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2 episodes with Okwui Enwezor
2 episodes with Okwui Enwezor
4 episodes with Okwui Enwezor
2 episodes with Okwui Enwezor
2 episodes with Okwui Enwezor
On this episode I'm joined by Daniel Boyd as we discuss his newly commissioned work presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as, what does it mean to carry a home, a history, a language, a legacy, and a lineage.Born in 1982 in Cairns Australia, Daniel Boyd is one of Australia's most highly regarded artists. In 2014, Boyd became the first indigenous artist to win the prestigious Bulgari Art Prize, for his work, Untitled (2014), that referenced Australia's long but little known history of slavery. The painting is both a personal and social account of history, Pentecost Island was home to Daniel's great, great paternal grandfather before he was taken as slave to the sugarcane fields in Queensland. Through his artistic practice, he seeks to negotiate the identity of art, history and cultural survival through his investigations of oppressed and colonial culture. Daniel has been showing in Australia and internationally since 2005, and he participated in the 56th Venice Biennale in 2015, as curated by Okwui Enwezor.In this episode, Daniel discusses his installation for the Sharjah Biennial 16 and his use of black vinyl to create an immersive environment in the iconic star-shaped building, The Flying Saucer. He talks about his artistic approach, which engages with the history of modernism, the built environment, and First Nations Australian perspectives on placemaking. He also reflects on his responsibility as an Aboriginal artist to share his people's stories and how art can offer a counter-narrative to Australia's oppressive history. He elaborates on the importance of art in slowing down and engaging deeply, mentioning influences like the American artist Bruce Nauman and the Martinican literary titan and influential philosopher, Edouard Glissant. -------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco
On this episode I'm joined by Hoor Al Qasimi during the opening week of the Sharjah Biennial.Al Qasimi is the President and Director Sharjah Art Foundation, an organization she founded in 2009 as a catalyst and advocate for the arts around the world. She has been the Director of Sharjah Biennial since 2002, an internationally recognized platform for contemporary artists, curators and cultural producers, and curated Thinking Historically in the Present, the Sharjah Biennial 15 in 2023, originally conceived by the late Nigerian curator, Okwui Enwezor. After establishing the Sharjah Art Foundation (SAF) in 2009, she developed programming that included exhibitions, artist residencies, and educational initiatives, aimed at fostering a cross-cultural dialogue and exchange within the UAE and globally. Recently, Al Qasimi was named the artistic director for both the 2026 Biennale of Sydney and the 2025 Aichi Triennale in Japan—the latter appointment marking her as the first non-Japanese curator to hold the position.In this episode, the director reflects on the meaningful aspects of this year's edition of the Sharjah Biennial, the collaboration among the five curators, and the importance of showcasing art in small local communities.
This conversation between curators Ebony L. Haynes, Thomas (T.) Jean Lax, and K.O. Nnamdie was initiated alongside an essay series in e-flux journal titled “After Okwui Enwezor,” edited by Serubiri Moses. The episode begins with three short audio excerpts from [1] On the Politics of Disaggregation: Notes on Cildo Meireles' Insertions into Ideological Circuits—Parsons The New School for Design [2] Postwar: Art between the Pacific and the Atlantic, 1945–1965—Fondation Giacometti [3] Art Dubai Global Art Forum 8: 1955–2055: A Documenta Century Exhibitions covered include: Postwar: Art Between the Pacific and the Atlantic, 1945–1965 (2016) and the 56th Venice Biennale: All the World's Futures (2015). Additionally, the idea of rigorous curating, and the horizon is explored in discussion of recent exhibitions including Judson Dance Theater: The Work is Never Done (2018) at MoMA, and Invisible Man (2017) featuring Jessica Vaughan, Kayode Ojo, Torkwase Dyson and Pope.L at Martos Gallery, and Evil N*gger (2025) featuring Glenn Ligon and Julius Eastman at 52 Walker. The “After Okwui Enwezor” series in e-flux journal reflects on the resounding presence of the late writer, curator, and theoretician. Along with a focus on his many innovative concepts like the “postcolonial constellation,” the series presents a wide evaluation of Enwezor's curatorial and theoretical practice following other similar initiatives, such as the special issue on Enwezor by the journal he founded, Nka Journal of Contemporary African Art. Moving beyond tributes and biography, this series covers topics such as the relevance of Enwezor's approach to politics, the limits of the exhibition as a form for critique, his conception of modernity and writing on the contemporary, his nomadic epistemology, accounts of his biennials in Seville, Paris, and Venice as institutional critique, and the specific contribution of non-Western artists in the art world. Ebony L. Haynes is the curator and Senior Director at 52 Walker, a David Zwirner gallery space presenting longer format exhibitions with primarily conceptual and research-based artists. T. Lax is a curator of media and performance at New York's Museum of Modern Art, where he has co-organized Judson Dance Theater: The Work is Never Done (2018), Just Above Midtown: Changing Spaces (2022) and Ceremonies Out of the Air: Ralph Lemon (2024) among others. Thomas began his career at the Studio Museum in Harlem, where he contributed to the landmark “f show” contemporary art series in 2012 and put together When The Stars Begin To Fall: Imagination and the American South in 2014. K.O. Nnamdie is an artist, writer, curator, and art advisor. Nnamdie ran Restaurant Projects, a curatorial project between 2018 and 2025 based on their interest in the intersection between hospitality and the arts. Nnamdie also directed anonymous gallery between 2021 and 2024.
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
As we approach the first anniversary of the Russian invasion of Ukraine, The Art Newspaper has published an investigation that raises serious concerns that works of art taken by Russian troops from a museum in Kherson, Ukraine, in November 2022 may not be repatriated once the fighting ends. Our London correspondent Martin Bailey tells us about his story. Plus, the Sharjah Biennial opens next week, and is the final biennial curated by Okwui Enwezor, who died in 2019, but set the blueprint for the show, entitled Thinking Historically in the Present. We talk to Nadine Khalil about the biennial and Sharjah's place in the Middle Eastern art ecosystem. And this episode's Work of the Week is Invisible Man, Somewhere, Everywhere (1991) by the American photographer Ming Smith, a key piece in a new exhibition of Smith's work at the Museum of Modern Art in New York. Oluremi Onabanjo, the curator of the show, tells us about the work.The Sharjah Biennial runs from 7 February to 11 June.Projects: Ming Smith, Museum of Modern Art, New York, 4 February-29 May. Ming Smith: Invisible Man, Somewhere, Everywhere, by Oluremi C. Onabanjo, Museum of Modern Art, New York, 48pp, $14.95/£17 (pb) Hosted on Acast. See acast.com/privacy for more information.
Episode 104 features painter Lavar Munroe (b. 1982, Nassau, Bahamas). He earned his BFA from Savannah College of Art and Design in 2007 and his MFA from Washington University in 2013. In 2014, Munroe was awarded a postdoctoral research fellowship at the University of North Carolina at Chapel Hill. He was included in Prospect.4: The Lotus in Spite of The Swamp, the New Orleans triennial curated by Trevor Schoonmaker, and the 12th Dakar Biennale, curated by Simon Njami, in Senegal. In 2015, Munroe's work was featured in All the World's Futures, curated by Okwui Enwezor as part of the 56th Venice Biennale. His work has been included in museums such as the Nasher Museum of Art in Durham; Perez Art Museum, Miami; National Gallery of Bahamas, Nassau; MAXXI Museum of Art, Rome; Museum of the African Diaspora, San Francisco; Virginia Museum of Modern Art, Virginia Beach; Ichihara Lakeside Museum Ichihara, Japan; and The Drawing Center, New York. Munroe was awarded residencies at the Skowhegan School of Painting and Sculpture, MacDowell Colony, the Headlands Center for the Arts, Joan Mitchell Center, Thread: Artist Residency & Cultural Center (a project of the Josef and Anni Albers Foundation), a recipient of the Joan Mitchell Foundation Painters and Sculptors Grant. and was an inaugural Artists in Residence at the Norton Museum of Art. He is included in upcoming exhibitions at The Centre Pompidou-Metz (France) , The Zeitz Museum of Contemporary Art Africa (South Africa) and a solo exhibition in London, among others things. Lavar Munroe lives and works between Baltimore, Maryland and Nassau, Bahamas. Headshot photo credit: Thomas Towles Artist https://lavar-munroe.com/home.html Joan Mitchell foundation https://www.joanmitchellfoundation.org/lavar-munroe M+B https://www.mbart.com/exhibitions/216/overview/ Jack Bell Gallery https://www.jackbellgallery.com/artists/64-lavar-munroe/works/7963-lavar-munroe-today-the-last-boy-2020/ ArtForum https://www.artforum.com/picks/lavar-munroe-84697 Artnet http://www.artnet.com/artists/lavar-munroe/ Wikipedia https://en.wikipedia.org/wiki/Lavar_Munroe Baltimore Art News https://bmoreart.com/2021/06/lavar-munroe-2021-sondheim-finalist.html Kampala Art Biennale 2020 https://kampalabiennale.org/artists-3/masters2020/ Culture VOLT https://www.culturevolt.co/thebusinessofart/2020/9/15/lavar-munroe
Nari Ward talks to Ben Luke about his influences—including literature, music and, of course, art—and the cultural experiences that have shaped his life and work. Ward often uses found materials, from baby strollers to baseball bats and shoelaces, and repurposes them in sculptures, wall-based text works and installations. They address present and historical social and political issues, including race and poverty, and deal directly with emotions like loss and hope. Ward was born in 1963 in St Andrew, Jamaica, and moved with his family to the US when he was 12. He now lives and works in New York, and specifically Harlem, which has been much more than the location of his home and studio—often providing the raw materials and the thematic basis of his art. The late curator Okwui Enwezor said of Ward that he had “completely transformed the scale and the ambition of installation art”. He discusses his early interest in the Brothers Hildebrandt, his direct references to Piero Manzoni and Joseph Beuys and his use of Claude McKay's poetry and The Staple Singers' lyrics. Plus, he answers the questions we ask all our guests, including the ultimate: what is art for? See acast.com/privacy for privacy and opt-out information.
