Podcasts about moscow museum

Welcome to the twenty-sixth edition of our Russian-language podcast Then & Now with me, Teresa Cherfas. In this episode, you can hear the second part of my interview with Irina Shcherbakova, one of the founders of “Memorial”. I first spoke to her in October of this year [you can listen to podcast #24 on our website here, where you can also find links to our YouTube channel and other platforms]. Since we last spoke, there has been another blow to the impartial study of Russian history. On 14 November, the Moscow Museum of the History of the Gulag was shut. The official reason given was that it was a fire risk. This would seem to be the most recent link in the chain that has seen the shutting down of unauthorised interpretations of Russian history. Before that, the Perm-36 museum was declared a foreign agent and then seized by the local authorities; “Memorial” was declared a foreign agent and then closed in 2021; and, in parallel, the authorities took control of all public initiatives, such as the Immortal Regiment, honouring the memory of war victims. The main theme of our conversation today is: what role does insistence on the ‘correct' interpretation of history play in the political and social life of Russia – and why is controlling the historical narrative so important for the Putin regime? This podcast was recorded on 18 December 2024.My questions:What were the Putin regime's first attempts to take over control of Russia's history? This process seems to have begun almost immediately after the mass protests of 2011-12. What was its purpose?Particularly pronounced in President Putin's third term, was the appearance of articles by various Russian scholars devoted to promoting an ‘authorised' interpretation of history. In 2014, an article of the criminal code penalising the rehabilitation of Nazism was adopted, which also banned the dissemination of ‘information known to be false' about the activities of the USSR in World War II. What are the goals of these initiatives from the point of view of the authorities? Was Memorial's work directly affected by these new laws? Were you personally affected by them in your own work?Why is the Great Patriotic War of such importance for Putin's goals regarding the country's history? When did it become such a significant part of the regime's policies?The Immortal Regiment was a very interesting civil society initiative to preserve the memory of those who died in the Great Patriotic War. How have the authorities used this in their favour? And why?In 2021, Memorial was forced to suspend its activities. The following October, Memorial received the Nobel Peace Prize. Tell us about your emotions and memories of that time.How do you explain why it was that Putin needed to close down Memorial? After all, a couple of months later his full-scale invasion of Ukraine began.Do you remember how you learnt about the invasion of Ukraine by the Russian army? Did it take you by surprise?How did you make your decision about whether to stay in Russia or to leave?There are new history textbooks for schoolchildren now in Russia, access to archives is limited, and the state closely monitors how the country's history is interpreted, especially in the public arena. What independent sources of historical information remain accessible in Putin's Russia?What happened to Memorial's invaluable archives after the organisation was shut down?How do you see the future for Russia? Under what circumstances would you consider returning to your homeland?

Nonny de la Peña is regarded as one of the most influential pioneers in virtual and augmented reality and immersive technologies and journalism. In 2022 Nonny received a Peabody Award, introduced by the Oscar Award Winning Director Alejandro Iñárritu, and in 2022 she was also inducted into the SXSW Hall of Fame. Nonny was named Wall Street Journal Technology Innovator of the Year, A Wired Magazine #MakeTechHuman Agent of Change, and she has been called “The Godmother of Virtual Reality” by Engadget and The Guardian. Fast Company named her “One of the People Who Made the World More Creative” and she was one of CNET's 20 Most Influential Latinos in Tech for her pioneering work in immersive storytelling. Her latest endeavor is as the Founding Director for Narrative and Emerging Media at Arizona State University, campus located in Downtown L.A. As a Harvard Graduate, a New America Fellow, Yale Poynter Media Fellow, and winner of the Knight Innovation Award, Nonny is widely credited with creating the genre of immersive journalism. She is currently a member of the BAFTA virtual reality board, and is a former correspondent for Newsweek. Nonny's virtual reality work has been featured by the New York Times, BBC, Mashable, Vice, Wired and many others. Showcases and Talks around the globe include the Sundance and Tribeca Film Festivals, The World Economic Forum in Davos, The Victoria and Albert Museum, Moscow Museum of Modern Art, and Games For Change. She has more than 20 years of award-winning experience in print, film and TV and her spatial narratives are consistently met with critical acclaim. Video of Alejandro Gonzalez Iñárritu presenting the Peabody Award to Nonny: https://www.youtube.com/watch?v=Xqoz7KZdyaY&t=0s For more on Nonny or to book her to speak: https://www.calentertainment.com/portfoliotype/nonny-de-la-pena/Love the show? Subscribe, rate, review, and share! https://www.calentertainment.com/virtually-speaking/

