Podcast appearances and mentions of oliver ressler

Chefredakteur Christoph Wellner im Gespräch mit dem Direktor des Österreichischen Kulturforums (ÖKF) in Madrid, Kristian Henk. Das ÖKF möchte die Ausstellung von Oliver Ressler Barricading The Ice Sheets unterstützen und mit einem Rahmenprogramm begleiten. Einige „Klimainnovationen“ aus Österreich, die im Zuge der Ausschreibung „Reparatur der Zukunft“ ausgewählt und den Kulturforen angeboten wurden, können im Zuge dieses Projekts in Gijón und anschließend in Madrid präsentiert werden.Mit dem Forschungsvorhaben Barricading The Ice Sheets widmet sich Oliver Ressler der Klimakrise, ihrer Bekämpfung und der Rolle der Künstlerinnen und Künstler dabei. Ressler visualisiert die Auswirkungen unseres Handelns auf den Planeten und porträtiert unterschiedliche soziale Bewegungen, die sich der Klimakrise entgegensetzen. Die künstlerische Produktion, die aus dieser Forschung entsteht, kann gleichzeitig auch als „dokumentarisch“ gesehen werden. 

In this episode of All Things Co-op, Kevin and Cinar speak with sociologist, political scientist, author and documentary filmmaker Dario Azzellini. They discuss recuperated workplaces—workplaces that have been abandoned by private capitalist owners and taken over by workers and reorganized to be democratically controlled—and why the process of engaging in struggle with fellow workers builds an enduring ecosystem of trust. They also explore critiques of the Mondragon corporation, why co-ops should be rooted in community and social movements, the dangers of co-op owners identifying as entrepreneurs, the long history of worker struggles around the world, and more. About our guest: Dario Azzellini is a professor and researcher in the Department of Development Studies (Unidad Académica en Estudios del Desarrollo) at the Autonomous University of Zacatecas (Zacatecas, Mexico) and visiting scholar at the ILR School at Cornell University (Ithaca, USA). His primary research interests are labour studies, local and workers' self-management, and social movements and protest. He has more than 160 academic publications, among them more than 20 books, 11 films, and more than 100 journal articles and book chapters, many of which have been translated into a variety of languages. Together with Oliver Ressler he produced Occupy, Resist, Produce, a series of documentaries on recuperated factories under workers control in Europe. To learn more: www.azzellini.net; https://www.versobooks.com/books/1433-they-can-t-represent-us; https://www.azzellini.net/en/english 

Secession Podcast: Artists is a series of conversations featuring artists exhibiting at the Secession. This episode is a conversation between Kodwo Eshun from The Otolith Group and the artist Oliver Ressler. It was recorded on November 16, 2022 in the context of the exhibition: The Otolith Group What the Owl Knows 18.11.2022 – 5.2.2023 The Secession is delighted to announce What the Owl Knows, the solo exhibition of The Otolith Group named after the new moving image work directed by the artists. The post-cinematic practice of Kodwo Eshun and Anjalika Sagar is informed by an attention to an aesthetics of the essayistic that takes the form of a science fiction of the present that seeks to dramatise the interscalar catastrophes of the Racial Capitalocene. More Oliver Ressler produces installations, projects in public space, and films on economics, democracy, racism, climate breakdown, forms of resistance and social alternatives. He has completed forty-one films that have been screened in thousands of events of social movements, art institutions and film festivals. Ressler had comprehensive solo exhibitions at Museum of Contemporary Art, Zagreb; Neuer Berliner Kunstverein; MNAC – National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul; Centro Andaluz de Arte Contemporaneo, Seville. He has participated in more than 400 group exhibitions, including the biennials in Taipei, Lyon, Gyumri, Venice, Athens, Quebec, Jeju, Kyiv and at Documenta 14, Kassel, 2017. www.ressler.at Sponsor of the Secession Podcast: Dorotheum Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Editing & digital post-production: Christian Lübbert Programmed by the board of the Secession Produced by Christian Lübbert

In seinen Arbeiten befasst sich der Videokünstler Oliver Ressler mit Menschen, die gegen das Abtauen des Polkappen und die Abholzung der Wälder kämpfen. Sein Langzeitprojekt "Barricading the Ice Sheets" ist nun in Berlin zu sehen.Oliver Ressler im Gespräch mit Massimo Maiowww.deutschlandfunkkultur.de, KompressorDirekter Link zur Audiodatei

In der aktuellen Ausgabe rekapituliert die Direktorin des Österreichischen Kulturforums in Zagreb, Stephanie Karner, eine besonders wichtige und großflächige Ausstellung, die vor kurzem zu Ende gegangen ist. Thema: Klimagerechtigkeitsbewegung, dargestellt von Oliver Ressler, Künstler und Filmemacher aus Österreich, der Installationen, Arbeiten im Außenraum und Filme zu Themen wie Ökonomie, Demokratie, Migration, Klimakrise, Widerstandsformen und gesellschaftliche Alternativen realisiert.

