Podcast appearances and mentions of paulo biennial

Who is responsible for making a work of art? In each episode of this collaborative podcast series, one anthropologist, specialising in a particular cultural context, has a conversation with an artist of their choosing, exploring issues of authorship and responsibility in art. Ranging across geographical locations and creative practices, discussions address and unpack the conceptualisation of the artistic person, authorship as centred upon an individual or bounded group, and the development of responsibility for artworks during and after their making. Each episode brings a fresh perspective on where ideas come from, what agency an artist feels in the creation of their work, and how, and in which contexts, ownership and responsibility for the artwork are claimed. Ultimately, as a collection, the series encourages listeners to think about ‘the artist' and ‘the artwork' as dynamic processes in a relationship of authoring. Series 3, Episode 5 of Artery features Aline Motta with Alex Ungprateeb Flynn Alex Ungprateeb Flynn is Assistant Professor and Graduate Vice Chair at the Department of World Arts and Cultures/Dance, University of California, Los Angeles. Working with activists, curators, and artists in Brasil, Alex investigates the prefigurative potential of art in community contexts to theorize the production of knowledge, notions of utopia, and social and aesthetic dimensions of form. Framed by a collaborative methodological approach, Alex fundamentally inquires how human beings express themselves artistically, and in doing so, seek to transform the world. X/ Insta: alexungprateebf With her artistic practice, Aline Motta (b. 1974, Niterói, Brazil) seeks to point out and fill in the gaps in her own family history as a result of colonial erasure. Her videos, photographs, installations, and performances are based on speculative studies that mix archival research, field trips, and oral history reports that she uses to access, nourish, and reveal parts of the past that were previously thought to be lost. In 2023, she exhibited in the Sharjah Biennial 15 (UAE), at MoMA Museum of Modern Art and the 35th São Paulo Biennial. Insta: 1alinemotta (Instagram) The link to article featuring the full interview: https://terremoto.mx/en/online/escribiendo-historias-manifestando-futuros/ Artery is a podcast organised by Iza Kavedžija (University of Cambridge) and Robert Simpkins (SOAS, London) and supported by the AHRC. Music: Footsteps, by Robert Simpkins.

Ep.184 Courtney Willis Blair the US Senior Director in White Cube's first public gallery in New York City. She joined in 2023. Courtney will be responsible for shaping the gallery's curatorial programme and brand both in the region and across the US. A member of the White Cube's Global Board of Directors, she will play a key role in shaping the strategy for the gallery internationally. She was formerly a Partner and Senior Director at Mitchell-Innes & Nash, where she led artist canonical strategy and institutional engagement in the US and internationally, from projects at documenta and São Paulo Biennial, to exhibitions at Crystal Bridges Museum of American Art, the Jewish Museum, Museum of Modern Art, the Whitney Museum of American Art, and the Speed Art Museum. As a writer and journalist, she has profiled some of the world's leading artists, architects, and curators. She is the founder of Entre Nous, an international body of Black women art dealers established in 2016, and serves on the boards of The Kitchen, Triple Canopy, and the International Studio & Curatorial Program. Photo by Myesha Evon Gardner White Cube https://www.whitecube.com/news/courtney-willis-blair-to-join-white-cube-as-us-senior-director Whitewall https://whitewall.art/art/courtney-willis-blair-lets-artists-lead-at-white-cubes-first-new-york-space/ Apollo Magazine https://www.apollo-magazine.com/courtney-willis-blair-40-under-40-usa-the-business/ Curbed https://www.curbed.com/2020/10/the-art-stars-of-entre-nous.html Culture Type https://www.culturetype.com/2022/11/21/appointment-courtney-willis-blair-will-lead-white-cube-gallery-in-new-york/ Cultured Magazine https://www.culturedmag.com/article/2023/09/28/theaster-gates-david-hammons-tiona-nekkia-mcclodden-white-cube Frieze https://www.frieze.com/article/courtney-willis-blair-interview-2022 Galerie https://galeriemagazine.com/women-changing-the-art-world-2023/ Widewalls https://www.widewalls.ch/news-feed/white-cube-new-york-courtney-willis-blair NPR https://www.npr.org/2023/10/06/1203274188/londons-white-cube-shows-fresh-and-new-art-at-first-new-york-gallery Gotham Magazine https://gothammag.com/nyc-women-of-style-2023 ARTnews https://www.artnews.com/art-news/news/white-cube-courtney-willis-blair-1234645902/ The Art Newspaper https://www.theartnewspaper.com/2020/12/09/courtney-willis-blair-becomes-partner-at-mitchell-innes-and-nash Art Forum https://www.artforum.com/news/mitchell-innes-nash-promotes-courtney-willis-blair-to-partner-249045/ Issuu https://issuu.com/frieze.com/docs/frieze_week_ny_2023/s/24501279 New York Times https://www.nytimes.com/2020/06/21/arts/design/art-basel-black-owned-galleries.html