1-54 Forum London 14 - 17 October 2021 A History of Echoes Amidst this symphony of voices: curators, artists and creative collaborators discuss the exhibitions fashioned from the imagination of the late Nigerian curator, Okwui Enwezor (1963-2019). By exploring the sediments of the past, the collective voices herein sketch out a path for listeners to imagine an alternative possible future—one that is inclusive of the dissonant voices and identities, which make up our shared world. Hoor Al Qasimi (President and Director, Sharjah Art Foundation and President, The Africa Institute, Sharjah) leads a conversation with Jo-Anne Birnie-Danzker (former Director, Villa Stuck; Vancouver Art Gallery; Frye Art Museum and Biennale of Sydney), Godfried Donkor(Artist, Gallery 1957) and Joana Hadjithomas and Khalil Joreige (Artists). www.1-54.com
Beatriz Bustos Oyanedel is a Chilean curator residing in Santiago, Chile. She has produced and curated different cultural initiatives in museums and cultural centers in South America, Asia and Europe. She worked as Director of Art and Education for the Mar Adentro Foundation. She is currently the director of Centro Cultural La Moneda, the main space for the arts in Chile. Under her direction, relevant exhibitions have been exhibited, such as Obra Viva by Joaquín Torres García and J. M. W. Turner. Watercolors Tate Collection. And recently, in 2020, Soplo by Ernesto Neto, among others. Her investigative and curatorial work is oriented towards the search for meaning and the activation of critical thinking, through artistic and cultural instances related to the context. In 2021, under an intercultural methodology that involved joint work with representatives of the Selk'Nam, Kawésqar and Yagán First Nations communities, she directed the curatorship of El Ancho Mundo. Aproximaciones a Magallanes. She developed the production in Chile for the Tomie Ohtake Institute, Brazil, for the exhibition Yayoi Kusama: Infinite Obsession. Between October 2014 and January 2015 she curated the Christian Boltanski project in Chile at the National Museum of Fine Arts, Santiago, and the Animitas installation in the Atacama desert, which was later exhibited in the All the World's Futures exhibition at the Venice Biennale whose General curator was Okwui Enwezor. Together with Zara Stanhope, she co-curated the exhibition Space to Dream: Recent art from South America, held in 2016 at the Auckland Art Gallery Toi o Tamaki Museum, New Zealand, highlighted by the local press as the best exhibition of the last thirty years. Curator of the exhibition Our Site, South American Artists for the Niteroi Contemporary Art Museum in Rio de Janeiro, Brazil, and for the Visual Arts Museum, Santiago, Chile. Curator and co-producer of the exhibition Umbraculum, by Belgian artist Jan Fabre, at the Tomie Ohtake Institute, Sao Paulo, Brazil, the Museum of Modern Art in Medellín, Colombia, and the Tambo Quirquincho Museum, La Paz, Bolivia. During 2005 and 2008 she was Coordinator of the Production and Programming Unit at the Museum of Contemporary Art (MAC) in Chile. She also participated as co-curator and general producer of the exhibition Desde el Otro Sitio/Lugar at National Museum of Contemporary Art, Seoul, Korea (2005); co-curator and producer of Correspondencias, at the Haus am Kleistpark, Berlin, Germany (2002). And from 2010 to date, she is a member of the advisory board of Key Performance, in Sweden. The book mentioned in the interview is Violeta Parra en el Wallmapu. Su encuentro con el mundo mapuche by Paula Miranda, Elisa Loncon, Allison Ramay.
Bonaventure Soh Bejeng Ndikung, is a curator best known as the artistic director of SAVVY—The Laboratory of Form-Ideas, a self-organized art institution located in Berlin. He has recently been appointed as the new director at the Haus der Kulturen der Welt (HKW) in Berlin. We hear from Bonaventure on the importance of positioning oneself, within collaboration but always in response and with response-ability. He is someone who didn't wait for legitimization and instead went ahead to create a space, and let things emerge from that space and from the people who end up hanging out there. Episode Notes & LinksThis episode was recorded during the Mediterranean wildfires that have taken place in Greece, Turkey, Italy, Algeria and Tunisia.SAVVY, the laboratory of form and ideas is a public cultural institution located in Berlin. https://savvy-contemporary.comTo go further deep into Bonaventure's thinking, check out this talk organized by the After the Archive? Initiative. https://open.spotify.com/episode/6SbXJlNDSJjYQPN5tWjM93?si=F0kjcbEERPOIJTQdSmVPqQ&dl_branch=1To get a better sense of his story of becoming, check out this conversation for the NKATA podcast. He also touches on the impact of the life, work and untimely deaths of two giants of contemporary art: Bisi Silva and Okwui Enwezor. https://nkatapodcast.com/2019/04/05/nkata-with-bonaventure-soh-bejeng-ndikung/At documenta 14 in Athens and in Kassel, the slogan “Wir (alle) sind das Volk” [We (all) are the people] was displayed on banners and posters in German and Greek and the languages understood by most foreign Documenta visitors, as well as the languages of the migrants and refugees who are exposed to xenophobic aggression in Europe. Among the languages are Arabic, Kurdish, Turkish, Farsi (as spoken in Afghanistan), and the language of refugees from Eritrea.https://www.documenta14.de/en/artists/13591/hans-haackeCurated by Bonaventure, the 13th edition of the Bamako Encounters - African Biennale of Photography will be on view in Bamako, Mali from November 20, 2021–January 20, 2022.In his essay titled “The Globalized Museum? Decanonization as Method: A Reflection in Three Acts”, Bonaventure proposes to utilize decanonization as method for “what might be a global museum of self-reflexivity, whereby the idea will not be to create new or parallel canons, or place them side by side, or universalize the Western canon, but to decanonize the entire notion of the canon.” https://www.moussemagazine.it/magazine/the-globalized-museum-bonaventure-soh-bejeng-ndikung-documenta-14-2017/Thomas Mann was a writer known for his highly symbolic and ironic epic novels and novellas which are noted for their insight into the psychology of the artist and the intellectual. https://en.wikipedia.org/wiki/Thomas_MannHenry Louis Gates is a literary critic, teacher, historian and filmmaker that conceptualized Signifyin', a critical approach to context-bound significance of words, which is accessible only to those who share the cultural values of a given speech community. The expression comes from stories about the Signifying Monkey, a trickster figure said to have originated during slavery in the United. States. https://en.wikipedia.org/wiki/Henry_Louis_Gates_Jr.Theaster Gates is a Chicago based artist whose work sources from social practice. https://en.wikipedia.org/wiki/Theaster_GatesThe Nettelbeckplatz is a square in the Berlin district of Wedding. https://second.wiki/wiki/nettelbeckplatzAn originally well known Armenian/Greek Christian neighborhood called Tatavla, Kurtuluş is a district of Istanbul. Meaning "liberation", "salvation", "independence" or "deliverance" in Turkish, Kurtuluş's non muslim population of the neighborhood is greatly diminished. https://en.wikipedia.org/wiki/KurtuluşSonsbeek is an international exhibition in Arnhem, Netherlands which largely focuses on public works of contemporary art. https://www.sonsbeek20-24.org“Chercher midi à quatorze heures" is a quirky way of telling someone that it is making an issue more difficult than it needs to be—turning something simple into something complicated in French.Director Jef Cornelis made an in-situ documentary about the Sonsbeek that had taken place in 1971 titled “Sonsbeek: buiten de perken” for the Belgian TV Channel VRT. His body of work is influential to imagine what television can be and how it can be used to document and represent art. https://vimeo.com/433640306Known as the founder of the art movement fluxus, Joseph Beuys was an influential teacher and artist who was influential in the latter half of the 20th century. https://en.wikipedia.org/wiki/Joseph_BeuysA champion of Africa's oral tradition and traditional knowledge, Amadou Hampâté Bâ was a writer, historian and ethnologist. https://en.wikipedia.org/wiki/Amadou_Hampâté_BâCuratorial Statement of Bamako Biennial quotes Amadou Hampâté Bâ's statement (Aspects de la civilisation africaine, Éditions Présence Africaine, 1972) presiding over the manifestation, Maa ka Maaya ka ca a yere kono, translates to, “the persons of the person are multiple in the person.”https://www.e-flux.com/announcements/361013/rencontres-de-bamako-african-biennale-of-photographymaa-ka-maaya-ka-ca-a-yere-kono/Sun Ra, was a jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. For much of his career, Ra led "The Arkestra," an ensemble with an ever-changing name and flexible line-up.https://en.wikipedia.org/wiki/Sun_RaThelonious Monk was a seminal jazz pianist and composer. https://en.wikipedia.org/wiki/Thelonious_MonkStephen Wright is a writer and gardener based in France. He was the first guest of the previous season of Ahali. Listen at https://www.ahali.space/episodes/episode-1-stephen-wrightAssembled by the king of 6/8, the living legend Brice WassyKelin-Kelin Orchestra is a big band that consists of twelve musicians. Called the "queen of Taarab and Unyago music, Fatima binti Baraka also known as Bi Kidude, was a Zanzibari-born Tanzanian Taarab singer.https://en.wikipedia.org/wiki/Bi_Kidude Influenced by the musical traditions of the African Great Lakes, North Africa, the Middle East, and the Indian subcontinent. Taarab is a music genre popular in Tanzania and Kenya.https://en.wikipedia.org/wiki/TaarabNatasha Ginwala is a curator working in the field of contemporary art.Ayesha Hameed is a lecturer, writer and practitioner who produces videos, audio essays and performance lectures.Matana Roberts is a sound experimentalist, visual artist, jazz saxophonist, clarinetist and composer. https://en.wikipedia.org/wiki/Matana_RobertsFormed in 1979 by Pierre-Edouard Décimus and Jacob Desvarieux, Kassav' is a Zouk band that makes Guadeloupean carnival music recording it in a more fully orchestrated yet modern and polished style. https://en.wikipedia.org/wiki/Kassav%27Jacob Desvarieux was a singer, arranger, and music producer. https://en.wikipedia.org/wiki/Jacob_DesvarieuxJocelyne Béroard is a singer and songwriter. She is one of the lead singers of the Kassav'. https://en.wikipedia.org/wiki/Jocelyne_BéroardZouk is a musical movement pioneered by the French Antillean band Kassav' in the early 1980s. https://en.wikipedia.org/wiki/ZoukNégritude (from French "Nègre" and "-itude" to denote a condition that can be translated as "Blackness") is a framework of critique and literary theory, developed mainly by francophone intellectuals, writers, and politicians of the African diaspora during the 1930s, aimed at raising and cultivating "Black consciousness" across Africa and its diaspora. https://en.wikipedia.org/wiki/NégritudeOne of the founders of the Négritude movement, Aimé Césaire was a Martinican poet, author, and politician. https://en.wikipedia.org/wiki/Aimé_CésaireServed as the first president of Senegal from 1960 to 1980, Léopold Sédar Senghor was a poet, politician and cultural theorist. https://en.wikipedia.org/wiki/Léopold_Sédar_Senghor Episode recorded on Zoom on August 4th, 2021. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.
