Podcast appearances and mentions of paul thek

Paul Thek (1933-1988), l'un des artistes américains les plus singuliers de la seconde moitié du 20e siècle, a toujours refusé d'appartenir aux courants artistiques dominants. Au cours des années 1960, son travail s'est développé en marge du Pop art et de l'art minimal, prenant le corps comme sujet dans sa représentation la plus charnelle. Personnalité libre, artiste voyageur, il a pendant quinze ans circulé en Europe et a vécu notamment en Italie dont l'art et la culture ont profondément nourri certaines de ses créations. Auteur d'une œuvre inclassable et incroyablement diversifiée (« Technological Reliquaries », installations éphémères et collectives, peintures et dessins…), Paul Thek n'a cessé d'entremêler dans son travail ces oppositions qui ont été au centre de sa vie : le spirituel et le corporel, la vie et la mort, le sacré et le profane. Valérie Da Costa, auteure du récent livre Paul Thek en Italie / Paul Thek in Italy 1962-1976 (Presses du Réel), revient sur son œuvre à l'occasion de l'exposition que lui consacre le MAMCO de Genève de mars à juin 2024 et dont elle assure le co-commissariat. Valérie Da Costa est historienne de l'art, critique d'art et commissaire d'exposition. Elle est maîtresse de conférences HDR en histoire de l'art contemporain (XXe-XXIe siècles) à l'Université de Strasbourg. Ses recherches portent notamment sur l'art italien de la seconde moitié du XXe siècle sur lequel elle a publié de nombreux textes et livres. Elle a été commissaire de l'exposition « Vita Nuova. Nouveaux enjeux de l'art en Italie 1960-1975 » (MAMAC, Nice, 2022) et est co-commissaire, avec Lionel Bovier, de l'exposition « Paul Thek » (MAMCO, Genève, 2024).  Penser le Présent est réalisé avec le soutien de Société Générale. Amphithéâtre des LogesJeudi 25 janvier 2024  Crédits photos : © Droits réservés

Mandy El-Sayegh talks to Ben Luke about her influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. El-Sayegh, born in Selangor, Malaysia, in 1985 and now living in London, makes paintings, sculptures, installations, videos and performances that assemble disparate materials to explore the human body and mind within diverse social, cultural and political contexts. Moving freely and intuitively across these disciplines and media, she creates arresting correspondences between image and text, between the natural and the artificial, and between the senses and the intellect. She discusses growing up with a reproduction of Albrecht Dürer's Christ on the Cross on the wall, the power of Paul Thek's diverse work, her love of the South Korean artist Keunmin Lee's paintings, the poetry of Theresa Hak Kyung Cha and the films of David Cronenberg. Plus, she gives insight into life in the studio and answers our usual questions, including the ultimate: “what is art for?”Mandy El-Sayegh, Interiors, Thaddaeus Ropac, London, 1-30 September; Mandy El-Sayegh: In-Session, Tichy Ocean Foundation, Zurich, until 30 November; the book The Makeshift Body: Mandy El-Sayegh, Black Dog Publishing, published in September, £29.95/$39.95 Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to Mike Nelson about his influences—from the worlds of literature, film, music and, of course, art—and the cultural experiences that have shaped his life and work. Nelson, born in 1967 in Loughborough in the UK, is one of the most significant British sculptors and installation artists of this century. He has spent the past three decades assembling materials gathered in junkyards, flea markets, online auctions, even street-corner fly tips into often labyrinthine sculptural environments. He creates distinctive spaces that suggest fictional (and often science-fictional) narratives, while alluding to diverse histories, obscure countercultural or political movements and current affairs as well as his own biography. He discusses the early influence of Graham Sutherland and Francis Bacon, his elation at discovering the work of Paul Thek, how fiction—and science-fiction writers like Stanislaw Lem, J.G. Ballard and the Strugatsky brothers—liberated his approach to art making, and the enduring influence of film-makers including Jean-Luc Godard and Sergei Parajanov.Mike Nelson: Extinction Beckons, Hayward Gallery, London, until 7 May. Hosted on Acast. See acast.com/privacy for more information.

Audio transcript of Foul Perfection: Essays and Criticism by Mike Kelley Edited by John C. Welchman2003Part 3 of 4 – Cross-Gender/Cross-Genre (1999) – Mëkanïk Dëstruktïẁ Kommandöh: Survival Research Laboratories and Popular Spectacle (1989) – Death and Transfiguration [on Paul Thek] (1992) – Dyspeptic Universe: Cody Hyun Choi's Pepto-Bismol Paintings (1992) – Marcel Broodthaers (1992) – Myth Science [on Öyvind Fahlström] (1995) (PDF LINK)