Episode 129 has as guest Oliver Ressler talking about the  context and methods of  political film and art.Support the show (https://www.patreon.com/revolutionZ)

The General Assembly has been at the core of many social movements during the last decade: A zone of gathering, of building community, of experimenting with the way democracy can function. A space not only for trying out but living a different kind of decision making. Art historian Julia Ramírez-Blanco (Barcelona) just finished a book on the Spanish 15M movement, Oliver Ressler (Vienna) is one of the main documentarists of worldwide social mobilizations since many years. In the second edition of Gesellschaftsspiele – The Art of Assembly they reflect the crucial role of collective decision making for developing political alternatives.

SONIC ACTS FESTIVAL 2019 – HEREAFTER Gregory Sholette – Can an Anti-Capitalist Avant-Garde Art Survive in a World of Lolcats, Doomsday Preppers and Xenophobic Frog Memes? Do We Have a Choice? 23 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Ash Sarkar. As artistic activism becomes a signature attribute of contemporary high culture, a wave of museum boycotts, protests, occupations and labour unrest marks our current decade. Meanwhile, much of the post-2008, post-Occupy art generation abhors the multi-billion-euro capitalist art market, even as the very term art is radically shifting, twisting, inverting, if not undergoing an outright self-expulsion from itself as it moves from its familiar white cube dwelling places to occupy the public sphere at an ever-accelerating tempo. But as art joins the everyday social world, its status as a privileged and critical realm that is set apart from the ubiquitous materialistic pursuits of a consumer society is likewise receding from view, and in truth, most high cultural practitioners have yet to really face this new, ‘bare’ art world and what it represents. Nevertheless, as art sheds its centuries-old ideological privilege of autonomy, it is gaining a front-row seat in the contentious struggle to rethink society, as well as the expressive, imaginative and artistic value is generated, for whom, why and to what ends. Still, the question lingers, how will art, especially activist and anti-capitalist art, remain critically radical once fully submerged in a world of lolcats, doomsday preppers and xenophobic frog memes? Gregory Sholette is an artist, activist and writer. He was a founding member of several collectives such as Political Art Documentation and Distribution, REPOhistory and Gulf Labor. In his artistic work and seven books – including Art as Social Action (with Chloë Bass, 2018), Delirium and Resistance (2017), Dark Matter (2011), It’s The Political Economy, Stupid (with Oliver Ressler, 2012) – Sholette reflects upon decades of activist art that, for its ephemerality, politics and market resistance, might otherwise remain invisible. Sholette holds a PhD in History and Memory Studies from the University of Amsterdam (2017). He teaches Studio Art and co-directs the Social Practice Queens MFA program at Queens College, CUNY. He is an associate of the Art, Design and the Public Domain program of Harvard University’s Graduate School of Design.