[REBROADCAST FROM February 17, 2021] In January 2019, the artist Glenn Ligon was asked by curator Okwui Enwezor to serve as an advisor to an exhibition he had conceived of titled, “Grief and Grievance: Art and Mourning in America.” While Enwezor passed away on March 15, 2019, the exhibition was able to be realized after his death with the help of an advisory team, which included Glenn Ligon, Mark Nash, and Naomi Beckwith. This segment was picked by our Producer Ursula Sommer.
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.
“Growing up in London, as a teenager, I became obsessed with how Black culture expressed itself in public life,” says Sir David Adjaye OBE. The renowned Ghanaian-British architect meets Marc Spiegler to discuss the power of architecture, Black artists' work, race in the artworld and his collaboration with curator Okwui Enwezor, as well as his current project, designing the Edo Museum of West African Art in Benin, which will house the Benin Bronzes, returned to Nigeria from the British Museum.
Promise, Witness, Remembrance (on view from April 6 to June 11, 2021) at the Speed Art Museum in Louisville, Kentucky, was curated by Allison Glenn and reflects on the life of Breonna Taylor, her killing in 2020, and the year of protests that followed. The exhibition is organized around the three words of its title, which emerged from a conversation between curator Allison Glenn and Tamika Palmer, mother of Breonna Taylor, during the exhibition's planning.In "Promise," artists explore ideologies of the United States through the symbols that uphold it, reflecting on the nation's founding, history, and the promises and realities, both implicit and explicit, contained within them. In "Witness," they address the contemporary moment, building upon the gap between what a nation promises and what it provides through artworks that explore ideas of resistance across time, form, and context. In "Remembrance," they address gun violence and police brutality, their victims, and their legacies.The death of Breonna Taylor, a Black medical worker who was shot and killed by Louisville police officers in March 2020 during a botched raid on her apartment, has been one of the main drivers of wide-scale demonstrations that erupted in the spring and summer over policing and racial injustice in the United States.A grand jury in September indicted a former Louisville detective involved in the raid, Brett Hankison, for wanton endangerment of neighbors whose apartment was hit when he fired without a clear line of sight into the sliding glass patio door and window of Ms. Taylor's apartment. He pleaded not guilty. No charges were announced against the other two officers who fired shots, and no one was charged for causing Ms. Taylor's deathStephen Reily served as the Director of the Speed Art Museum from April 2017 to June 2021. He is a successful entrepreneur, civic leader, lawyer, and supporter of the arts in building a stronger community. A longtime supporter of the Speed, he served on its Board for 10 years, including several years as Chair of both the Museum's Long-Range Planning Committee and its Curatorial Committee. For four years, Stephen served as Chair and Co-Chair of the Board of Directors of the Creative Capital Foundation, a national grant maker in the arts. He has served as the Chair of the Greater Louisville Project and is a member of the Boards of the Louisville Urban League and the J. Graham Brown Foundation. He also founded Seed Capital Kentucky, a non-profit focused on building a more sustainable future for Kentucky's farmers.As an entrepreneur Reily foundeD IMC, a global leader in brand licensing that has generated over $3 billion in consumer product sales for the Fortune 500 brands it represents. He is also the co-founder of ClickHer, a mobile app publisher, and SUM180, a digital financial planning service purchased by FlexWage. a national provider of financial wellness solutions. After graduating from Stanford Law School, Stephen clerked for Justice John Paul Stevens on the U.S. Supreme Court. A native of New Orleans, he is married to historian Emily Bingham and they have 3 children.Promise, Witness, Remembrance contributing artists:Terry AdkinsNoel W AndersonErik BranchXavier BurrellMaría Magdalena Campos-PonsNick CaveJon P. CherryBethany CollinsTheaster GatesTyler GerthSam GilliamJon-Sesrie GoffEd HamiltonKerry James MarshallRashid JohnsonKahlil JosephGlenn LigonAmy SheraldLorna SimpsonNari WardHank Willis ThomasAlisha WormsleyT.A. Yero CuratorAllison M. Glenn is an Associate Curator, Contemporary Art at Crystal Bridges Museum of American Art. Glenn works across the contemporary program at Crystal Bridges and the Momentary, a new contemporary art space and satellite of Crystal Bridges. Since joining Crystal Bridges in 2018, she has worked with artists at all stages of their careers around themes of history, temporality, language, site, and identity. Community Engagement Strategist and Chair of the National Steering Committee for Promise, Witness, RemembranceToya Northington graduated with a Fine Art degree from Georgia State University and also holds a MSc in Social Work from the University of Louisville. She has exhibited in group and solo exhibitions in Georgia and Kentucky, and has recently been involved in a number of public art projects in Louisville. Working in mixed media and across disciplines, Toya speaks of her work as pushing back at societal expectations, as an act of resistance. As a feminist and social activist she states, “my work is an acknowledgment of traumas too often experienced by women and a means to foster healing and resilience from them.” Toya is the recipient of Art Meets Activism, Artist Enrichment, and The Special grants from the Kentucky Foundation for Women. In 2012 she founded artThrust a youth, art-based, mental health and social justice organization that empowers youth through art. She is currently the Community Engagement Strategist at the Speed Art Museum. Music for the Short Fuse PodcastJeannine Otis recorded the music for this episode of the Short Fuse Podcast. Music has been a part of Jeannine's life since she was born. Having a mother who was a Musical Director and a family that includes the Jones Brothers Hank, Thad, and Elvin formed the basis of exposure to music that began a career that started with Jeannine's debut as a vocalist with the Detroit Symphony with American Youth Performs at age 12.She has shared the stage with great musicians of every genre (especially jazz) who have served as mentors including Grover Washington Jr., Arthur Prysock, Kool and the Gang, Joe Chambers and Donald Byrd, Rudy Mwangozi, Saul Ruin, Stanley Banks bassist, Finnish Jazz composer Heikki Sarmanto and Vishnu Wood, bassist, and his band Safari East.She has been a featured vocalist at many jazz festivals including the Pori Jazz Festival in Finland, JazzMobile with Safari East, and the Universal Temple of the Arts yearly jazz festival and trombonist Art Baron and Friends. Jeannine has also appeared on Broadway in THIS JOINT IS JUMPIN' at the Supper Club in the Edison Hotel with Larry Marshall and the Michael E Smith Big Band and the New York Big Band at Tavern on the Green.She has toured extensively worldwide as a featured vocalist, in theater, and with her own ensemble. Anthony Tomassini of the New York Times labeled Jeannine a “show-stopper” in a review of a Downtown Music Production's version of THE CRADLE WILL ROCK. As the STRAWBERRY WOMAN in Porgy and Bess, Jeannine toured extensively in Europe singing in many of the great opera houses in Europe including those in Rome, Cologne, Venice, and Modena—home of Luciano Pavorotti.Her “little” book THE GATHERING was made into a Musical Theater piece entitled WHO AM I, and debuted at The La MaMa Theater in 2014. She is an honors graduate of Wellesley College (BA) and of Emerson College (MA) and the Director of Music at Saint Marks Church, known for its progressive outreach programming through the arts. Behind the scenes of the Short Fuse PodcastKyle Lee is a media producer for the Short Fuse Podcast as well as for the InterVarsity Christian Fellowship and has produced podcasts such as The Daily Arrow, a 2-season, 60-day podcast with devotional and meditative exercises to help navigate our current political climate through the lens of faith, spirituality, and mindfulness. He lives in Harlem with his wife and enjoys writing and performing poetry and spoken word in his spare time. You can reach him at @kyleburtonlee on Instagram and Twitter.Gilda Geist is an intern for the Short Fuse Podcast and a student at Brandeis University, where she is studying journalism, English, and political science. She is a senior editor of her university newspaper, The Justice, as well as a tutor for the Brandeis University English Language Programs. Gilda is based in Boston, MA and enjoys writing, bookbinding, and listening to podcasts. What to listen to nextIf you liked this episode, you'll like our host Elizabeth Howard's conversation with Gioni Massimiliano, Artistic Director of the New Museum. They spoke about the New Museum's exhibit "Grief and Grievance, Art and Mourning in America", which features the works of 37 Black artists and was conceived of by the late curator Okwui Enwezor. Listen here.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran. Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Jazz pianist, composer, and artist Jason Moran was born in Houston, TX and earned a degree from the Manhattan School of Music. He was named a MacArthur Fellow in 2010 and is the Artistic Director for Jazz at The Kennedy Center. His 21 year relationship with his trio The Bandwagon (with drummer Nasheet Waits and bassist Tarus Mateen) has resulted in a profound discography for Blue Note Records and Yes Records, a label he co- owns with his wife, singer and composer Alicia Hall Moran.Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Her solo albums, Heavy Blue and Here Today featuring the band Harriet Tubman, and live touring performances like Breaking Ice (shows for and about the ice since 2016), the motown project (her meditation on the operatic strains mixed with Motown begun in 2009); Black Wall Street (since 2016 ); and large-scale co-commissions with her husband Jason Moran.Jason and Alicia's long-standing collaborative practice is groundbreaking; as named artists in the 2012 Whitney Biennial, they together constructed BLEED, a five-day series of performances stretching from readings to wellness to a ring shouts. In 2015, they participated in the Venice Biennnial curated by the late Okwui Enwezor. Recently they created Two Wings: The Music of Black America in Migration for Carnegie Hall's Stern Auditorium. They have collaborated with major art world figures such as Adrian Piper, Joan Jonas, Glenn Ligon, Adam Pendleton, Lorna Simpson, Carrie Mae Weems, Xaveria Simmons, Bill T. Jones and Kara Walker.