Kenny Schachter has an insatiable appetite for all things art. The polymathic art dealer, curator, teacher, writer, critic, collector, and self-taught artist brings a Tasmanian Devil–level energy to all that he does, but always with great, arms-open passion and, even within his whirlwind of ideas and projects, deep focus. For good reason, he has become a sort of enfant terrible in the art world, someone who's not afraid to speak his mind, and who doesn't care about ruffling feathers or messing with the establishment. He pushes against the status quo, and happily so. Schachter is a believer in high culture as much as low, and brings little pretension to his craft, no matter the medium, even if considerable rigor underlies it. Often, he's decidedly coy.Schachter's love of art is bona fide and lifelong. Not only did art prove a helpful outlet for him during a difficult childhood, but it has also blossomed into a way of growing closer to his family (particularly with his children, with whom he has mounted a series of inventive exhibitions). Schachter especially appreciates art for its ability to help him depict the time he's living in. For him, art also serves as a form of cultural and personal commentary and as a mode of humor, often the self-deprecating variety. Schachter has become something of an NFT oracle, too, and will present his latest efforts in this space at next month's Independent Art Fair (May 5–8) in New York, with Greece's Allouche Benias gallery.On this episode, Schachter talks with Andrew about art as a form of sense-making, the benefits of being an outsider, and why he employs humor in so much of his work.Special thanks to our Season 5 sponsor, L'ÉCOLE, School of Jewelry Arts. Show notes:Full transcript@kennyschachter[07:56] Schachter's column for Artnet[09:46] Schachter's shrugging emoji[28:42] “The Hoarder” series of Sotheby's sales[29:46] “Kenny Schachter: Retrospective” (2018)[42:15] “Friends & Family” (2012)[57:46] “The Artist Is Online” (2021)[57:57] “Kenny Schachter: Metadada” (2022)[01:01:46] “Forbidden Amuse Yourself Piggy Bank” (2018)[01:23:06] “The Art World's Mini-Madoff and Me”

Luerweg, Susanne und Oelze, Sabinewww.deutschlandfunk.de, Aus Religion und GesellschaftDirekter Link zur Audiodatei