Globally engaged curators introduce IKT, the International Association of Curators of Contemporary Art, and talk about themes we'll explore during the 2019 IKT Congress in Miami. Ground zero for sea level rise, Miami is the ideal context for our conversation on how art and visual culture are changing public perception of today's climate crisis. Recorded in the studio of Jolt Radio, Miami, on April 10, 2019, during our weekly web streaming radio show. Voices: (alpha order) Daniela Arriado, Susan Caraballo, T.J. Demos, Julia Draganović, Vanina Saracino Sound Editor: Anamnesis Audio | Special Audio: Cara Despain, Sea Unseen; Ursula Biemann and Paulo Tavares, Forest Law; Oliver Ressler, Code Rood; Enrique Rámirez, Tidal Pulse; Band of Weeds, Underground Root Movement |  This episode is supported, in part, by IKT Miami. Related Episodes: Live from the Everglades, Part One, Robert Chambers on Art, Ancient Plants and New Technologies, Gustavo Matamoros: Inside Miami’s Sound Chamber, Deborah Mitchell: The Artist as Guide to the Everglades, Jenny Larsson on Searching for Arctic Winter, Adam Nadel on Getting the Water Right, Artist Residency in Everglades, Art and the Rising Sea,  Jorge Menna Barreto on Environmental Sculpture, Rauschenberg Residency on Rising Water, Andrea Bowers on Environmental Activism Related Links: IKT, Screen City Biennial Episode Participants: Daniela Arriado is Director and founder of Screen City Biennial in Stavanger, Norway. Based in Berlin since 2012, she explores new curatorial approaches towards expanded borders of cinematic experiences and the audio-visual through projects concerning urban screens and online streaming platforms for video art. Susan Caraballo is a Miami-based arts consultant, producer and curator working at the intersection of curating and directing to explore global issues including the ecological crisis and contemporary social conditions. A member of IKT's Miami constituency, Caraballo organized the symposium for the 2019 Congress around the subject of environmental sustainability and creative resilience. T.J. Demos is Professor in the Department of the History of Art and Visual Culture, at University of California, Santa Cruz, and Founder and Director of its Center for Creative Ecologies. He writes widely on the intersection of contemporary art, global politics and ecology. Julia Draganović is a curator whose focus is time based and collaborative art and new artistic strategies. She has curated projects in Germany, Italy, Spain, the USA and Taiwan. Currently Director of Kunsthalle Osnabrück, Germany, Draganović has served as President of IKT since 2014. Vanina Saracino is an independent curator and film programmer based in Berlin. She is the co-founder of OLHO, an international curatorial project about contemporary art and cinema initiated in 2015 in Rio de Janeiro and São Paulo, also shown at Teatrino di Palazzo Grassi (Venice, 2017) and Palais de Tokyo (Paris, 2018). Saracino is co-curating the 2019 Screen City Biennial. About IKT: German curators Eberhard Roters, Eddy de Wilde and Harald Szeemann and others founded IKT in 1973, to stimulate and extend debate concerning curating. Convening each year in a different city, IKT brings together curators from around the world, to meet, share knowledge, exchange ideas and broaden their professional networks.   About IKT Miami: A group of twelve Miami-based curators organized a three-day program for IKT's 2019 Congress in Miami. More than 100 international curators and art professionals participated, along with local curators, cultural producers, artists and other members of Miami’s cultural community. IKT Miami brought international attention to area artists and cultural producers, including those addressing global issues of sustainability and resilience in South Florida. The symposium and five related community events introduced Miami’s rich cultural landscape.

V GT22 smo maja lani pričeli s pogovori z lokalnimi filmskimi ustvarjalci #EkstremnoLokalno in predvajanjem njihovih filmov. V okviru serije gostimo režiserje/-ke, scenariste/-ke, montažerje/-ke, igralce/-ke, scenografe/-ke... in videaste/-ke iz Maribora. Prva gostja v okviru serije 26. maja, 2016 je bila intermedijska umetnica in videastka Ana Pečar. Pred pogovorom smo si ogledali dva njena filma: - dokumentarec In the red; Ana Pecar & Oliver Ressler, 20 min., 2014: http://www.ressler.at/in_the_red/ - video Snake Heads; Ana Pecar, 11:12 min, 2014. https://vimeo.com/110794836 Ana Pečar (1977) je trenutno na Tolminskem, kjer pripravlja material za novo razstavo. Deluje kot video in intermedijska umetnica predvsem zato, ker želi ta položaj izkoristiti kot orodje za prodor onkraj konstruirane realnosti, kakršna dozdevno obstaja v tem prostoru in času. Raziskuje sled poti človeštva in je ne dojema kot premico trajnega napredka, marveč kot zanko stalnega vračanja k bazični naturi. V GT-ju bosta prikazana video, ki izvira iz avtohtonih znanj ter ponuja prastaro alternativo ter dokumentarni film o dolgu. Sledil bo pogovor z avtorico. Več o Ani Pečar: www.anapecar.com Organizator: Društvo za razvoj filmske kulture, Maribor Ob podpori: #mobilniudarnik, Fundacija Sonda, Mestna občina Maribor, Slovenski filmski center/ Slovenian film centre. Foto: Andrej Firm, Mišnica GT22