Russell & Robert speak to leading artist Glenn Ligon from his studio in New York. We discuss the New Museum's current exhibition “Grief and Grievance: Art and Mourning in America,” and his collaboration with the late curator Okwui Enwezor. We discover Glenn's interest in artist's work such as Jean Michel Basquiat, Robert Rauscheberg, David Hammons and the lasting influence of Steve Reich’s audio work 'Come Out' (1966). We learn how his work has referenced forgotten texts from history, inspiration from literature in particular writers including Zora Neale Hurston and the Harlem Renaissance, James Baldwin and Alice Walker. We discuss Andy Warhol's 'Shadows' (1978-79) painting, and hear how eclipsed light is a central theme in his own work, as well as ideas of beauty, his early interest in abstract expressionism and pottery classes he attended as a child. Running until June 6, 2021, the New Museum presents “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. “Grief and Grievance” will be an intergenerational exhibition, bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition will further consider the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. “Grief and Grievance” will comprise works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition.Follow @GlennLigon and @NewMuseum on Instagram. Visit www.GlennLigonStudio.com and New Museum's official website at: www.NewMuseum.orgFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.
Autor: Nollert, Angelika Sendung: Fazit Hören bis: 19.01.2038 04:14
This month, the murder trial of former Minneapolis police officer Derek Chauvin for the death of George Floyd has brought the racial justice protests of the last summer viscerally back into the public consciousness, reigniting conversations in the news and in households everywhere about the reality of the Black experience in America. This weekend, those same conversations will also have a powerful new point of focus at the Whitney Museum of American Art, where a retrospective of the photographer Dawoud Bey presents his magisterial exploration of the subject, in the form of his penetrating portraits of Black lives from all points on the national compass. Ranging in registers from jubilation to agony, to ingenious self-invention, to blissed-out hope, the show is curated by Elizabeth Sherman and SFMoMA curator Corey Keller. Open through October 3, 2021, the show is titled "An American Project" and it is a project that is very much still in the works. It so happens that this is a very big year for Dawoud Bey. The winner of a 2017 MacArthur "genius" grant and a professor at Columbia College in Chicago, the artist has already been the subject of two other retrospectives in his 46-year career, but this one at the Whitney is not only his largest, it's also one of the largest surveys of a Black American photographer ever. If that's not enough, his work is also currently featured in the New Museum's staging of the final exhibition of the late curator Okwui Enwezor, "Grief and Grievance: Art and Mourning in America." On this week's episode, Bey joins Andrew Goldstein by Zoom to discuss how his childhood and early exposure to work by African Americans informed his interest in photography, his ongoing collaboration with David Hammons, and what he hopes visitors will take away from the Whitney exhibition.
This month, the murder trial of former Minneapolis police officer Derek Chauvin for the death of George Floyd has brought the racial justice protests of the last summer viscerally back into the public consciousness, reigniting conversations in the news and in households everywhere about the reality of the Black experience in America. This weekend, those same conversations will also have a powerful new point of focus at the Whitney Museum of American Art, where a retrospective of the photographer Dawoud Bey presents his magisterial exploration of the subject, in the form of his penetrating portraits of Black lives from all points on the national compass. Ranging in registers from jubilation to agony, to ingenious self-invention, to blissed-out hope, the show is curated by Elizabeth Sherman and SFMoMA curator Corey Keller. Open through October 3, 2021, the show is titled "An American Project" and it is a project that is very much still in the works. It so happens that this is a very big year for Dawoud Bey. The winner of a 2017 MacArthur "genius" grant and a professor at Columbia College in Chicago, the artist has already been the subject of two other retrospectives in his 46-year career, but this one at the Whitney is not only his largest, it's also one of the largest surveys of a Black American photographer ever. If that's not enough, his work is also currently featured in the New Museum's staging of the final exhibition of the late curator Okwui Enwezor, "Grief and Grievance: Art and Mourning in America." On this week's episode, Bey joins Andrew Goldstein by Zoom to discuss how his childhood and early exposure to work by African Americans informed his interest in photography, his ongoing collaboration with David Hammons, and what he hopes visitors will take away from the Whitney exhibition.
La parola può essere uno slogan pubblicitario, un grido politico ma anche un'immagine. In questa puntata, Costantino e Francesco mettono a confronto il serioso Joseph Kosuth e il giocoso Lawrence Wiener, ci spiegano come fare arte fotocopiando un vocabolario e parlano dei neon logorroici di Maurizio Nannucci, di come un marchio di moda si è appropriato dello stile di Barbara Kruger e di quanto Jenny Holzer terrorizzasse i galleristi. Infine, Francesco ci propone la sua distinzione tra artisti-mattone e artisti-colonna e cerca di far luce su uno dei più grandi gialli del nostro tempo: Costantino è davvero stitico o ha solo un bagno deprimente?In questa puntata si parla di Joseph Kosuth, Ferdinand de Saussure, Ludwig Wittgenstein, Dawn French, Jennifer Saunders, Jacopo da Pontormo, Lawrence Wiener, Tino Sehgal, Maurizio Nannucci, Bruce Nauman, Kerry Hill, Geoffrey Bawa, Sophie Calle, Barbara Kruger, Guerrilla Girls, Cartesio, Jenny Holzer, Helmut Lang, Glenn Ligon, Okwui Enwezor, The Harlem Six, Robert Barry, Richard Prince, Hito Steyerl e Alberto Manzi.