Antoine Catala is French. He has lived in the US for the past 17 years. He has exhibited at the Whitney Museum, New York, New Museum, New York, Sculpture Center, New York, Carnegie Museum of Art, Pittsburgh, Kunsthalle Wien, Austria, MACLyon, Lyon, Fridericianum, Kassel, MoMA PS 1, New York, Palais de Tokyo, Paris, Moscow Museum of Modern Art, Moscow, among other institutions and galleries. He was part of the Venice Biennale in 2019. He is represented by 47 Canal, NYC and Galerie Christine Mayer, Munich. "I am interested in the banal, everyday use of communication tools. I look at platforms and devices, and scrutinize how they are used to communicate, or miscommunicate. So at the center of all I do, there is language. New platforms of communication (such as smart phones, texting, net 2.0) allow language to evolve in radical new ways (images as words, short form messages, audio messages, etc). Language is by essence playful, and this playfulness flourishes in any form. More and more language develops a symbiotic bond with technology. In studying these new forms of language, I am interested not as much in what is changing about us, but what remains uniquely, deeply, human in communication. As time progresses, I am more and more fascinated in how art communicates about its presence in a room.” - A.C. Jardin Synthétique à L'isolement, Installation View at MacLyon, 2015, photo Blaise Adilon I am here for you (t-shirt), 2017, silicone rubber, coated foam, resin coated foam, electronics, 15 x 34 x 31 in., 38.1 x 86.4 x 78.7 cm, courtesy 47 Canal and the artist, photo Deniz Guzel

Blankets Project  2018-2019, Eight felt blankets, screen print, metal hinges. 180cm x 220cm eachThis is the project about migration and borders, belonging and alienation, statelessness and trauma. As part of The Sea is the Limit project I made a series of eight printed felt blankets that reflect on the experience of being a migrant. The blankets are conceived as an interactive installation, where the participants are invited to wear the blankets in the exhibition space as an act of sharing and empathy. Picture: Anthony Chappel-Ross Varvara Keidan Shavrova is a visual artist, curator, educator and researcher. Born in the USSR, she lives and works between London, Dublin and Berlin. She studied at the Moscow State University of Printing Arts, received her MFA from Goldsmiths, University of London, and has been awarded Arts & Humanities Research Council Studentship by London Arts & Humanities Partnership, to conduct her practice-based PhD at the Royal College of Art in London. She has exhibited internationally, including at the Venice Biennale of Architecture, Gallery of Photography Ireland, Moscow Museum of Modern Art, Espacio Cultural El Tanque, Tenerife.Shavrova curated international visual arts projects, including The Sea is the Limit at York Art Gallery (2018) and Virginia Commonwealth University, Qatar (2019), and co-curated Beijing Map Games: Dynamics of Change , an international art and architecture exhibition in Beijing (China), Birmingham (UK) and Terni (Italy).  She is the recipient of the National Lottery Arts Council of England Project Awards (2019-2020 and 2020-2021), the Arts Council Ireland Visual Arts Bursary Award (2021), and the Prince's Trust Individual Artist's Award, among others. Her work is included in a number of public and private collections worldwide, including at the Department of the Foreign Affairs and Trade of Ireland, at the Office of Public Works art collection in Dublin, at the Ballinglen Arts Foundation collection in County Mayo, and at the Museum of the History of St.Petersburg in Russia. Shavrova is represented by Patrick Heide Contemporary Art, London. Inna's Dream. 2019 Hand tufted Axminster wool carpet objects, digital embroidery on velvet, acrylic and emulsion on wall. 7 m x 5.5 m x 4 m. In 1930 my great uncle, Vadim Borisovitch Shavrov, a well-known Soviet engineer and author, designed and built the first Soviet amphibious plane Sh-2 in his apartment in Petrograd. Between 1934 and 1964 the Sh-2 flying boat was used by the agricultural, medical and military sectors, as well as in exploration of the Arctic. In my recent installation Inna's Dream, I reinterpret the Sh-2 by rendering it in carpet and textiles. This demilitarized and domesticized version of a deflated military machine echoes the collapsed Soviet dreamworld, while the materials I use comment on women's labour. The Palace of the Soviets and King Kong. 2020 Digital knitting, hand stitching and embroidery, wool and synthetic thread. 122cm x 255 cm In these recent works that created during the lockdown, I am questioning the symbols of global power and authority by juxtaposing iconic images from movie stills and archival documents associated with the Communist and the Capitalist empirical architecture, the Palace of the Soviets and the Empire State Building. I employ methodologies of knitting, stitching and embroidery, to physically interlink the historically opponent political narratives that appear uncannily similar.