Writer and musician Kalaf Epalanga moves between Angola, Portugal, and Brazil, sounding out colonial histories and contemporary migrant experiences through kizomba and kuduro music, in Whites Can Dance Too (2023). ‘It took being caught at a border without proper documents for me to realise I'd always been a prisoner of sorts.' Kalaf Epalanga's debut novel follows a young man migrating from Africa to Western Europe, when he is suddenly stopped on his journey and demanded his papers by the immigration police. Finding work in various jobs, he does soon find community - and freedom - in the dance clubs of the cities. Whites Can Dance Too is an invitation to ‘embrace the other' and it's also a form of auto-fiction. Kalaf migrated from Angola to Portugal, the former a colony, known as Portuguese West Africa until 1951, which remained a province and state of the Portuguese Empire until 1975. First publishing in Portuguese, Kalaf details the legacies of this colonisation in contemporary culture, taking from the Latin tradition of writing the stream of consciousness, and challenging Anglophone standards with oral storytelling. Kalaf also talks about his relationship with translation - and why the English language edition is his favourite. Drawing on his background in electronic dance music, Kalaf relocates techno on the African continent, combining elements of the traditional African zouk and contemporary kuduro genres to design kizomba, or dance parties. We talk about sound as a vibration - a migration - which can articulate emotions and memories beyond words, and why curating exhibitions or DJ sets is a form of storytelling too. Traveling across continents, he shares some of his literary inspirations, from Ondjaki to Djaimilia Pereira de Almeida, and how he has connected with Afro-Brazilians since working in South America. We also discuss the relationship between diasporas in the Global South, and the importance of supporting cultural and literary industries. Whites Can Dance Too by Kalaf Epalanga, translated by Daniel Hahn, is published by Faber, and available in all good bookshops and online. You can find Kalaf's book playlist here, and the Kizomba Design Museum playlists here. For more artists practicing between Angola and Portugal, listen to Osei Bonsu, curator of A World in Common: Contemporary African Photography at Tate Modern, on Edson Chagas' Tipo Passe series (2014) on EMPIRE LINES: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 WITH: Kalaf Epalanga, Angolan musician and writer. Now based in Berlin, Germany, he is a celebrated columnist in Angola, Portugal, and Brazil. He fronted the Lisbon-based electronic dance collective Buraka Som Sistema, and founded the Kizomba Design Museum, which launched at the São Paulo Biennial 2023. He was also co-curator of Africa Writes 2023 at the British Library in London. Whites Can Dance Too is his debut novel. ART: ‘Whites Can Dance Too, Kalaf Epalanga, translated by Daniel Hahn (2023)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

In the first episode of this new season of The Week in Art, we talk to Martin Bailey, The Art Newspaper's London correspondent, about the thefts scandal at the British Museum and its implications for the museum in the future. The artist Grada Kilomba is one of four curators of this year's Sāo Paulo biennial, called Choreographies of the Impossible, and she joins our host Ben Luke to discuss the show. And this episode's Work of the Week is Village Square at Céret, a painting made in 1920 by Chaïm Soutine. It features in the exhibition Against the Current, which opens this week at K20 in Düsseldorf, Germany. The exhibition's co-curator, Susanne Meyer-Büser, tells us about the picture.The Sāo Paulo biennial: Choreographies of the Impossible, Ciccillo Matarazzo Pavilion, Sāo Paulo, Brazil, 6 September-10 December.Chaïm Soutine: Against the Current, K20 Düsseldorf, 2 September until 14 January next year; Louisiana Museum of Modern Art, Humlebæk, Denmark, 9 February-14 July 14 2024; Kunstmuseum Bern, Switzerland, 16 August-1 December 2024. Hosted on Acast. See acast.com/privacy for more information.