We kick off this episode with a fresh co-hort of artist recommendations and documentaries to check out, including Netflix's hit ‘Made You Look: A True Story of Fake Art'. The tale of $80 million worth of art forgeries in New York in the 90s and 00s was truly gripping and pretty shocking. We also discuss writer Hettie Judah's campaign for how the art world can avoid excluding artist parents, and the upcoming sale of Karl Lagerfeld's art collection with Sotheby's. Before we weigh into our Artist Focus, we try and tackle the burgeoning NFT crypto art craze and what it will mean for the art world. Finally, our art crush this episode is American Neo-Conceptual and Feminist artist Jenny Holzer. The main focus of her work is the delivery of words and ideas in public spaces, and she often comments on war time controversies and violence against women. SHOW NOTESYulia Iosilzon ‘Fanfarria' at Huxley-Parlour Gallery: https://huxleyparlour.com/exhibitions/yulia-iosilzon-fanfarria/ @yuliusprimeTracey Slater @i_draw_linesBen Reeves: https://www.benreeves.org/ 'The Story of Welsh Art' on BBC iPlayer: https://www.bbc.co.uk/iplayer/episode/m000st2g/the-story-of-welsh-art-series-1-episode-1 'Artforum at Sotheby's: Grief and Grievance at the New Museum': https://www.sothebys.com/en/series/sothebys-talks/museum-spotlight-grief-grievance-at-the-new-museum ‘Grief and Grievance: Art and Mourning in America' until 6th June 2021: https://www.newmuseum.org/exhibitions/view/grief-and-grievance-art-and-mourning-in-america-1 The obituary of Nigerian Curator, Okwui Enwezor: https://www.nytimes.com/2019/03/18/obituaries/okwui-enwezor-dead.html ‘Front Row Get Creative - Jadé Fadojutimi': https://www.bbc.co.uk/programmes/p0980wsn ‘Rita Duffy: Portrait of an Artist' on BBC iPlayer: https://www.bbc.co.uk/programmes/m000rsjt ‘Made You Look: A True Story of Fake Art' on Netflix: https://www.netflix.com/title/81406333 ‘Rob and Romesh vs Art' on Sky One: https://www.comedy.co.uk/tv/rob_and_romesh_vs/episodes/3/1/ Mary Cassatt: https://en.wikipedia.org/wiki/Mary_Cassatt Alice Neel: https://en.wikipedia.org/wiki/Alice_Neel Chantal Joffe: https://www.victoria-miro.com/artists/19-chantal-joffe/ Jenny Saville: https://gagosian.com/artists/jenny-saville/ Gustav Klimt 'The Three Ages of Woman': https://en.wikipedia.org/wiki/The_Three_Ages_of_Woman_(Klimt) Nicky Arscott: http://www.nickyarscott.co.uk/ Ernst Neuschul ‘Black Mother': https://www.birmingham.ac.uk/schools/lcahm/departments/historyofart/research/projects/map/issue3/arts-trail-pages/ernst-neuschul-black-mother.aspx Hettie Judah's campaign ‘How Not To Exclude Artist Parents': https://freelandsfoundation.co.uk/event/how-not-to-exclude-artist-mothers-a-conversation-about-artists-parenting-and-institutions Sotheby's upcoming Karl Lagerfeld's collection sale: https://www.theartnewspaper.com/news/sotheby-s-to-auction-karl-lagerfeld-s-collection-in-monaco https://www.theartnewspaper.com/comment/karl-lagerfeld What the NFT crypto art craze means for artists: https://qz.com/1988524/can-more-artists-get-rich-in-the-nft-crypto-art-market/ Jenny Holzer: https://www.tate.org.uk/art/artists/jenny-holzer-1307 https://www.tate.org.uk/art/artists/jenny-holzer-1307/jenny-holzers-inflammatory-essays
In episode 228, Kestrel welcomes curator and writer Catherine McKinley to the show. The author of Indigo, a journey along the ancient indigo trade routes in West Africa, and The Book of Sarahs, a memoir about growing up Black and Jewish in the 1960s-80s, Catherine has taught creative nonfiction writing at Sarah Lawrence College and Columbia University. Her newest book, The African Lookbook, A Visual History of 100 Years of African Women, draws on her extensive collection of photos to tell a different visual narrative of African women. “In most of the societies, cloth is just, it’s essential, it’s considered something that contains the human spirit and it’s the layer next to the skin — you know, it has all those meanings. And cloth is essential from what you’re wound in the moment of birth to what you’re wound in at the grave.” -Catherine McKinley, Writer + Curator On this week’s show, Catherine shares more on what led her to have an interest in writing, cloth, photographs and fashion. Through our conversation, she reminds us of the layers of meaning that can be embedded in cloth - from culture to identity to wealth to power and beyond. Catherine also explains more on why she highlights the sewing machine and the camera as the two most important machinery for African women in her book — as she calls them, “steadfast instruments that offered a powerful means to author one’s own life.” ”I’m really driven by this idea of holding onto things from the past and things that are disappearing or are ephemeral in some way.” -Catherine Seydou Keïta, photographer Malick Sidibe, photographer Okwui Enwezor, Catherine studied with him The Walther Collection, Catherine worked here in the past “And then I started feeling competitive in a way — these enormously wealthy men who could just acquire and acquire and acquire — you know, every amazing photo document that was coming in, and I started to take it a little bit more seriously. I started doing it in earnest and my collection is primarily women’s photos and I really felt like it’s not theirs, you know. It’s not theirs — I don’t have the access that they have, but to the extent that I can collect, I’m going to collect and I’m gonna claim this and I’m not gonna let it just be our object — I’m gonna think about its use and value to other people, beyond just sitting on a gallery wall.” -Catherine “I was at a dinner with a group of men in the art world — I was the only female there, I was the only non white person there … it was a very male conversation about photography, and I think I blurted out this thing about the sewing machine and the camera, and everybody looked at me like I was crazy — you know, to say they were the most important machinery for African women." And then, I went home and I still felt like this thing is right, I’m right about this, and I don’t have evidence, but … it was kind of what finally organized the book for me — it was like ok how now am I going to prove this argument to these men in particular? Not that I was all that interested in whether they agreed or not, but it just seemed like this really outrageous claim, so how now am I going to make good on it?” -Catherine “Cloth certainly has been one of the absolutely most important commodities for women — if you had access to buy one or two pieces of cloth and put that on your head and walk the street and try to sell it, it was small capital to build up more and more and more.” -Catherine The McKinley Collection, Catherine’s archive representing African photographers from 1870 to the present The African Lookbook Follow Catherine on Instagram >
On today’s episode of Bad at Sports Center, Dana and Duncan have the distinct pleasure of speaking with Naomi Beckwith, the current Museum of Contemporary Art Manilow Senior Curator and incoming Deputy Director and Jennifer and David Stockman Chief Curator of New York’s Solomon R. Guggenheim Museum. We discuss Beckwith’s curatorial style, vision for her new position and and her recent work on the exhibition “Grief and Grievance: Art and Mourning in America,” originally conceived by the late Okwui Enwezor at the New Museum. All this and just a little bit of “T” to round out our latest. We hope you enjoy it, friend. https://www.newmuseum.org/ https://mcachicago.org/ https://www.guggenheim.org/ https://hyperallergic.com/605116/architects-ask-moma-to-remove-philip-johnsons-name-citing-racist-legacy/
Autor: Verna, Sacha Sendung: Kultur heute Hören bis: 19.01.2038 04:14
On episode 163 of The Quarantine Tapes, guest host Imani Perry is joined by Alicia Hall Moran for a two-part episode. Imani and Alicia have a fascinating and wide-reaching conversation about Alicia’s work as an artist and vocalist.Alicia pulls on varied threads of history and music in their discussion about art, family history, and collaboration. She tells Imani about her Black Wall Street project, discussing the project’s connections to her father and her family. Ranging from Carmen to Roots to figure skating, Imani and Alicia’s conversation is an incredible and insightful look at everything that surrounds the work of making art. Imani Perry is an intellectual, a professor, and a writer who was born in Birmingham, Alabama at the dawn of the Freedom movement. She lives the life of the mind through literature, criticism, music and art. Perry's hallmarks are passionate curiosity, rigorous contemplation, and dedication to the collective "we." Her children, Freeman and Issa Rabb, keep her honest and dreaming. Alicia Hall Moran, mezzo-soprano, is a multi-dimensional artist performing and composing between the genres of Opera, Art, Theater, and Jazz. Ms. Moran made her Broadway debut in the Tony-winning revival The Gershwins' Porgy and Bess, starring as Bess on the celebrated 20-city American tour. "Moran finds the truth of the character in her magnificent voice," Los Angeles Times.A unique vocalist performing across the fine arts and in her own contemporary work, Ms. Moran's creativity has been nurtured by, and tapped by celebrated artists including Carrie Mae Weems, Adam Pendleton, Joan Jonas, Ragnar Kjartansson, Simone Leigh, Liz Magic Laser, curator Okwui Enwezor, and choreographer Bill T. Jones, musicians like Bill Frisell, Charles Lloyd, and the band Harriet Tubman, diverse writers from Simon Schama to Carl Hancock Rux, as well as institutions at the forefront of art and ideas worldwide.
This week: the curator Naomi Beckwith and artist Okwui Okpokwasili discuss Grief and Grievance: Art and Mourning in America, a major show at the New Museum in New York—the final project conceived by the late curator Okwui Enwezor. Also, we explore the effect of Covid-19 on artists with disabilities: we talk to the artist Cara Macwilliam and to Hannah Whitlock and Laura Miles from the UK charity Outside In. And Goya’s Graphic Imagination has opened at the Metropolitan Museum of Art in New York, so for this episode’s Work of the Week we talk to Goya specialist Francisco Chaparro, who contributed to the exhibition’s catalogue, about one of the prints in his series The Disasters of War (1810-15), One can’t look (No se puede mirar). See acast.com/privacy for privacy and opt-out information.
Als international tätiger Ausstellungskurator wie auch als Direktor des Hauses der Kunst verfolgte Okwui Enwezor eine besondere Aufgabe: Er wollte die verengte westliche Perspektive weiten, die Werke von Künstlerinnen und Künstlern aus Afrika, Asien, dem Globalen Süden in unser Bewusstsein holen. Im New Yorker New Museum ist nun die letzte, von ihm kuratierte Ausstellung zu sehen: "Grief and grievance". Außerdem in der kulturWelt: in Frankreich wird intensiv über sexuellen Missbrauch diskutiert, das Kunsthaus Bregenz wirft einen eigenen Blick auf die "Bilder der Pandemie" und die Leipziger Band "Karl die Große" veröffentlicht ein neues Album.