Mike Nelson is an artist whose influential works oscillate between salvage yards and dreamscapes. He works with things from the present and the just-past, to create these spaces, that ask you to think twice about contemporary culture, and our ways of being. In his words through situations that are on the brink of obsolescence. Mike Nelson's lessons on the agency and potency of objects, and his take on his own positionality as an artist; through the metaphor of sliders on an equalizer were thought-provoking. On every occasion, an artist has to decide over a multiplicity of issues, over ethics, politics, effects, income, and many other dimensions. These virtual sliders operate as part of a decision-making process, over the give and take, and to decide how to negotiate as well as reconcile our decisions. EPISODE NOTES & LINKSAcclaimed artist Mike Nelson's work stems from a period of living and working in a particular location in the form of large-scale, site-specific sculptural environments. http://mikenelson.org.uk/Protocinema is a cross-cultural art organization that commissions and presents site-aware art around the world. https://www.protocinema.org/aboutPROJEKTÖR was an exhibition organized by Protocinema in 2019. Nelson combined architectural intervention, sculpture, and video across sixteen rooms of the seventh floor of a historic commercial building (Gürün Han) to reflect on the changing landscape of the city, both intimate and global. https://www.protocinema.org/exhibitions/mike-nelson Rip Van Winkle is a short story about nostalgia by Washington Irving, published in 1819. The protagonist of the story falls into a deep slumber for two decades and wakes up to a completely different world.Crystal Palace is a neighborhood in London that takes its name from the exhibition space designed by Joseph Paxton in 1851 to display examples of technology developed in the Industrial Revolution. The United States Capitol attack took place in 2021 by the supporters of Donald Trump to disrupt the joint session of Congress assembled to count electoral votes that would formalize President-elect Joe Biden's victory.Formed in 1968, Crosby, Stills, Nash & Young (CSNY) was a folk-rock supergroup. They were not only known for their tumultuous relationship but also for political activism.Charles Manson is a criminal who led the infamous Manson Family in California, in the late 1960s.Minicab was a precarious taxi service that could be booked in advance but not licensed to pick up passengers who hail it in the street. It predates and was replaced by ride-share apps.Han is the urban version of Caravanserai, a roadside inn where travelers could rest and recover from the day's journey. They could be considered commercial settlements or artisanal facilities.Founded in 1651 by Kösem Valide Sultan, the mother of the Ottoman sultans Murat IV and Ibrahim, Büyük Valide Han is the largest historic han in Istanbul. A darkroom is a completely dark working environment that serves to carry out tasks like processing photographic film or making prints.Duveen (1869-1939), was a British art dealer who was highly active and influential in the 1920's and 1930's. His success is famously attributed to his observation that "Europe has a great deal of art, and America has a great deal of money."https://en.wikipedia.org/wiki/Joseph_Duveen,_1st_Baron_DuveenHenry Moore (1898-1986) was one of the most important British artists of the twentieth century and arguably the most internationally celebrated sculptor of the period. https://www.henry-moore.org/Asset Stripper is a slang term used in a pejorative sense in the field of finances which refers to the practice of selling off a company's assets to improve returns for equity investors.“Asset Strippers” was the title of the annual Tate Britain commission in 2019 where Mike has transformed the grand spaces of the Duveen Galleries into something between a sculpture court and a salvage yard. https://www.tate.org.uk/whats-on/tate-britain/exhibition/mike-nelsonFounded in 1852 and named after Queen Victoria and Prince Albert. V&A Museum is the world's largest museum of applied arts, decorative arts, and design in terms of inventory. https://www.vam.ac.uk/Nelson also has a longstanding interest and knowledge of Middle Eastern art and architecture, a topic we didn't go much into during this conversation. Assyrian Bowl https://www.britishmuseum.org/collection/object/W_N-94An equalizing deck is a circuit or equipment used to adjust the volume of different frequency bands within an audio signal during the processes of sound recording or reproduction. https://en.wikipedia.org/wiki/Equalization_(audio)The Arab Spring (Arabic: الربيع العربي) was a series of anti-government protests, uprisings, and armed rebellions that spread across much of the Arab world in the early 2010s.Edward Kienholz (1927-1994) and Nancy Kienholz (1943-2019) were artists whose work heavily criticized the modern way of living and in particular Americana mostly through installation and sculptural works. Ilya and Emilia Kabakov are artists whose ground (or ceiling) breaking installations were highly influential in defining the Post-Soviet cultural production with their subtle humor and captivating visual language. Paul Thek (1933–1988) is the quintessential “artists' artist” with his unique materiality and fragile life and oeuvre that ended up being posthumously celebrated by the following generation of artists who emerged in the 90's.Dieter Roth (1930–1998) was an artist best known for works made of found materials, including rotting food. In the present day, his work is carried out by his son Björn Roth. William Franklin Culbert (1935 – 2019) was an artist who worked with and through painting, photography, sculpture, and installation as well as found and recycled materials.Ron Haselden is an artist who works with light, sound, film, and video, often as part of architectural projects.Richard Wilson is an artist known for his architectural sculptures and large-scale installations.Marc Camille Chaimowicz is an artist whose cross-disciplinary work in painting, drawing, collage, sculpture, installation, furniture, lighting, ceramics, textiles, and wallpaper challenges the categorical divisions between art and design. Robin Klassnik is the founder and director of Matt's Gallery. Founded in 1979, Matt's Gallery is a contemporary art gallery located in London. https://www.mattsgallery.org/Robert Smithson (1938 - 1973) is another legendary artist who is best known for his artwork Spiral Jetty (1970). Due credit should also be given to Nancy Holt (1938-2014), in creating what is known as Land Art. https://holtsmithsonfoundation.org/ is the custodian of their legacy, until 2038, when the foundation will terminate at the 100th birthday of the couple.Hélio Oiticica (1937 - 1980) is an influential artist from Brazil known for his environments and iconic artworks: such as parangolés, wearable, experiential garments, and penetrables a series of structural works that he considers as “movable frescos on a human scale except that (most importantly) they are penetrable.”Stanislaw Lem (1921 - 2006) was a Soviet writer and thinker whose work on futurology historically stands out because of his influential work titled Solaris (1961) thanks to director Andrei Tarkovsky's movie adaptation of the novel in 1971.A Perfect Vacuum (1971) comprises Stanislav Lem's fictitious criticism of nonexisting books. The texts included reads as drafts of his science fiction novels, philosophical pieces across scientific topics, from cosmology to the pervasiveness of computers while others satirize and parody everything from the nouveau roman to pornography, Ulysses, authorless writing, and Dostoevsky.First published in 1719, Robinson Crusoe is a highly influential and seminal work of literature by William Defoe It tells the story of a castaway who spends 28 years on a remote tropical desert island near the coasts of Venezuela and Trinidad, encountering cannibals, captives, and mutineers, before ultimately being rescued.