Marcin Dudek (b. 1979, Poland) lives and works in Brussels, Belgium. Art as a strategy for living; Marcin Dudek’s practice builds from autobiographical experience and expands to explore the broader phenomenon that shaped it. These include the rituals of subculture, DIY economy and crowd dynamics – how one gets pulled into many and what control is lost as a mass gains momentum. Often working with found, salvaged or repurposed materials, Dudek constructs objects, installations, painting and performance, touching upon questions of power and aggression in the context of sport and cultural spectacle. His paintings offer insight into his overall approach, which incorporates a rather obsessive work ethic, meticulously slicing and manipulating medical tape, rubbing images into the cloth and building up a painting through collage. The level of detail and craft is manic and neurotic, meditative and thoughtful, as violence becomes an energetic aesthetic reflecting a lived experience. After leaving Poland aged 21, he studied at the University Mozarteum, Salzburg and at Central Saint Martins, London, graduating in 2005 and 2007 respectively. His work has been exhibited internationally at institutions including the Moscow Museum of Modern Art, Salzburger Kunstverein (AT), the Arad Art Museum (RO), Bunkier Sztuki Gallery in Krakow (PL), the Goethe-Institut Ukraine, and The Warehouse Dallas (US). His installation "The Cathedral of Human Labor" (2013) is on permanent view at the Verbeke Foundation in Belgium. In 2018, he presented a large installation at Manifesta 12 Palermo, which was followed by a solo exhibition at the Wrocław Contemporary Museum. Current and upcoming exhibitions include the "Psychic Wounds" at The Warehouse Dallas (US) curated by Gavin Delahunty and a group exhibition at 180 The Strand/ Vinyl Factory, curated by OOF, London (UK). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In questo audio il prezioso incontro con Alberto Garutti artista e Adelaide Corbetta imprenditrice comunicazione.L'intervista con Alberto Garutti e Adelaide Corbetta è nel progetto Contemporaneamente a cura di Mariantonietta Firmani, il podcast pensato per Artribune. Incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà.Con Alberto Garutti e Adelaide Corbetta parliamo di arte e comunicazione. Di come sia importante risalire alle origini delle cose, di come l'artista può scendere dal piedistallo per fare un passo avanti verso la società. La comunicazione è un cappello molto ampio che abbraccia anche la pubblicità, ma parte da uno studio approfondito della realtà che poi vira su declinazioni molteplici. Parliamo dei limiti che sono benzina, necessari all'arte, e importantissimi per gli artisti capaci di accettare la sfide della storia. E molto altroAdelaide Corbetta fonda nel 2003 adicorbetta, studio di comunicazione che si occupa di progetti di arte visiva, architettura, made in Italy, senza dimenticare il mondo. Dal 2010 con Veronica Ventrella ha dato vita a Ruski Duski, agenzia specializzata nella comunicazione di prodotto, design, tecnologia. Tra i committenti Fabriano, Gruppo Fedrigoni, Chanel, Chiostro del Bramante Roma, Accademia Carrara di Bergamo, Opera di Santa Croce di Firenze, MACRO Roma, Associazione Abbonamento Musei, Milano PhotoWeek, Landscape Festival Bergamo, Fondazione Zegna, Il Sole 24 Ore, Artissima, Galleria Civica di Trento, Fondazione Torino Musei, Mobike, Casa Ricordi, Oliviero Toscani Studio, Inter - F.C. Internazionale, Terra Moretti, Bellavista, Planeta. Presidente di The Circle Italia Onlus, network fondato nel 2008 da Annie Lennox, è ambasciatore di Bambini Cardiopatici nel Mondo Onlus.Alberto Garutti, artista e docente, insegna pittura all'Accademia di Brera di Milano, ora allo IUAV di Venezia. Invitato a grandi eventi internazionali, come: Biennale di Venezia, Biennale di Istanbul, Serpentine Gallery di Londra. Vince il Premio Terna 02, e il Premio per la Cultura della città di Gand in Belgio. È membro di giuria nel premio Furla, presidente di giuria in Italian Studio Program al MoMA PS1 New York. Il suo lavoro per la Corale Vincenzo Bellini (2000) è selezionato nel 2011 da Creative Time di New York tra i 100 progetti pubblici più interessanti. Realizza molte opere permanenti: a Bergamo e Bolzano (in collaborazione con Museion), a Trivero per la Fondazione Zegna, a Cagliari per la sede Tiscali. L'opera “Tutti i passi” presso Aeroporto di Malpensa, la Stazione Cadorna, la Pinacoteca di Milano, in piazza S.M. Novella a Firenze e alla Biennale di Kaunas. Nel 2020, nuova opera permanente la Palazzo Ardinghelli sede Museo MAXXI a L'Aquila. Alberto Garutti allestisce mostre personali in molte gallerie in Italia e all'estero tra le quali: PAC Milano, Galleria Paul Maenz a Colonia, Galleria Minini a Brescia, Magazzino d'Arte Moderna a Roma, Studio Guenzani, Galleria Marconi a Milano, Buchmann Galerie a Lugano e Berlino, Galleria Massimo de Carlo a Milano. Numerose le collettive tra le quali: Palazzo Grassi a Venezia e Chicago, Fondazione Remotti di Camogli, Triennale di Milano, Fondazione Sandretto Re Rebaudengo di Torino, al Vitra Design Museum, a Palazzo Cusani, a Palazzo Fortuny Biennale di Venezia 2017; all'Hangar Bicocca di Milano, nella Cattedrale neogotica di Ostenda, nel Palazzo del Quirinale a Roma, al museo Kestnergesellschaft di Hannover. Numerose le opere pubbliche realizzate per città e Musei: a Gand in Belgio per il Museo S.M.A.K., a Herford per il MARTA Museum, a Kanazawa in Giappone al Century Museum of Contemporary Art, a Mosca per il Moscow Museum of Modern Art, a Milano nel quartiere di Porta Nuova. La sua opera “Temporali” è stata installata al MAXXI di Roma, a Caorle (Ve), l'opera “Ai nati oggi” in Piazza del Popolo a Roma, a cura di Hou Hanru per il MAXXI.