In January 2019, the artist Glenn Ligon was asked by curator Okwui Enwezor to serve as an advisor to an exhibition he had conceived of titled, “Grief and Grievance: Art and Mourning in America.” While Enwezor passed away on March 15, 2019, the exhibition was able to be realized after his death with the help of an advisory team, which included Glenn Ligon, Mark Nash, and Naomi Beckwith. The show will be on view on all three main exhibition floors of the New Museum from February 17 through June 6 and features work by 37 artists. Enwezor viewed these works as illustrative of the concept of mourning as a complex political act – one that serves a critical role in Black life in the US.
Ce principe du Kwanzaa est une bonne excuse pour parler à tous les enfants de ce génie venu du Nigéria, qui s’appelait Okwui Enwezor, et qui faisait partie des personnalités les plus respectées de l’art contemporain.
Okwui Enwezor hat als Kurator den Blick der Kunstwelt geweitet und mehr Perspektiven ins Museum gebracht. In New York eröffnet nun eine Ausstellung, an der er bis kurz vor seinem Tod im Jahr 2019 gearbeitet hat, und die brisanter nicht sein könnte. 00:00 Einführung mit Elke Buhr: Enwezor und die documenta 17:20 Sebastian Frenzel über die neue Ausstellung "Grief and Grievance" in New York 34:57 Markus Müller über seine Zusammenarbeit und Freundschaft zu Enwezor und was die Kunstwelt von ihm gelernt hatDer Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-okwui-enwezor
Okwui Enwezor hat als Kurator den Blick der Kunstwelt geweitet und mehr Perspektiven ins Museum gebracht. In New York eröffnet nun eine Ausstellung, an der er bis kurz vor seinem Tod im Jahr 2019 gearbeitet hat, und die brisanter nicht sein könnte. 00:00 Einführung mit Elke Buhr: Enwezor und die documenta 17:20 Sebastian Frenzel über die neue Ausstellung "Grief and Grievance" in New York 34:57 Markus Müller über seine Zusammenarbeit und Freundschaft zu Enwezor und was die Kunstwelt von ihm gelernt hatDer Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-okwui-enwezor
Okwui Enwezor hat als Kurator den Blick der Kunstwelt geweitet und mehr Perspektiven ins Museum gebracht. In New York eröffnet nun eine Ausstellung, an der er bis kurz vor seinem Tod im Jahr 2019 gearbeitet hat, und die brisanter nicht sein könnte. 00:00 Einführung mit Elke Buhr: Enwezor und die documenta 17:20 Sebastian Frenzel über die neue Ausstellung "Grief and Grievance" in New York 34:57 Markus Müller über seine Zusammenarbeit und Freundschaft zu Enwezor und was die Kunstwelt von ihm gelernt hatDer Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-okwui-enwezor
“I was astonished by the experience of standing there, where the two oceans met. I knew at that very moment this would be my concept: the meeting of worlds". Okwui Enwezor. For centuries, the art establishment had been defined and dictated by predominantly white, wealthy, western critics and curators. Then in the early 90’s a young man who was born in Nigeria and studied Political Science in New York came onto the scene and said, ‘no more’. With an eye for aesthetic and a burning fire of political concern, curator and educator Okwui Enwezor transformed the art world. He placed non-western art histories on an equal footing with the long-established narrative of European and North American art. He was a man with a mission, utterly confident and determined. Sir David Adjaye, the architect perhaps best known for his largest project to date – the Smithsonian Institute’s National Museum of African American History and Culture - champions the ground-breaking life of Okwui Enwezor, who became both his friend and collaborator. He is joined by Chika Okeke-Agulu, one of the foremost scholars of African Art and Professor of African and African Diaspora Art at Princeton University. Presented by Matthew Parris Produced in Bristol by Nicola Humphries
Nontsikelelo Veleko (b. 1977) is a South African photographer most notably recognised for her depiction of black identity, urbanisation and fashion in post-apartheid South Africa. Veleko studied photography at the Market Theatre Photo Workshop(1999–2004).In 2006, her photographs were part of the group exhibition, Snap Judgments: New Positions in Contemporary African Photography, at the International Center of Photography (ICP) in New York; curated by Okwui Enwezor. There, the bold and lively portraits depicting South Africa street style from her series “Beauty is in the Eye of the Beholder” attracted a great deal of attention, shifting previous perceptions of Africa as a whole on an international scale. Alongside this, Veleko has also implemented clothing ‘to deliberately challenge assumptions of identity based on appearances and historical background’. Veleko’s work presents a strong statement of a younger generation that is loud, self-expressive and daring; a collection of youth she strongly relates to. Such sentiments are evident in the photographs resulting from what she considers to be a ‘collaborative process’. For the 5th episode of Nkata, Emeka Okereke travelled to meet with Veleko in Nîmes, in the South of France, where she is currently based. Their conversation starts with the recollection of some precursory events foundational to her journey as an artist. She speaks of how her father prepared her mind from an earlier age, and by that gave her a sense of independence so rare for young girls/women at the time. How photographing graffiti on the streets of Johannesburg in the early 2000s; going to Switzerland for her first-ever residency program inspired her to turn towards street/urban fashion as would later be seen in her one of her most prominent bodies of work.She illustrates her response to the stimuli of street imagery in a succinct recount of a certain photograph she made: A graffiti on the streets of Johannesburg reads “I am not afraid”. However, the “A” of the “Afraid” was cracked. I found that interesting. Because I thought to myself: that’s how I am, a woman, with a camera, alone, photographing on the street of Johannesburg. I affirm that I am not afraid, yet there is a crack somewhere: I am afraid.The conversation settles on her arrival in France, and subsequently Nîmes, a small but ancient city in the South of France. How with her presence, and in collaboration with good friends and colleagues, she has begun the work of opening the small town to African photography starting with her home country South Africa. She takes Emeka Okereke through the streets of Nimes while discussing new bodies of work, projects and prospects stemming from reinvigorated energy after a long career pause.
Episode two of NKATA sees Emeka Okereke in conversation with Bonaventure Soh Bejeng Ndikung. Ndikung (b.1977, Yaoundé) is an independent curator, art critic, author and biotechnologist from Cameroon, who lives and works from out of Berlin. He studied food biotechnology in Berlin, received his doctorate in medical biotechnology and studied biophysics in Montpellier. Ndikung is the artistic director and chief curator of the art space SAVVY Contemporary in Berlin, which he founded in 2009.In this podcast, he speaks about his early years, touching significantly on the events that underlined his move from Cameroon, and subsequently, his travails of living and being a student in Germany in the early 2000s. He gave a glimpse of who his parents are (with particular emphasis on his mother). He goes on to elaborate on his encounter with art and how this lead to the founding of Savvy Contemporary Berlin — a laboratory of Form–Ideas. He breaks down the fundamental concepts and activities at the core of Savvy as well as how far things have come since it was founded in 2009. Throughout the conversation, he makes a strong case for what art and curating means to him as a ”thinking being” moving through the world. The podcast is (loosely) divided into two parts: the first was recorded in a train — during a journey from Berlin to Munich (hence the ambiance of the recording). The second, building on the Berlin-Munich journey and framed by the untimely passing of two giants of contemporary art/fellow curators — Bisi Silva and Okwui Enwezor, was recorded indoors. This part brings him full circle as he talks about the significance of Silva and Enwezor’s death as ”an incredible recalibration” of what life here on earth means for him. This podcast is 111 mins long. Below are time stamps, should you want to skip or navigate to parts of it in your own preferred order. Part 1 (inside the train)03:00: Bonaventure speaks of the early years. His parents. Moving from Cameroon to Germany. Living and being a student in Germany. Finishing a PhD in biotechnology. Early encounter with art and working his way towards becoming a curator. 32:00: Inspiration behind the founding of Savvy Contemporary Berlin and key people behind its foundation. Savvy after 10 years (2009 – 2019). Some core concepts behind Savvy. Savvy as a proactive/subversive platform. Savvy as a space in Berlin: who is your audience? Part 2 (in the studio)67:50: The legacies of Bisi Silva and Okwui Enwezor. The place of their work in the unfolding of history. Their work as paying into a “Trust fund” (for the larger community/society).84:43: Discussing generational continuity: there are people who do the tilling of the soil, while there are those who plant in them. The notion of the institution (institution of the family (nepotism) versus the institution of the community). The place and importance of archive/archiving in the linking of histories. The economy of discovery and the “Christopher Columbus complex”. The book as Archive. Archive as Process. Reimagining the archive (the apoptotic archive). 101:43: Streams of Consciousness: Being the Artistic Director of the (upcoming) 12th edition of the Bamako Photography Festival. Expounding on the point of departures of the festival’s main concept/theme.
In Studio with Sharon Obuobi is a series of conversations with artists, curators, influencers, exploring the process of art making. In this episode, I speak with Ibrahim Mahama, one of Ghana’s most celebrated contemporary artists. A graduate from the Kwame Nkrumah University of Science and Technology, Ibrahim had an outstanding break in 2015, when he was exhibited at the 56th Venice Biennale, curated by Okwui Enwezor. Following this, his work has been exhibited at the Tel Aviv Art Museum, The Broad Art Museum, White Cube Gallery, and Documenta. -- Ibrahim's work is featured in the upcoming sale of Modern & Contemporary African Art sale at Sotheby's on March 28. To see more of Ibrahim's work, visit our Instagram page @InStudiowithSO. Learn more about us at www.instudiowithso.com. -- All views and opinions expressed by guests are their own.