Ep.90 features Writer, curator, lecturer, artist, NFT evangelist Kenny Schachter. He has been curating contemporary art exhibits in museums and galleries and teaching (art history and economics) for more than thirty years; presently in the graduate department of the University of Zurich (appointed to advisory board January 2021) professorships at the School of Visual Arts (NY) and New York University. He has lectured internationally, been the recipient of a Rockefeller supported grant in Mexico, and contributed to books on Paul Thek, Zaha Hadid, Vito Acconci and Sigmar Polke/Gerhard Richter. Schachter has a regular column on Artnet.com in addition to writing widely for various international publications including most recently New York Magazine and The Times Magazine (UK). He had a retrospective of his art at Joel Mesler's Rental Gallery in New York in the summer of 2018, curated an exhibit at Simon Lee Gallery in London, fall 2018 and a one person show at Kantor Gallery, LA, February 2019. He recently staged the first phygital NFT group exhibit at Nagel-Draxler Gallery in Cologne, and participated in a two-person show with Eva Beresin at Galerie Charim in Vienna (both in May 2021) Schachter participated in Art Basel 2021 with Nagel Draxler Gallery. In addition, another one person show is scheduled at Blum & Poe Gallery in Tokyo in 2022. Schachter is presently the subject of a documentary being produced and directed by Chris Smith (Tiger King/Fyre Festival), and a Hulu/ABC NFT film, and has been profiled in The New York Times Magazine (cover story, September, 1996), and London's Observer, Independent and Telegraph. After having made digital art for decades, Schachter has spearheaded the traditional art world's adaptation of Non Fungible Tokens in 2021 by lecturing from Yale to the Hirschhorn Museum and written 8 feature articles for Artnet on the subject. He has curated wide-ranging NFTism exhibitions (which term he trademarked) at Nagel Draxler in Cologne, Institut in London and Nagel Draxler's booth in Art Basel Switzerland. Kenny is currently based in New York. The Nagel Draxler gallery has launched in Berlin a space dedicated to NFTs and blockchain related art. The inaugural and current exhibition at the gallery is titled METADADA at Nagel Draxler CRYPTO KIOSK, a solo exhibition featuring Kenny Schachter, thru 12 March 2022 Artist https://www.kennyschachter.art/ https://www.kennyschachter.art/category/interviews-lectures-talks/ https://www.kennyschachter.art/2022/01/kenny-schachter-art-above-all/ Crypto Mutts https://cryptomutts.io Galerie Nagel Draxler https://nagel-draxler.de/ SVA https://sva.edu/events/kenny-schachter-on-nfts-in-the-art-world Coindesk https://www.coindesk.com/business/2021/09/25/art-collectors-swoon-over-nfts-at-elite-basel-gathering/ Observer https://observer.com/2021/06/kenny-schachter-nft-cryptocurrency-rarible/ Artnet http://www.artnet.com/ Unit London https://unitlondon.com/content/feature/998/detail/artworks8704/ Colecteurs https://www.collecteurs.com/article/kenny-schachter-on-transparency-in-the-art-world Gallerie Magazine https://galeriemagazine.com/kenny-schachter-manhattan-home/ Vulture https://www.vulture.com/2020/03/inigo-philbrick-art-dealer.html

Noah speaks with Kenny Schachter about NFTs and a variety of other art world topics. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

What is the evolution of the Stedelijk Museum? Rein Wolfs talks about his first year as director, and how what started as an evolution of the country's foremost contemporary art museum might become a full-blown revolution. He explains why Ulay and Hito Steyerl were the first shows he programmed, the role of the four new curators he has appointed, and which artists are on his wish list for the collection. In our outdoor segment Wolfs takes us on a walk from the first location of De Appel all the way to the river IJ, through the historical Prinseneiland neighborhood, showing us where Ulay, Marina Abramovic and Paul Thek worked when they lived in Amsterdam. The episode concludes with a list of the galleries and project spaces on his radar.   For links to (almost) everything we talk about in this episode, visit www.artcityamsterdam.com

“Bisogna sempre essere se stessi, a ogni costo. È la forma più alta di moralità.” Questa frase di Candy Darling, icona transgender della Factory di Andy Warhol, morta a soli 29 anni, è la chiave che ci aiuta a comprendere l'arte creata nel pieno dell'esplosione dell'Aids, anni eccezionali e tormentati, anni in cui essere omosessuale voleva dire essere considerato un untore. In questa puntata, Costantino e Francesco raccontano la vita e le opere di artisti che hanno rivendicato, a costo della propria vita, la libertà di essere se stessi. Da Jack Smith a Robert Mapplethorpe, da Derek Jarman a Félix González-Torres.In questa puntata si parla di Candy Darling, Jack Smith, Cindy Sherman, John Waters, David Lynch, Maria Montez, Jonas Mekas, Robert Mapplethorpe, Antonio Canova, Dracula, Patti Smith, Sam Wagstaff, Mick Jagger, Rainer Werner Fassbinder, Michel Foucault, Peter Hujar, Richard Avedon, Susan Sontag, William Burroughs, Sylvester, The Cockettes, David Wojnarowicz, Félix González-Torres, Ross Laycock, General Idea (Felix Partz, Jorge Zontal, AA Bronson), Tom Cruise, Robert Indiana, Caspar David Friedrich, Keith Haring, Elio Fiorucci, Salvatore Ala, Vincent van Gogh, Hans Haacke, Jean-Michel Basquiat, Andy Warhol, Paul Morrissey, Paul Thek, Rudi Fuchs, Pontus Hultén, Harald Szeemann, Derek Jarman, Ken Russell, Sex Pistol, Thorbbing Gristle, The Smiths, Jack Birkett (Orlando), Caravaggio, Tilda Swinton, Apichatpong Weerasethakul, Friedrich Nietzche, Diamanda Galás e Phillip-Dimitri Galás.