Episode 51 features Guyanese-American artist Theresa Chromati (b. 1992). She has garnered critical and institutional attention for figurative paintings that are shaped by fragmented forms of desire and constant motion. Bursts of complex color, sensual protrusions, and texture deploy abstraction to explore various contemporary realities of black woman. These bodies are at once imaginative, bordering on grotesque, and celebratory as they convey a variety of emotional and spiritual states of being. Chromati was born and raised in Baltimore, attended the Pratt Institute, and is now based in New York City. Recently, her work was on view at The Baltimore Museum of Art, The Pérez Art Museum Miami, and The Moscow Museum of Modern Art. She has been featured in The New York Times, i-D, Interview Magazine, Juxtapoz, Architectural Digest, and Vogue. Photo credit: Elliott Jerome Brown Jr. https://www.theresachromati.black/ https://bmoreart.com/2020/06/stepping-out-to-step-in-theresa-chromati.html https://www.kravetswehbygallery.com/theresa-chromati https://www.nytimes.com/2019/08/07/t-magazine/theresa-chromati-artist.html https://www.documentjournal.com/2019/06/theresa-chromatis-technicolor-portraits-of-women-being-as-loud-as-they-want/ https://i-d.vice.com/en_uk/article/bv84zd/theresa-chromati-ive-been-going-back-and-forth-attempting-to-settle-on-a-thought-for-this-time https://www.architecturaldigest.com/story/this-museum-found-an-ingenious-way-to-open-an-exhibition-during-lockdown https://www.decontemporary.org/theresa-chromati