Renan Araujo nasceu em Santa Rita do Passa Quatro, São Paulo, Brasil, em 1987. Possui mestrado em arte sonora pela Universidad de Barcelona. Recebeu o prêmio de curadoria do projeto Novos Curadores (2010), além de também ter participado do Curatorial Lab, da SP-ARTE (2012). Formou parte da equipe de crítica e acompanhamento do Centro Cultural São Paulo (2014-2016). Participou de programas de estudos como o PEI - Programa de Estudios Independientes (MACBA), A Toolbox for Cultural Organisation (31ª Bienal de São Paulo) e Máquina de Escrever (Capacete). Nos últimos anos tem escrito textos e curado exposições em conjunto com Julia Coelho. Atualmente vive e trabalha em Barcelona, Espanha. [Renan Araujo was born in Santa Rita do Passa Quatro, São Paulo, Brazil, in 1987. He has a master degree in sound art from the University of Barcelona. He received the curatorial award of the project Novos Curadores (2010), besides participating at the Curatorial Lab of the SP-Arte fair (2012). He was part of the group of critics of Centro Cultural São Paulo (2014-2016). He participated in study programs as PEI - Programa de Estudios Independientes (MACBA), A Toolbox for Cultural Organisation (31st São Paulo Biennial) and Máquina de Escrever (Capacete). In the last years, he has been writing and curating exhibitions in partnership with Julia Coelho. At the moment, he lives and works in Barcelona, Spain] ///imagem selecionada|selected image: Simon Fujiwara, "What Beyoncé wore to the Anne Frank House", 2019/// [entrevista realizada em 18 de outubro de 2020|interview recorded on october 18th, 2020]

Claudia Cristovao is the Head of Google Brand Studio APAC. She studied Communication, Film and Fine Art between Lisbon, Copenhagen, Amsterdam and London and is an honors graduate at the Gerrit Rietveld Academie in Amsterdam and holds an MA from Saint Martins in London.Claudia has worked as a writer, brand developer and Creative Director for Nike, Google, Honda, Adidas, MINI, AMEX, at agencies like W+K, Sid Lee and AKQA. Her projects have included music videos, interior design, art installations, digital experiences, social media campaigns and business transformations. Claudia was the President of the Innovation Jury at the Cannes Lions 2020-2021 and has been a juror for the New York Festivals, Cannes Lions, ADFEST, Spikes Asia, W20 and the WIRED Hack Awards. Her artwork has been exhibited across the world, namely at the São Paulo Biennial, the Dakar Biennial, the Guangzhou Biennial, De Appel in Amsterdam and MOCA in San Francisco. And without doubt, a wonderful guest on The Imposterous.

André Severo nasceu em Porto Alegre, Rio Grande do Sul, em 1974. É artista, curador, produtor e gestor cultural. Produziu projetos como Areal, Lomba Alta e Dois Vazios. Foi curador associado da 30ª Bienal de São Paulo e co-curador do pavilhão brasileiro da 55ª Bienal de Veneza. É um dos organizadores do livro "Artes visuais - ensaios brasileiros contemporâneos" (2018). Atualmente é coordenador-geral do Farol Santander, em Porto Alegre. [André Severo was born in Porto Alegre, Rio Grande do Sul, in 1974. He's an artist, curator, producer and cultural manager. He organized projects like Areal, Lomba Alta and Dois Vazios. He worked as associate curator at the 30th São Paulo Biennial (2012) and also as a co-curator of the Brazilian pavillion at the 55th Venice Biennale (2013). He is one of the organizers of the book "Artes visuais - ensaios brasileiros contemporâneos" (2018). At the moment, he's the coordinator of Farol Santander, in Porto Alegre] ///imagem selecionada|selected image: André Severo, "Extensão", 1993-2021 /// [entrevista realizada em 24 de outubro de 2020|interview recorded on october 24th, 2020] [link para YouTube: https://www.youtube.com/watch?v=4NrvDc58kOw]

Valquíria Farias nasceu em João Pessoa, Paraíba, Brasil, em 1966. É curadora e gestora cultural. Graduada em Serviço Social pela UFPB (1993) e pós-graduada pela UnB (2010) com pesquisa sobre o JAMAC. Nos anos 2000, publicou textos críticos em jornais paraibanos e realizou curadorias incentivadas por amigos artistas. Entre 2009 e 2012, foi gerente de cultura da Secretaria de Cultura do Estado da Paraíba e curadora assistente da Estação Cabo Branco. Entre 2015 e 2020, foi coordenadora da Galeria Casarão 34, criando programas de exposições temporárias e de formação em arte. Atualmente é curadora convidada da Arapuca Arte Residência, onde também realiza o Projeto Movimento, voltado para artistas e curadores em início de trajetória. Interessa-se por processos artísticos coletivos e colaborativos. [Valquíria Farias was born in João Pessoa, Paraíba, Brazil, in 1966. She's a curator and cultural manager. She holds a bachelor in Social Service (Federal University of Paraíba, 1993) and is postgraduated (University of Brasília, 2010) with a research about JAMAC (Jardim Miriam Arte Clube). In the 2000s, she published critics in newspapers from Paraíba and organized exhibitions supported by her artists friends. From 2009 to 2012, she was cultural manager of the Secretary of Culture of the State of Paraíba and also a curatorial assistant at Estação Cabo Branco. Between 2015 and 2002, she coordinated the Galeria Casarão 34, founding temporary exhibitions programs and of art education. At the moment she's an invited curator of Arapuca Arte Residência, where she also organizes Projeto Movimento, dedicated to artists and curators in the beginning of their careers. She is interested in colective and collaborative artistic processes] ///imagens selecionadas|selected images: exposição de Martinho Patrício [exhibition by Martinho Patrício], Pinacoteca da UFPB, João Pessoa, 1991 + 27ª Bienal de São Paulo, 2004 [27th São Paulo Biennial] + Thomas Hirschorn na 27ª Bienal de São Paulo, 2004 [Thomas Hirschorn at the 27th São Paulo Biennial]/// [entrevista realizada em 30 de novembro de 2020|interview recorded on november 30th, 2020] [linka para YouTube: https://youtu.be/G-utLQQcCJI]