The 57th Venice Biennale opened last week, and on this episode we share our highlights from this year’s “Olympics of art.” How did Christine Macel’s central exhibition stack up against Okwui Enwezor’s in 2015? Was Anne Imhof’s exhibition for Germany—which earned the Golden Lion for the best national pavilion—all it’s cracked up to be? And beyond the Biennale, is Damien Hirst’s massive two-part Venice exhibition worth a visit?
Issac Julien and Dr. Diamond and Face2Face host David Peck talk about nurturing different artistic experiences, invisibility of issues and race and complex new media projects and porous institutions. Issac’s latest RoM installation. Global Experience Project OCAD University (OCAD U) is launching a trailblazing international initiative, bent on elevating Canada’s prominence in the global communities of art and culture. The Jack Weinbaum Family Foundation Global Experience Project (GEP) will bring four leading international artists to Toronto for a significant residency at OCAD U over the next five years. The GEP will connect selected students with the visiting artists and notable scholars, on campus and abroad. “We are thrilled beyond words to realize the launch of the Jack Weinbaum Family Foundation Global Experience Project,” said Dr. Sara Diamond, President and Vice-Chancellor, OCAD University. “The opportunity to interact closely with ground-breaking international artists will shape the learning experience for OCAD U students in a way that no classroom ever could, and heighten international awareness of Toronto as a vibrant contemporary art community.” For GEP’s inaugural year, OCAD U is hosting the renowned Isaac Julien as its artist-in-residence. A London-based filmmaker and video installation artist, Julien is working with five students who have access to the behind-the-scenes installation of his current show at the Royal Ontario Museum (Isaac Julien: Other Destinies, now on until April 23, 2017) and will participate in events involving the artist and his work, including the upcoming Images Festival, which will screen Who Killed Colin Roach? andTerritories. As part of his residency, which extends until the end of March, Julien will engage with students and the arts community through lectures, screenings and discussions. In May, GEP students will travel to London, England to spend time with Julien in his studio and learn about his process. The students will continue to develop their own projects with Julien’s feedback and critical perspective on their work, while immersed in London’s arts community. Biography Isaac Julien is a Turner prize nominated artist, photographer and filmmaker. He was born in London in 1960, where he currently lives and works. Earlier films and photographic works include “Young Soul Rebels” (1991), which was awarded the Semaine de la Critique Prize at the Cannes Film Festival; the acclaimed poetic film-essay and photographic series “Looking for Langston” (1989); and “Frantz Fanon: Black Skin, White Mask” (1996). Julien has pioneered a form of multi-screen installations, including light-boxes and photographic works with “Western Union: Small Boats” (2007), “Ten Thousand Waves” (2010) and “Playtime: Kapital” (2014). Julien participated in the 56th Biennale di Venezia and worked closely with its curator Okwui Enwezor (2015). He has exhibited his work in major museums and institutions across the world including “Ten Thousand Waves” at Museum of Modern Art, New York (2013-2014), which is currently exhibited at Fondation Louis Vuitton in Paris (2016). In 2015, Julien had a retrospective at the Depont Museum (Tilburg, the Netherlands). In 2016, he showed “Playtime” and “Kapital” at El Museo Universitario Arte Contemporáneo in Mexico City and recently had a solo photographic exhibition titled "Vintage" (Jessica Silverman Gallery, San Francisco) displaying his photographic oeuvre from the 1980's and his seminal "Looking for Langston" series, which is also included in “Made You Look”, at The Photographers' Gallery. Julien’s work is included in the collections of institutions around the globe. In 2013 MoMA published RIOT, a monographic survey of his career to date, featuring his films, photographic and installation works over the period. Julien is currently producing a new work that is a poetic meditation on aspects of the life and architecture of Lina Bo Bardi. The first chapter of this work, “Stones Against Diamonds”, was shown during 2015's La Biennale di Venezia, Art Basel and Art Basel Miami Beach. Amongst forthcoming exhibitions, “Western Union: Small Boats” will be part of “Protest” exhibition at Victoria Miro Gallery (fall 2016). After teaching at Harvard University (1998-2002), Julien was Professor of Media Art at the Staatliche Hochschule für Gestaltung in Karlsruhe (2009-2015) and Chair of Global Art at University of Arts London (2014-2016). ---------- Dr. Sara Diamond is the President of OCAD University, Canada's university of the imagination. She holds a PhD in Computing, Information Technology and Engineering from the University of East London, a Master’s in Digital Media theory from the University of the Arts London and an Honour’s Bachelor of Arts in History and Communications from Simon Fraser University. She is an appointee of the Order of Ontario and the Royal Canadian Society of Artists, and a recipient of the Queen’s Diamond Jubilee Medal and the Digital Pioneer Award from the GRAND Networks of Centres of Excellence. She is also a Senior Fellow at Massey College, University of Toronto. In 2014, Toronto Life described her as one of “Toronto’s 50 Most Influential People.” While retaining OCAD University's traditional strengths in art and design, Diamond has guided the university in becoming a leader in digital media, design research and curriculum through the Digital Futures Initiative, new research in inclusive design, health and design, and sustainable technologies and design. She also played a leading role in OCAD University's establishment of the unique Indigenous Visual Culture program. These initiatives have built strong partnerships for OCAD University with science, business and communities in Ontario and abroad. Currently, Diamond serves on the boards of Baycrest, ORION (Ontario's high-speed network), Women in Communications and Technology; and i-Canada; and is Chair of the Scotiabank Nuit Blanche Toronto Advisory Committee. She has served the larger university community through: her membership on the Standing Advisory Committee on University Research (SACUR); as a current member of the Standing Advisory Committee on International Relations (SACIR) of Universities Canada; as Chair of the Standing Committee on Relationships with other Postsecondary Institutions for the Council of Ontario Universities (COU); and as a member of the Council of Ontario Universities executive. She was also a member of the 2011-2012 Council of the Canadian Academies' expert panel on the State of Science & Technology in Canada. Diamond founded the Banff New media Institute in 1995-2005. Diamond is a data visualization, wearable technology and mobile media researcher, artist, designer and scientist. She is founding Chair of the Mobile Experience Innovation Centre (2007-2014) and was co-Chair of Mobile HCI (ACM) in 2014. She is co-principal investigator in the Centre for Innovation in Information Visualization and Data-Driven Design, an OCAD U/York University initiative, and theme leader on the ORF-E funded iCity project as well as a member of the BRAIN alliance. She holds funding from the Social Science and Humanities Research Council and the National Sciences and Engineering Research Council. Diamond continues to write and lecture on the subjects of digital media history and practice, visual analytics, mobility and design strategy for peer-reviewed journals, and acts as a reviewer and evaluator for IEEE and ACM conferences and journals; SSHRC, CFI and the Canada Research Chair programs. Her artwork is held by prestigious collections such as the Museum of Modern Art, NYC and the National Gallery of Canada. See acast.com/privacy for privacy and opt-out information.
Modern, and contemporary criticism of African and African diasporic art is an area of inquiry that Professor Chika Okeke-Agulu insisted must exist. Professor Okeke-Agulu, along with others like Salah Hassan and Okwui Enwezor wrote into life a genre, and a lineage of artists who diagnose and critique African nation states and related projects. Okeke-Agulu is author of the recent Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria, which takes a broad view. His new work, Obiora Udechukwu: Line, Image, Text, takes a more narrow view, focusing on a former teacher who he names as the most influential Nigerian artist of the 20th century. Okeke-Agulu is currently at work on a book called Contemporary African Art in the Age of the Big Man, which tells the story of contemporary art after dictatorships, civil wars, IMS, and the devastation of African economies in the 1980s.
Devam etmekte olan 56. Venedik Sanat Bienali'nin, Okwui Enwezor küratörlüğünde düzenlenen "Dünyanın Bütün Gelecekleri/All the World's Futures" başlıklı sergisi, "şimdiye kadarki en politik bienal" olarak niteleniyor. Tema eksenince sergide mimarlık ve kentin kapital ile ilişkisi de çokça irdeleniyor. Guggenheim Abu Dhabi, Yeni Louvre Müzesi gibi büyük müzelerin ortadoğu "şubeleri" inşaatlarında çalışan göçmen işçilerin hak ihlallerini ve güç ilişkilerini sorgulayan Gulf Labor Coalition, hafta içinde başlayacak bir seri buluşma ve konferans ile de konuyu geniş çevrelerde tartışmayı sürdürüyor.Yeni "harikalar diyarı" Ortadoğu bir yana, mimarlığın erkle ilişkisi, işçi ölümlerinde dünya üçüncüsü olan Türkiye'de de dehşet verici.Bir başka -ve nispeten iç açıcı- gelişme olaraksa, geçtiğimiz günlerde Chicago Athenaeum Mimarlık ve Tasarım Müzesi ile Avrupa Mimarlık, Sanat, Tasarım ve Kentsel Araştırmalar Merkezi işbirliğinde düzenlenen Uluslararası Mimarlık Ödülleri'nin 2015 sonuçları açıklandı. Yarışmada bu yıl 26 ülkeden 60 bina ödüle değer görüldü, Türkiye'den İzmir Mimarlık Merkezi ve Selçuk Ecza Genel Müdürlüğü binası de ödül alan binalardan ikisi oldu.İki Artı Bir Mimarlık'ın İzmir Mimarlık Merkezi, fotoğraf: Orhan ErsanTabanlıoğlu Mimarlık'ın Selçuk Ecza genel müdürlük binası, fotoğraf: ©Tabanlıoğlu MimarlıkHaftanın bir başka haberi ise, Süha Özkan'ın mimarlık arşivini Bodrum'da restore ettiği bir konut binası içinde kamuya açtığıydı. Türkiye mimarlık ortamının önemli isimlerinden Özkan'ın "Mimarlık Kitaplığı" ismi ile açtığı arşivde 15 bin kitap ve 20 bin belge yer alıyormuş.