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. Each month we interview visiting artists to the MFA Theatre Program's Grad Lab, one of the core classes of the program where grads work with guest artists and develop group generated performance pieces monthly. In our second podcast of the 20/21 season, Chanel Blanchett (SLC21) and Andrew Del Vecchio (SCL22) interview the director and designer Carlos Soto. Carlos Soto is a director and designer based in New York City, where he studied Art History and Literature at the Pratt Institute. His GIRLMACHINE premiered at Performa 09 and was subsequently presented in Paris by the American University of Paris. Pig Pig Pig (2010) was developed in residency at Le Point Éphémère, Paris, and performed at the Moscow Museum of Modern Art. In 2011, he was featured in an evening of works curated by Robert Wilson for Works & Process at the Guggenheim Museum. In September 2013, Pace Gallery, NY, exhibited video work created in residency at Willem de Kooning’s studio in Springs, NY. Soto has presented work at the Triennale di Milano, Kunstverein in Hamburg, the Istanbul Biennial, among others. He has been artist-in-residence at The Watermill Center (2009 & 2015), Kampnagel Hamburg, Schauspielhaus Wien, Lower Manhattan Cultural Council, New York Live Arts, among others. Photo © Carlos Soto

Gregory Siff joins DJ Skee in this chapter of the Topps Project 2020 Artist Interview series to talk his iconic designs behind the series, history as a sports fan, love of baseball, and story coming up as an artist. Siff has done commissions and installations for Mercedes Benz, Vans, Red Bull, and Warner Bros. among others and his artworks are included in Swizz Beatz's Dean Collection, Deitch Projects, Santa Monica Museum of Art, Moscow Museum of Modern Art, Soho House New York and the Google HQ, to name a few.

Gregory Siff was born in Brooklyn, New York in 1977. Gregory lives and works in Los Angeles. His artworks are included in Swizz Beatz’s Dean Collection, Deitch Projects, Santa Monica Museum of Art, Moscow Museum of Modern Art, Soho House New York and the Google HQ, to name a few. Siff’s exhibitions include "When You Were Little You Used to Color," 287 Gallery (2018), “Happiness Dealer,” Samuel Owen Gallery Nantucket (2017), "Portrait of an American Ice Cream Man," 4AM Gallery (2016), Art Miami: Gallery Valentine (2016), “Walls,” Pacific Design Center (2015), Scope Miami and New York (2018-2019), “Matter of Time,” Gallery Brown (2012), “There & Back,” Siren Studios x The Art Reserve (2012). Siff has touched all areas of the art world with pieces on display in the Museum of Modern Art’s MoMA PS1 for Klaus Biesenbach’s group show “Rockaway!" as well as a mural in the ACE Museum for non-profit The Art of Elysium with Christie’s Auction House. He was selected by Vans Custom Culture to be one of their “Art Ambassadors” inspiring students across the United States to embrace their creativity. His hand-painted Vans were on view at the Whitney Museum of American Art. He has done commissions and installations for Mercedes-Benz, Helmut Lang, Adidas, Marc Jacobs with Louisxxx, Forbes, Rolling Stone, Teen Vogue, The Standard, Sotheby’s, Warner Bros. Records and Pyer Moss. Painting in a purposeful yet playful manner, his work exhibits meaning that is literal yet open for interpretation of nostalgia and childhood. Capturing happy moments while also tackling more serious topics, like the “Black Lives Matter” campaign, Gregory Siff does not shy away from using his art to initiate a conversation.