Paulo Miyada nasceu em São Paulo, São Paulo, Brasil, em 1986. É curador e pesquisador de arte contemporânea. Possui mestrado em História da Arquitetura e Urbanismo pela FAU-USP, onde também foi graduado. É curador adjunto da 34a Bienal de São Paulo - "Faz escuro mas eu canto" (2019-2021) e desde 2015 é curador geral do Instituto Tomie Ohtake, em São Paulo, onde ingressou em 2010 como coordenador do Núcleo de Pesquisa e Curadoria e onde cofundou a Escola Entrópica. Foi assistente de curadoria da 29ª Bienal de São Paulo (2010), integrou a equipe curatorial do Rumos Artes Visuais do Itaú Cultural (2011-2013) e foi curador adjunto do 34º Panorama da Arte Brasileira do MAM-SP (2015). Fundou em 2021 a revista "presente", junto com Anna Maria Maiolino. [Paulo Miyada was born in São Paulo, São Paulo, Brazil, in 1986. He's a curator and researcher of contemporary art. He holds a master degree in History of Architecture and Urbanism from the University of São Paulo, where he also finished his bachelor degree. He's the adjunct curator of the 34th Biennial of São Paulo - "Faz escuro mas eu canto" (2019-2021) - and, since 2015, he's the general curator of the Tomie Ohtake Institute, in São Paulo. He started working there in 2010 as coordinator of the Department of Research and Curating and he co-founded the Escola Entrópica. He worked as assistant curator at the 29th São Paulo Biennial (2010). Later, he was part of the curatorial team of Rumos Artes Visuais at Itaú Cultural, São Paulo (2011-2013) and adjunct curator of the 34th Panorama of Brazilian Art, at the Modern Art Museum of São Paulo (2015). In 2021, he founded the magazine "presente", with Anna Maria Maiolino] ///imagem selecionada|selected image: Marcel Duchamp, "Milhas de barbantes", 1942/// [entrevista realizada em 01 de outubro de 2020|interview recorded on october 1st, 2020] [link para YouTube: https://youtu.be/O47BwPXPSCo]

Lisette Lagnado nasceu em Kinshasa, República Democrática do Congo, em 1961. Muda-se para São Paulo, Brasil, em 1975. É mestre em Comunicação e Semiótica (PUC-SP) e doutora em Filosofia (USP). Foi coeditora das revistas “Arte em São Paulo” (1981–89) e “Trópico” (2001–11). Em 1993, cofundou o Projeto Leonilson. Coordenou o Programa Hélio Oiticica, arquivo online (Instituto Itaú Cultural, 1999–2002). Foi curadora chefe da 27ª Bienal de São Paulo (2006) e uma das curadoras da 11ª Bienal de Berlim (2019-2020). De 2014 a 2017, foi diretora e curadora de Programas Públicos da Escola de Artes Visuais do Parque Lage, Rio de Janeiro. Reside atualmente em Berlim e é professora convidada na Hochschule für Künste Bremen. [Lisette Lagnado was born in Kinshasa, Democratic Republic of Congo, in 1961. She moves to São Paulo, Brazil, in 1975. She holds a master degree in Communication and Semiotics (Catholic University of São Paulo) and a PhD degree in Philosophy (University of São Paulo). She coedited the magazines "Arte em São Paulo" (1981-89) and "Trópico" (2010-11). In 1993, she cofounded the Leonilson Project. She coordinated the Hélio Oiticica Program, an online archive (Itaú Cultural Institute, 1999-2002). She was the chief curator of the 27th São Paulo Biennial (2006) and one of the curators of the 11th Berlin Biennial (2019-2020). Between 2014 and 2017, she was the director and curator of public programs at Escola de Artes Visuais do Parque Lage, Rio de Janeiro. At the moment she lives in Berlin and is a invited professor at Hochschule für Künste Bremen] ///imagens selecionadas|selected images: Paolo Gasparini, fotografia do [photo of the] Museu de Arte de São Paulo, 1968 + Hieronymus Bosch, "As tentações de Santo Antão" ["The temptation of Saint Anthony"] , 1500 + Tiziano Vecellio, retrato do cardeal [portrait of the cardinal] Cristoforo Madruzzo, 1552/// [entrevista realizada em 08 de janeiro de 2021|interview recorded on january 8th, 2021] [link para YouTube: https://youtu.be/q8FBrSUUOwg]