Amanda Friedman is an artist living in Brooklyn, NY. We met for the first in person interview at her studio and talked about current and recent work, and her solo show Everyday Drawings and Pyramids at Grifter. We also talk about her studio check in forms, “tending the garden”, everyday drawings, the slippage of mark making, going towards color and beauty, making plays (which are also paintings), Helen Rides and beat poet Helen Adams, the last live performance of her play, witchy women and desire, singing, make your own art world as a way to avoid cynicism, working for the Rosemary Mayer estate, cult figures and counter culture, how different kinds of work and found objects leads into other work, light castles and bones, transformation, ceramics, glove paintings, making things that hold themselves, art as a mirror, figuring out what the art is, Paul Thek, Andrei Rublev, using rules as an anchor point, Leonora Carrington, and paintings as keepers of secrets.https://amandabfriedman.com/https://g-rift-er.com/The Kenning Anthology of Poets Theaterhttps://www.kenningeditions.com/shop/the-kenning-anthology-of-poets-theater-1945-1985/Helen Adam readings/recordingshttps://www.youtube.com/watch?v=9BC9rsdSdlw&t=4shttps://writing.upenn.edu/pennsound/x/Adam.phpCurrent Rosemary Mayer exhibition http://www.gordonrobichaux.com/rosemary-mayer.htmlA Great Wagon - Rumihttps://onbeing.org/poetry/a-great-wagon/Amanda’s uncle, Kinky Friedman:https://en.wikipedia.org/wiki/Kinky_FriedmanLeigh Ruplehttp://www.leighruple.com/Peter Doighttps://www.michaelwerner.com/exhibitions/peter-doig2/selected-works?view=sliderPaul Thekhttps://www.frieze.com/article/paul-thek-2Andrei Rublevhttps://www.criterion.com/films/300-andrei-rublevLeonora Carrington article/show https://www.artforum.com/print/202104/chloe-wyma-on-the-tarot-of-leonora-carrington-85247 https://www.gallerywendinorris.com/exhibitions-collection/leonora-carrington-the-story-of-the-last-egg

Jonathan Allmaier is a painter who lives in the Bronx. We talk about the work in his solo show The Howling Wind at James Fuentes Essex (on view through May 2, 2021). We also talk about the writing he does about his process, paintings as personhood, being a student of your work, starting over after moving to NYC, seeing the painting as a space or an object, dissolving the mind-body problem, Pearl Blauvelt, experiencing time through color, the influence of baseball and fatherhood, using the form of painting and altered objects/images as forms of painting, making versus showing, inanimate objects are people too, painting with and without a brush, the stubbornness of being an artist, Paul Thek, and including the space between the paintings.Jonathan Allmaier - The Howling Windhttps://50.62.71.108/exhibitions/2021/essex-the-howling-windJonathan Allmaier websitehttps://allmaier.wordpress.com/https://www.newyorker.com/goings-on-about-town/art/jonathan-allmaier-2Pearl Blauvelthttps://kerryschussgallery.com/pages/exhibitions_past_3.php?page=1https://www.moma.org/artists/28566Alfred Adler - The Courage to Be Dislikedhttps://www.amazon.com/Courage-Be-Disliked-Phenomenon-Happiness/dp/1501197274Thich Nhat Hanh - Clouds In Each Paperhttps://www.awakin.org/read/view.php?tid=222Nathaniel Hawthorne - The House of the Seven Gableshttps://www.amazon.com/House-Seven-Gables-Thrift-Editions/dp/0486408825Iching Online (I love to ask it questions)https://www.ichingonline.net/

Check out the #ContemporaryArtConversations series where I talk with curators and arts professionals about the state of the #artmarket and the after-effects of the pandemic on production, exhibition, and collection of #fineart. • I’m joined today by collector, writer, and artist #KennySchachter (@kennyschachter)! • Kenny Schachter has been curating contemporary art exhibits in museums and galleries for in excess of 20 years and has taught art history at the graduate level at New York University, The New School for Social Research, and lectured and organized an offsite exhibition for the first graduating class of Columbia University's Masters of Fine Art program. He has lectured internationally, been the recipient of a Rockefeller supported grant, written portions of books published by Springer Wien New York (2006, with Vito Acconci, edited by Cristina Bechtler) and MIT Press (2009, on Paul Thek, edited by Harald Falckenberg), and been profiled in The New York Times Magazine, and London's Observer, Independent, and Telegraph. Received planning permission to erect Zaha Hadid's first building in England, situated on Hoxton Square. Kenny deals in international art from impressionism and modernism to the art and design of today. #artabovereality