As a country manager for IWG plc (formerly Regus), Irina Baeva joins to speak about her experiences growing the co-working business in Moscow and other Russian cities over the past nine years, including during the financial crisis of 2014-2015. Her skill set, determination, and resourcefulness have contributed to the leading position that IWG holds within Moscow's co-working scene, as well as the increasing popularity of flexible office space. Based on the high demand for Regus’ existing locations, Irina has an acute sense of the health of Moscow’s office market, the business areas that are driving economic growth, and the reasons for investing into the office sector.Episode LinksGeneralRegus Russia: https://www.regus.com/offices/russiaMoscow-City: https://en.wikipedia.org/wiki/Moscow_International_Business_CenterReal Estate Projects / DevelopersEmbankment Tower: https://en.wikipedia.org/wiki/Naberezhnaya_TowerVesper Group: https://www.vespermoscow.com/Bolshevik: http://bolshevikfactory.ru/Outdoor / Pedestrian Areas Chistye Prudy: https://en.wikipedia.org/wiki/Clean_PondsUlitsa Bolshaya Lubyanka: https://en.wikipedia.org/wiki/Bolshaya_Lubyanka_StreetGorky Park: https://en.wikipedia.org/wiki/Gorky_Park_(Moscow)Moscow Botanical Garden of Academy of Sciences: https://en.wikipedia.org/wiki/Moscow_Botanical_Garden_of_Academy_of_SciencesRestaurantsDr. Zhivago: https://www.drzhivago.ru/en/White Rabbit: http://whiterabbitmoscow.ru/en/Rappoport Restaurant Group: https://rappoport.restaurant/en/restaurantNovikov Restaurant Group: https://en.novikovgroup.ru/restaurants/CultureBolshoi Theater: https://www.bolshoi.ru/en/Tretyakov Gallery: https://www.tretyakovgallery.ru/en/Moscow Museum of Modern Art: http://www.mmoma.ru/en/#Garage Museum of Contemporary Art: https://garagemca.org/enContact Informationhttps://www.linkedin.com/in/irina-baeva-42ab05182/

Christmas, Spring, boats and carousels: Peggy Brunton's paintings are filled with light and color. See them at the library in December; opening Friday evening December 7. Artist Peggy Brunton received a Master of Fine Arts from the University of Washington and has taught ceramics, painting and art history for Seattle Pacific University. Her work has won awards in many prestigious Northwest exhibitions and has been placed in private collections in Berlin, London, Madrid, Paris, across the USA and throughout the Northwest. She has been chosen to be in permanent collections at Moscow Museum of Modern Art, Henry Gallery, and Seattle Art Museum. Listen here to learn of her approach to her work -- and don't miss her opening at the First Fridays Art Walk at the Bainbridge Library, December 7 from 5-7 pm. Credits: BCB Host: John Fossett; BCB audio editor and publisher: Diane Walker; social media: Jen St. Louis.

Christmas, Spring, boats and carousels: Peggy Brunton's paintings are filled with light and color. See them at the library in December; opening Friday evening December 7. Artist Peggy Brunton received a Master of Fine Arts from the University of Washington and has taught ceramics, painting and art history for Seattle Pacific University. Her work has won awards in many prestigious Northwest exhibitions and has been placed in private collections in Berlin, London, Madrid, Paris, across the USA and throughout the Northwest. She has been chosen to be in permanent collections at Moscow Museum of Modern Art, Henry Gallery, and Seattle Art Museum. Listen here to learn of her approach to her work -- and don't miss her opening at the First Fridays Art Walk at the Bainbridge Library, December 7 from 5-7 pm. Credits: BCB Host: John Fossett; BCB audio editor and publisher: Diane Walker; social media: Jen St. Louis.