Devam etmekte olan 56. Venedik Sanat Bienali'nin, Okwui Enwezor küratörlüğünde düzenlenen "Dünyanın Bütün Gelecekleri/All the World's Futures" başlıklı sergisi, "şimdiye kadarki en politik bienal" olarak niteleniyor. Tema eksenince sergide mimarlık ve kentin kapital ile ilişkisi de çokça irdeleniyor. Guggenheim Abu Dhabi, Yeni Louvre Müzesi gibi büyük müzelerin ortadoğu "şubeleri" inşaatlarında çalışan göçmen işçilerin hak ihlallerini ve güç ilişkilerini sorgulayan Gulf Labor Coalition, hafta içinde başlayacak bir seri buluşma ve konferans ile de konuyu geniş çevrelerde tartışmayı sürdürüyor.Yeni "harikalar diyarı" Ortadoğu bir yana, mimarlığın erkle ilişkisi, işçi ölümlerinde dünya üçüncüsü olan Türkiye'de de dehşet verici.Bir başka -ve nispeten iç açıcı- gelişme olaraksa, geçtiğimiz günlerde Chicago Athenaeum Mimarlık ve Tasarım Müzesi ile Avrupa Mimarlık, Sanat, Tasarım ve Kentsel Araştırmalar Merkezi işbirliğinde düzenlenen Uluslararası Mimarlık Ödülleri'nin 2015 sonuçları açıklandı. Yarışmada bu yıl 26 ülkeden 60 bina ödüle değer görüldü, Türkiye'den İzmir Mimarlık Merkezi ve Selçuk Ecza Genel Müdürlüğü binası de ödül alan binalardan ikisi oldu.İki Artı Bir Mimarlık'ın İzmir Mimarlık Merkezi, fotoğraf: Orhan ErsanTabanlıoğlu Mimarlık'ın Selçuk Ecza genel müdürlük binası, fotoğraf: ©Tabanlıoğlu MimarlıkHaftanın bir başka haberi ise, Süha Özkan'ın mimarlık arşivini Bodrum'da restore ettiği bir konut binası içinde kamuya açtığıydı. Türkiye mimarlık ortamının önemli isimlerinden Özkan'ın "Mimarlık Kitaplığı" ismi ile açtığı arşivde 15 bin kitap ve 20 bin belge yer alıyormuş.
Hjärtat bultar för världen på konstbiennalen i Venedig. Samtidigt byter konstverk ägare för miljonbelopp i kulisserna. Går ekvationen ihop? Varför är det så viktigt för konsten att vara världssamvete? Curator för årets Venedigbiennal är Okwui Enwezor. Han slog igenom med Documenta 2002 då världen tog ett kliv in i samtidskonsten. Nu tar han åter igen pulsen på samtiden och lyfter in världens stora frågor i sin utställning som handlar om All världens framtider. Och som en bakgrundston ljuder en maratonuppläsning av samtliga tre volymer av Karl Marx Das Kapital. Dessutom visas konst i 89 paviljonger och mer än 40 sidoutställningar. Cecilia Blomberg rör sig bland nationer och globala krishärdar och träffar utställningsmakarna Okwui Enwezor, Katerina Gregos, Philippe van Cauteren och Tamara Chalabi, samt konstnärerna Isaac Julien, Lina Selander, Salam Atta Sabri och Petra Bauer.
DAAR (Alessandro Petti, Sandi Hilal, Eyal Weizman) in conversation with Ilan Pappe and Okwui Enwezor. In this event at Tate Modern an international panel of speakers come together to discuss what decolonisation is today.
Okwui Enwezor, curator of the upcoming Venice Biennale 2015, Thai artist Rirkrit Tiravanija, and Asia Society Museum Director Melissa Chiu look at current issues in international contemporary art. (1 hr., 20 min.)
Speaking with the jazz pianist, composer, and performance artist, Jason Moran, on shared interests
Kosmo blickar in i historiens giftskåp. Om mörka historier som möter dagens ljus. Om upptäcktsresares och antropologers etnocentriska världsbild och om hur en ny tids resande kräver en omvärdering av vi och dem. Under andra världskriget efter Pearl Harbor internerades 120 000 japanska immigranter i läger på avskilda platser. I författaren Julia Otsukas bok When the emperor was divine får vi läsa om detta stycke mörk amerikansk historia, en historia som hon fann hos sin egen familj. Boken har gjort att hon kan leva av sitt författarskap. Den tycks ha fyllt ett hål i den amerikanska historieskrivningen och köps in av många skolor och universitet som kurslitteratur. Marie Lundström har varit i New York och mött Julie Otsuka. I höst kommer hennes andra bok Vi kom över havet på svenska. Där berättar hon historien om de så kallade picture brides - unga japanskor som kom till USA i början av 1900-talet i hopp om ett bättre liv. Kosmo har också varit i Paris och på konsttriennalen Intense Proximety på Palais de Tokyo. Utställningen ifrågasätter hur världen har upptäckts och hur vi skapat hierarkier av vi och dem, samtidigt som den fokusera på den värld vi lever i idag, där den mänskliga rörligheten sker utifrån andra villkor och där nya relationer måste skapas. Utställningens chefskurator Okwui Enwezor har inspirerats av en bok om den franska socialantropologen Claude Levi-Strauss och hans kritik av det tidiga 1900-talets antropologiska synsätt, och en händelse i händelse i Paris vintern 2006, då en högerextrem organisation satte upp ett soppkök för Paris hemlösa och serverade grissoppa – en soppa som uteslöt en stor del av stadens befolkning. På konsttriennalen på Palais de Tokyo visas verket The Wedding Room av Meschac Gaba från Benin och Rotterdam. Meschac Gaba passade på att arrangera sitt eget bröllop samtidigt som han var inbjuden till Stedjlik museum i Amsterdam år 2000. Resultatet ställs ut på fotografier och montrar på samma sätt som föremål brukar presenteras på etnografiska museer. Meschac Gaba är numera ett välkänt namn på den internationella konstscenen. Genombrottet kom med hans Museum of Contemporary African Art där ett av rummen är Vigselrummet. "En av tankarna med mitt samtida afrikanska museum är att just visa upp vad det samtida Afrika är. Och det kan lika gärna finnas här i Europa. Det handlar om att ta sig ur schablonerna om ett Afrika sett med antropologernas blick", berättar han för Cecilia Blomberg när hon möter honom i Paris. Och så har Maria Edström läst boken Give me my father’s body - The Life of Minik, the New York Eskimo, skriven av Kenn Harper. Boken handlar om Minik som 1897 kom med sin far och fyra andra inuiter till New York med skeppet Hope för att föras vidare till American Museum of Natural History. Det var upptäcktsresaren Robert E Peary som kommit på ”snilleblixten” att de kunde visas upp på museet, studeras och bidra till forskningen. Alla utom Minik dör och som senare i livet får veta att hans fars skelett ställs ut i en monter på museet. Programledare: Cecilia Blomberg Producent: Marie Liljedahl
Born in Nigeria, Okwui Enwezor is a curator, writer, critic, and editor of international acclaim. He has held positions as Visiting Professor in Art History at University of Pittsburgh; Columbia University, New York; University of Illinois, Urbana-Champaign; and University of Umea, Sweden. Enwezor was Artistic Director of Documenta 11, Kassel, Germany (1998–2002) and the 2nd Johannesburg Biennale (1996–1997). He has curated numerous exhibitions in some of the most distinguished museums around the world, including The Short Century: Independence and Liberation Movements in Africa, 1945–1994, Museum Villa Stuck, Munich, Gropius Bau, Berlin, Museum of Contemporary Art Chicago, and P.S.1 and Museum of Modern Art, New York; Century City, Tate Modern, London; Mirror’s Edge, Bildmuseet, Umea, Vancouver Art Gallery, Vancouver, Tramway, Glasgow, Castello di Rivoli, Torino; In/Sight: African Photographers, 1940–Present, Guggenheim Museum; Global Conceptualism, Queens Museum, New York, Walker Art Center, Minneapolis, Henry Art Gallery, Seattle, List Gallery at MIT, Cambridge; David Goldblatt: Fifty One Years, Museum of Contemporary Art, Barcelona, AXA Gallery, New York, Palais des Beaux Art, Brussels, Lenbach Haus, Munich, Johannesburg Art Gallery, Johannesburg, Witte de With, Rotterdam; co-curator of Echigo-Tsumari Sculpture Biennale in Japan; co-curator of Cinco Continente: Biennale of Painting, Mexico City; Stan Douglas: Le Detroit, Art Institute of Chicago. October 15, 2009
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