Russell & Robert meet Kenny Schachter for Talk Art's Season 6 Finale... and what better way to close this special quarantine season than with art world ROYALTY!!!! Kenny is truly a polymath - dealer, artist, writer, collector, curator, lecturer and all-round LEGEND!!! We admire his deep love of art, the way he champions artists but also how he speaks truth to power, never afraid to call out bad behaviour or corruption.For this feature-length episode, we discuss Kenny's lifelong passion for art, his provocative column for Artnet and his favourite artists including Paul Thek, Tracey Emin, Robert Gober and hosting early exhibitions of now-leading artists including Katherine Bernhardt, Joe Bradley, Wade Guyton, Cecily Brown, Kembra Pfahler and many more! We explore teaching at School of Visual Arts in NY, his recent exhibition of Eva Beresin's paintings (a great artist he met via Instagram), 30 years of collecting art, his Hoarder sale at Sotheby's in December 2019 and numerous art world controversies (and punch-ups) including the most recent fraud scandal involving Inigo Philbrick.Follow Kenny on Instagram @kennyschachter and visit his official website www.kennyschachter.art For images of all artworks discussed in this episode visit @TalkArt. 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. Thank you for listening to Talk Art, we will be back very soon. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Paul Thek. Werkschau im Kontext zeitgenössischer Kunst | Werkvorstellung De holländische Künstler Zeger Reyers spricht in der Ausstellung über die Arbeit Zeger Reyers / Lee Ranaldo: »Träge Thorens« (2001-2007) Der amerikanische Künstler Paul Thek (1933-1988) genießt unter den zeitgenössischen Künstlern Kultstatus – durch sein spannungsreiches Œuvre, in dem er Themen und Symbole aus Religion, Kunst, Theater und Literatur aufgreift, nimmt sein Werk bis heute bedeutenden Einfluss auf die Gegenwartskunst. Zeichnung, Malerei, Skulptur, Installation und raumgreifende Environments gehören gleichermaßen zu Theks Ausdrucksmitteln. Seine Kunstwerke zeigen sich mystisch, religiös und kritisch sozialen Ungerechtigkeiten wie auch der Kunstwelt gegenüber, wobei er mitunter widersprüchlich zwischen nomadieserendem Hippietum und verklärendem Charismatiker pendelt, aber auch nicht selten eine Portion Melancholie und Humor in seine Werke mit hinein spielt. Bekannt wurde Paul Thek mit der Serie Technological Reliquaries (Technologische Reliquienschreine) – Plexiglaskästen mit realistisch anmutenden Fleischstücken aus Wachs, die er zum ersten Mal 1964 in New York ausstellte. Mit Hilfe der Kontraste von Material und Inhalt bewegt sich Thek mit diesen Objekten - wie auch mit der legendären Installation Tomb (1967) - gleichzeitig zwischen dem scheinbar Realem und dem offensichtlich Artifiziellem. Kuratiert von Roland Groenenboom, freier Kurator, Gregor Jansen, ZKM | Museum für Neue Kunst und Harald Falckenberg, Sammlung Falckenberg, Hamburg, unter besonderer Beteiligung von Axel Heil und Margrit Brehm. /// Paul Thek (1933–1988) is considered an artist with cult status. The hitherto most comprehensive retrospective of his oeuvre focused on the phenomenal effect of his work on contemporary art and established Thek's historical significance, from legendary outsider to the founder and center of an art movement. It has been possible to bring together more than 300 of Thek’s works, which are largely in private ownership and therefore only seldom publicly shown. In their anti-heroic diversity and multimediality, and with their references to art, literature, and religion, his works (painting, photography, video, sculpture, and extensive environments) are among the central sources for the revolt and eruption of art in the 1960s. It is mainly for this reason that one of the early theoretical masterpieces of this epoch, Susan Sontag's Against Interpretation (1962), was dedicated to him. The mold castings, also those of his own body parts, wax replicas of human tissue, hair, teeth, and bones in Plexiglas cases, which he produced between 1964 and 1967 as Technological Reliquaries, in their mixture of desire and repulsion, decay and pathos, held up the truth of the body to the world of commodities and the transfiguration of the everyday, as well as the idealization and dramatization of corporative minimal art. Curated by Roland Groenenboom, freelance curator and Thek expert, Gregor Jansen, ZKM | Museum of Contemporary Art and Harald Falckenberg, Hamburg, with the assistance of Axel Heil and Margrit Brehm.