This week: Scandal! Economics! Wendy's ads from the 80's!! We talk to Oliver Ressler and Gregory Sholette about It's the Political Economy, Stupid. The economic crisis that we face today has also become a major crisis for representative democracy. The very idea of the modern nation state is in jeopardy as the deterritorialized flow of finance capital melts down all that was once solid into raw material for market speculation. It is the social order itself, and the very notion of governance with its archaic promise of security and happiness that has become another kind of modern ruin. It’s the Political Economy, Stupid brings together an international group of artists who focus on the current crisis in a sustained and critical manner. Rather than acquiesce to the current calamity, this exhibition asks if it is not time to push back against the disciplinary dictates of the capitalist logic and, by use of artistic means, launch a rescue of the very notion of the social itself. The Austrian Cultural Forum New York is pleased to present this new group exhibition which was curated by the Austrian-American team of Oliver Ressler and Gregory Sholette. The show derives its title from the slogan which in the early 1990s came to define then presidential candidate Bill Clinton’s campaign, “It’s the economy, stupid”. PRESS QUOTES: "In the wake of the capitalist crisis, very few cultural institutions have dared to address the horrors of greed that plague us in such a direct and haunting way as the Austrian Cultural Forum." - Alexander Cavaluzzo, Hyperallergic.com, Feb. 13, 2012 "Curated by Gregory Sholette and Oliver Ressler, this is a good old political exhibition, full of sarcasm, hope, protest, and information." - William Corwin, Saatchi Online Magazine, Feb. 21, 2012 A "confrontational, intellectual, and occasionally amusing group show, which squarely aligns itself with the Occupy movement." - Robert Shuster, The Village Voice, Feb. 8, 2012 "Curated by Oliver Ressler and Gregory Sholette, this is a smart exhibition that I suspect will be preaching to the converted, but in style.  [...]  This is the gallery version of Occupy Wall Street." - Andrea Kirsh, Feb. 14, 2012, theartblog.org "Visible from the sidewalk on a block that the Austrian Cultural Forum shares with Cartier, Ferragamo and Tourneau, the work [by Dread Scott] affirms a disheartening truth about the cultural mindset this well-curated exhibition aims to critique: many would prefer to see their money burn than have it distributed equitably." -David Markus, Art in America, Mar. 28, 2012 "Ressler’s and Sholette’s show does indeed achieve its objectives, occupying the Austrian Cultural Forum through a diverse range of artworks stemming from the 2008 crisis of finance capitalism. It does so principally by drawing together a selection of works which both educate and entertain, offering invaluable information and welcome critical reflection." - Thom Donovan, Art:21 Blog, Apr. 16, 2012  

This week: First SF Checks in from SIGGRAPH! Brian haunts the halls of the Anaheim Convention Center at SIGGRAPH 2013. First he sits down with Victoria Szabo, curator of this year's gallery exhibition XYZN: Scale. Following, he talks with Jackie Morie, founder of the Digital Arts Community about the role of the community in the art world and the technology community. Then, we talk to Greg Sholette! Gregory Sholette is a New York-based artist, writer, and founding member of Political Art Documentation/Distribution (PAD/D: 1980-1988) and REPOhistory (1989-2000). His recent books include Dark Matter: Art and Politics in an Age of Enterprise Culture (Pluto Press, 2010) and the co-authored book It’s The Political Economy, Stupid with Oliver Ressler, (Pluto 2013), which is also a traveling exhibition (New York, NY; Thessaloniki, Greece; Pori, Finland; Belgrade, Slovenia; Chicago, Illinois). The first episode of his graphic sci-fi novel Double City appeared in Frieze magazine (summer 2013), and Chapter 2 in Shifter:21 (Oct. 2013). His most recent installations include: Exposed Pipe/ ماسورة موسيقية  for the American University Beirut art gallery; Torrent for Printed Matter Books in Chelsea; iDrone for cyberartspace.net; 15 Islands for Robert Moses for the Queens Museum of Art Panorama, and the traveling installation Imaginary Archive (Wellington, New Zealand; Galway, Ireland; Graz, Austria; Kiev, Ukraine).  He is a frequent lecturer and seminar leader in the US and abroad, teaches at Queens College and the City University Grad Center, is active in Social Practice Queens, is a member of Gulf Labor Coalition, and serves as an academic adviser for the Home Workspace Program in Beirut, Lebanon.