporting catalogues and events. To book a tour, and to find out further information go to www.renniecollection.org Rennie Collection Speaker Series | Dr. Cliff Lauson Wednesday, November 23, 2011 | 7pm Lecture Hall | Room 301, South Building

Kate Winslet and Jodie Foster star in Roman Polanski's film Carnage, an adaptation of Yasmina Reza's play about two couples who meet to discuss their sons, one of whom has knocked out the other's front teeth. Although things start out cordially, cracks soon begin to show. Novelist Julie Myerson gives her verdict. Director Sacha Mirzoeff discusses the years of negotiation behind his three part TV documentary series Protecting Our Children. Given unprecedented access to social workers and families in Bristol, Mirzoeff reveals the pressures of filming the complex dilemmas faced by child protection teams. The first-ever British production of Samuel Beckett's Waiting For Godot with a cast of black actors is about to open at the West Yorkshire Playhouse. Actors Jeffery Kissoon and Patrick Robinson and director Ian Brown reflect on how this casting changes the play. Migrations, a new exhibition at Tate Britain, explores how British art has been shaped by artists from abroad over the last five centuries. The show moves from works by the Dutch artists van Dyck and Maurice Gheeraerts to contemporary artists such as Steve McQueen and Mona Hatoum. Jackie Wullschlager reviews. Producer Nicki Paxman.

This lecture looks at why decisions are taken about sending particular works of art abroad, and what they say about us, and about those who receive them. Examples include: David Hockney, sent to Mexico the year after homosexuality was decriminalised in Britain; works by Mona Hatoum, sent to Iran during the Islamic Revolution; and works by Antony Gormley, which we chose not to send to Bosnia despite the artist’s entreaties during the Balkan wars. Other parts of the world, as varied as Saudi Arabia, the US, and Northern Ireland, are also considered in this lecture, and how our perspectives shift when seen from very different angles.

Chief Curator Richard Julin meets Jonathan Monk over a conversation about a conversation in 2008 when Monks participated in the exhibition BETWIXT – SOFIA HULTÉN between KENDELL GEERS, GABRIEL OROZCO, JONATHAN MONK, COSIMA VON BONIN, PAUL CHAN and MONA HATOUM. Recorded on November 13, 2008 at Magasin 3, Stockholm Language: English

Chief Curator Richard Julin meets Jonathan Monk over a conversation about a conversation in 2008 when Monks participated in the exhibition BETWIXT – SOFIA HULTÉN between KENDELL GEERS, GABRIEL OROZCO, JONATHAN MONK, COSIMA VON BONIN, PAUL CHAN and MONA HATOUM. Recorded on November 13, 2008 at Magasin 3, Stockholm Language: English

A conversation between Sofia Hultén and Richard Julin, chief curator at Magasin 3 during the 2008 exhibition BETWIXT – SOFIA HULTÉN between KENDELL GEERS, GABRIEL OROZCO, JONATHAN MONK, COSIMA VON BONIN, PAUL CHAN and MONA HATOUM. Recorded on September 27, 2008 at Magasin 3, Stockholm Language: Swedish

A conversation between Sofia Hultén and Richard Julin, chief curator at Magasin 3 during the 2008 exhibition BETWIXT – SOFIA HULTÉN between KENDELL GEERS, GABRIEL OROZCO, JONATHAN MONK, COSIMA VON BONIN, PAUL CHAN and MONA HATOUM. Recorded on September 27, 2008 at Magasin 3, Stockholm Language: Swedish