Paul Thek. Werkschau im Kontext zeitgenössischer Kunst | Werkvorstellung Jon Kessler spricht über sein Werk »The Palace at 4AM« (2005/07), das im Rahmen der Ausstellung "Paul Thek. Werkschau im Kontext zeitgenössischer Kunst" 15.12.2007-30.03.2008 im ZKM | Museum für Neue Kunst zu sehen war. Der amerikanische Künstler Paul Thek (1933-1988) genießt unter den zeitgenössischen Künstlern Kultstatus – durch sein spannungsreiches Œuvre, in dem er Themen und Symbole aus Religion, Kunst, Theater und Literatur aufgreift, nimmt sein Werk bis heute bedeutenden Einfluss auf die Gegenwartskunst. Zeichnung, Malerei, Skulptur, Installation und raumgreifende Environments gehören gleichermaßen zu Theks Ausdrucksmitteln. Seine Kunstwerke zeigen sich mystisch, religiös und kritisch sozialen Ungerechtigkeiten wie auch der Kunstwelt gegenüber, wobei er mitunter widersprüchlich zwischen nomadieserendem Hippietum und verklärendem Charismatiker pendelt, aber auch nicht selten eine Portion Melancholie und Humor in seine Werke mit hinein spielt. Bekannt wurde Paul Thek mit der Serie Technological Reliquaries (Technologische Reliquienschreine) – Plexiglaskästen mit realistisch anmutenden Fleischstücken aus Wachs, die er zum ersten Mal 1964 in New York ausstellte. Mit Hilfe der Kontraste von Material und Inhalt bewegt sich Thek mit diesen Objekten - wie auch mit der legendären Installation Tomb (1967) - gleichzeitig zwischen dem scheinbar Realem und dem offensichtlich Artifiziellem. Kuratiert von Roland Groenenboom, freier Kurator, Gregor Jansen, ZKM | Museum für Neue Kunst und Harald Falckenberg, Sammlung Falckenberg, Hamburg, unter besonderer Beteiligung von Axel Heil und Margrit Brehm. /// Jon Kessler talks about his work »The Palace at 4AM« (2005/07) which was shown as a part of the exhibition »Paul Thek in the Context of Today's Contemporary Art«, ZKM | Museum of Contemporary Art Dec 15th 2007-March 30th 2008 Paul Thek (1933–1988) is considered an artist with cult status. The hitherto most comprehensive retrospective of his oeuvre focused on the phenomenal effect of his work on contemporary art and established Thek's historical significance, from legendary outsider to the founder and center of an art movement. It has been possible to bring together more than 300 of Thek’s works, which are largely in private ownership and therefore only seldom publicly shown. In their anti-heroic diversity and multimediality, and with their references to art, literature, and religion, his works (painting, photography, video, sculpture, and extensive environments) are among the central sources for the revolt and eruption of art in the 1960s. It is mainly for this reason that one of the early theoretical masterpieces of this epoch, Susan Sontag's Against Interpretation (1962), was dedicated to him. The mold castings, also those of his own body parts, wax replicas of human tissue, hair, teeth, and bones in Plexiglas cases, which he produced between 1964 and 1967 as Technological Reliquaries, in their mixture of desire and repulsion, decay and pathos, held up the truth of the body to the world of commodities and the transfiguration of the everyday, as well as the idealization and dramatization of corporative minimal art. Curated by Roland Groenenboom, freelance curator and Thek expert, Gregor Jansen, ZKM | Museum of Contemporary Art and Harald Falckenberg, Hamburg, with the assistance of Axel Heil and Margrit Brehm.

Paul Thek. Werkschau im Kontext zeitgenössischer Kunst | Werkvorstellung De holländische Künstler Zeger Reyers spricht in der Ausstellung über die Arbeit Zeger Reyers / Lee Ranaldo: »Träge Thorens« (2001-2007) Der amerikanische Künstler Paul Thek (1933-1988) genießt unter den zeitgenössischen Künstlern Kultstatus – durch sein spannungsreiches Œuvre, in dem er Themen und Symbole aus Religion, Kunst, Theater und Literatur aufgreift, nimmt sein Werk bis heute bedeutenden Einfluss auf die Gegenwartskunst. Zeichnung, Malerei, Skulptur, Installation und raumgreifende Environments gehören gleichermaßen zu Theks Ausdrucksmitteln. Seine Kunstwerke zeigen sich mystisch, religiös und kritisch sozialen Ungerechtigkeiten wie auch der Kunstwelt gegenüber, wobei er mitunter widersprüchlich zwischen nomadieserendem Hippietum und verklärendem Charismatiker pendelt, aber auch nicht selten eine Portion Melancholie und Humor in seine Werke mit hinein spielt. Bekannt wurde Paul Thek mit der Serie Technological Reliquaries (Technologische Reliquienschreine) – Plexiglaskästen mit realistisch anmutenden Fleischstücken aus Wachs, die er zum ersten Mal 1964 in New York ausstellte. Mit Hilfe der Kontraste von Material und Inhalt bewegt sich Thek mit diesen Objekten - wie auch mit der legendären Installation Tomb (1967) - gleichzeitig zwischen dem scheinbar Realem und dem offensichtlich Artifiziellem. Kuratiert von Roland Groenenboom, freier Kurator, Gregor Jansen, ZKM | Museum für Neue Kunst und Harald Falckenberg, Sammlung Falckenberg, Hamburg, unter besonderer Beteiligung von Axel Heil und Margrit Brehm. /// Paul Thek (1933–1988) is considered an artist with cult status. The hitherto most comprehensive retrospective of his oeuvre focused on the phenomenal effect of his work on contemporary art and established Thek's historical significance, from legendary outsider to the founder and center of an art movement. It has been possible to bring together more than 300 of Thek’s works, which are largely in private ownership and therefore only seldom publicly shown. In their anti-heroic diversity and multimediality, and with their references to art, literature, and religion, his works (painting, photography, video, sculpture, and extensive environments) are among the central sources for the revolt and eruption of art in the 1960s. It is mainly for this reason that one of the early theoretical masterpieces of this epoch, Susan Sontag's Against Interpretation (1962), was dedicated to him. The mold castings, also those of his own body parts, wax replicas of human tissue, hair, teeth, and bones in Plexiglas cases, which he produced between 1964 and 1967 as Technological Reliquaries, in their mixture of desire and repulsion, decay and pathos, held up the truth of the body to the world of commodities and the transfiguration of the everyday, as well as the idealization and dramatization of corporative minimal art. Curated by Roland Groenenboom, freelance curator and Thek expert, Gregor Jansen, ZKM | Museum of Contemporary Art and Harald Falckenberg, Hamburg, with the assistance of Axel Heil and Margrit Brehm.