If you have some time, please read about Gagarin. He's awesome!  And as usual, Russian grammar and vocabulary waiting for you in this episode.   Вчера я ходила в московский Музей космонавтики. Потрясающее место! Космос и его изучение всегда имели большое значение для России. Именно СССР в 1957-м году впервые запустил в космос спутник. Спустя четыре года, в 1961-м, на орбиту отправился и первый человек, знаменитыйЮрий Гагарин. Интересно, что до Гагарина орбитальный полет совершали животные. Самые знаменитые русские космонавты-животные – собаки Белка и Стрелка. В 1960-м году они провели в космосе 25 часов и вернулись на Землю целыми и невредимыми. В музее космонавтики можно увидеть их чучела. Кроме того, там очень много интересных вещей! Модели космических кораблей и спутников, старые и новые скафандры, личные вещи известных космонавтов. Можно зайти внутрь космической станции и посмотреть, как там все организовано. My FREE email course - http://realrussianclub.com/subscribe  Transcript and translation - http://realrussianclub.com/2016/03/30/episode-10/ My Video Lessons on YouTube- http://youtube.com/realrussianclubchannel  Instagram - http://instagram.com/realrussianclub  My Twitter - http://twitter.com/realrussianteam  Donate with PayPal - https://www.paypal.me/realrussianclub    

Emily Carr and Rennie Collection Speaker Series Emily Carr is pleased to present a lecture by Martin Creed in conjunction with his exhibition of works and performances at the Rennie Collection from May 21 to October 22, 2011. It is probable that Creed is best known in Vancouver for Work No. 851 (2008) his seventy-five foot neon sentiment EVERYTHING IS GOING TO BE ALRIGHT, permanently installed at Wing Sang. The phrase should rightly be read as a glowing beacon of optimism and conciliation. A converse interpretation, however, might lead one to ask “but exactly how good is ‘alright’? By entangling the double entendre in many of his works, Creed seemingly employs binary opposites: on or off; big and small; open, then closed. When these opposites collide, as they do so often in these numerically catalogued works, what was once a simple dualism is exploded, revealing infinite ulterior facets. The door into Martin Creed’s world is much like Work No. 129: a door continuously opening and closing (1995), where we can look through it and see nothing or everything, or both, in equal parts. Creed renders the invisible tangible to spectacular effect with Work No. 329 (2004). By employing party balloons to contain precisely fifty percent of the calculated volume of a particular room, the artist provokes the viewer’s awareness of how they may negotiate the remainder. Creed craftily compounds elements again in Work No. 372 (2004-2005). A grand piano, an elegant yet burdensome instrument, normally used to play florid compositions brimful of scintillating keystrokes is transformed into a brute, thumping automaton. As the innards of the piano reverberate each time the lid comes down, the sculpture also becomes a score. Rennie Collection holds a diverse breadth of these seminal works alongside more recent endeavours. In Work No. 1000: Broccoli prints (2009-2010), a special commission to be shown for the very first time during this exhibition, the artist halves an imperceptively complex shape, a sprig of broccoli, using the exposed plane to conduct printed impressions. Creed has similarly been bisecting entire exhibitions with Work No. 850 (2008), in which convoys of human sprinters are directed to traverse spaces, such as the neoclassical galleries of Tate Britain, at timed intervals. This piece will be making its North American debut at Wing Sang. Martin Creed was born in Wakefield, England in 1968 and currently lives and works in London and Alicudi, Italy. He won the Turner Prize in 2001 and in recent years has worked on music, dance, writing, sculpture and painting. Creed’s recent solo exhibitions and projects include Moscow Museum of Modern Art; Fruitmarket Gallery, Edinburgh; Hiroshima City Museum of Contemporary Art, Hiroshima; Ikon Gallery, Birmingham; and the Duveen Commission, Tate Britain, London. Rennie Collection has evolved over a number of years to focus on works related to identity, social injustice, appropriation, painting and photography. Bob Rennie has garnered an international reputation as a dedicated collector, amassing one of the largest collections of contemporary art in Canada. In 2009, renovations were completed on the oldest building in Vancouver’s Chinatown to display the collection to the public. 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