Paul Thek – Werkschau im Kontext zeitgenössischer Kunst | Audioguide 15.12. - 30.03.2008, ZKM | Museum für Neue Kunst. Der amerikanische Künstler Paul Thek (1933-1988) hat ein außerordentlich vielfältiges Werk geschaffen: Zeichnung, Malerei, Skulptur, Installationen und Environments gehören gleichermaßen zu seinen Ausdrucksmitteln. Seine künstlerischen Arbeiten werden in der Ausstellung gemeinsam mit gegenwärtigen Positionen gezeigt, um seinen Einfluss wie seine Aktualität deutlich zu machen. Die ZKMP3-Führung verfolgt die künstlerische Entwicklung Paul Theks und gibt Kommentare des Kurators Gregor Jansen und der KünstlerInnen wieder.

Paul Thek. Werkschau im Kontext zeitgenössischer Kunst | Werkvorstellung Jon Kessler spricht über sein Werk »The Palace at 4AM« (2005/07), das im Rahmen der Ausstellung "Paul Thek. Werkschau im Kontext zeitgenössischer Kunst" 15.12.2007-30.03.2008 im ZKM | Museum für Neue Kunst zu sehen war. Der amerikanische Künstler Paul Thek (1933-1988) genießt unter den zeitgenössischen Künstlern Kultstatus – durch sein spannungsreiches Œuvre, in dem er Themen und Symbole aus Religion, Kunst, Theater und Literatur aufgreift, nimmt sein Werk bis heute bedeutenden Einfluss auf die Gegenwartskunst. Zeichnung, Malerei, Skulptur, Installation und raumgreifende Environments gehören gleichermaßen zu Theks Ausdrucksmitteln. Seine Kunstwerke zeigen sich mystisch, religiös und kritisch sozialen Ungerechtigkeiten wie auch der Kunstwelt gegenüber, wobei er mitunter widersprüchlich zwischen nomadieserendem Hippietum und verklärendem Charismatiker pendelt, aber auch nicht selten eine Portion Melancholie und Humor in seine Werke mit hinein spielt. Bekannt wurde Paul Thek mit der Serie Technological Reliquaries (Technologische Reliquienschreine) – Plexiglaskästen mit realistisch anmutenden Fleischstücken aus Wachs, die er zum ersten Mal 1964 in New York ausstellte. Mit Hilfe der Kontraste von Material und Inhalt bewegt sich Thek mit diesen Objekten - wie auch mit der legendären Installation Tomb (1967) - gleichzeitig zwischen dem scheinbar Realem und dem offensichtlich Artifiziellem. Kuratiert von Roland Groenenboom, freier Kurator, Gregor Jansen, ZKM | Museum für Neue Kunst und Harald Falckenberg, Sammlung Falckenberg, Hamburg, unter besonderer Beteiligung von Axel Heil und Margrit Brehm. /// Jon Kessler talks about his work »The Palace at 4AM« (2005/07) which was shown as a part of the exhibition »Paul Thek in the Context of Today's Contemporary Art«, ZKM | Museum of Contemporary Art Dec 15th 2007-March 30th 2008 Paul Thek (1933–1988) is considered an artist with cult status. The hitherto most comprehensive retrospective of his oeuvre focused on the phenomenal effect of his work on contemporary art and established Thek's historical significance, from legendary outsider to the founder and center of an art movement. It has been possible to bring together more than 300 of Thek’s works, which are largely in private ownership and therefore only seldom publicly shown. In their anti-heroic diversity and multimediality, and with their references to art, literature, and religion, his works (painting, photography, video, sculpture, and extensive environments) are among the central sources for the revolt and eruption of art in the 1960s. It is mainly for this reason that one of the early theoretical masterpieces of this epoch, Susan Sontag's Against Interpretation (1962), was dedicated to him. The mold castings, also those of his own body parts, wax replicas of human tissue, hair, teeth, and bones in Plexiglas cases, which he produced between 1964 and 1967 as Technological Reliquaries, in their mixture of desire and repulsion, decay and pathos, held up the truth of the body to the world of commodities and the transfiguration of the everyday, as well as the idealization and dramatization of corporative minimal art. Curated by Roland Groenenboom, freelance curator and Thek expert, Gregor Jansen, ZKM | Museum of Contemporary Art and Harald Falckenberg, Hamburg, with the assistance of Axel Heil and Margrit Brehm.