Moacir dos Anjos nasceu em Recife, Pernambuco, Brasil, em 1963. É pesquisador da Fundação Joaquim Nabuco e foi diretor do Museu de Arte Moderna Aloísio Magalhães (2001-2006), ambos no Recife. É doutor em economia pela Universidade de Londres. É autor dos livros "Local/Global. Arte em trânsito (2005)", "ArteBra Crítica" (2010) e "Contraditório. Arte, globalização e pertencimento" (2017). Foi curador da 29ª Bienal de São Paulo (2010) e de várias exposições em que investiga as relações entre arte e política. [Moacir dos Anjos was born in Recife, Pernambuco, Brazil, in 1963. He's a researcher from the Joaquim Nabuco Foundation and he was the director of the Aloísio Magalhães Modern Art Museum (2001-2006), both in Recife. He has a PhD in Economy from the University of London. He's author of the books "Local/Global. Arte em trânsito (2005)", "ArteBra Crítica" (2010) and "Contraditório. Arte, globalização e pertencimento" (2017). He curated the 29th São Paulo Biennial (2010) and many other exhibition where he investigates the relations between art and politics]. ///imagens selecionadas|selected images: Francisco du Bocage, Família Guedes Pereira, no Sítio Estrela [Guedes Pereira Family, at Sítio Estrela], Recife, [between] entre 1900 e 1910 + cartaz afixado em rua da periferia de Roma [poster in a street in the periphery of Rome], 2018 + vista do centro de Recife a partir do apartamento de João [view of Recife's center from João's apartment], 2020/// [entrevista realizada em 09 de outubro de 2020|interview recorded on october 9th, 2020] [link para YouTube: https://youtu.be/oy4wJOY7Mgw]

Marcelo Rezende nasceu em São Paulo, São Paulo, Brasil, em 1968. É pesquisador, crítico, diretor artístico e organizador de exposições. Foi diretor do Museu de Arte Moderna da Bahia (2012-2015) e diretor artístico da 3ª Bienal da Bahia (2014). Fez parte do grupo curatorial da 28ª Bienal de São Paulo (2008) como editor, entre outros projetos e ocupações. Autor do romance "Arno Schmidt" (2005). É curador associado do Museu do Mato, na Bahia, além de ser co-diretor do Archiv der Avantgarden (AdA) em Dresden, Alemanha. [Marcelo Rezende was born in São Paulo, São Paulo, Brazil, in 1968. He's a researcher, critic, artistic director and organizer of exhibitions. He was the director of the Modern Art Museum of Bahia (2012-2015) and the artistic director of the 3rd Bahia Biennial (2014). He was part of the curatorial group of the 28th São Paulo Biennial (2008) as an editor, among other projects. He wrote the romance "Arno Schmidt" (2005). At the moment he's the associate curator at Museu do Mato, in the state of Bahia, besides co-directing the Archiv der Avantgarden (AdA) in Dresden, Germany]. ///imagem selecionada|selected image: Kiju Ishida, "Heroic purgatory", 1970/// [entrevista realizada em 30 de setembro|interview recorded on september 30th] [link para YouTube: https://www.youtube.com/watch?v=0DHHajx3n1g]

Cristovão Coutinho nasceu em Manaus, Amazonas, Brasil, em 1963. É artista visual e curador. Foi integrante da equipe do Rumos Artes Visuais entre 2000 e 2001. Foi curador da Galeria de Artes da Universidade Federal do Amazonas entre 2003 e 2012. Publicou o livro "Extremos: relações de representações - indicativos a uma curadoria" em 2009. Criou o espaço independente Sala Ôca em 2017. É curador e diretor da Galeria do Largo desde 2018. [Cristovão Coutinho was born in Manaus, Amazonas, Brazil, in 1963. He's a visual artist and curator. He was part of the curatorial team of Rumos Artes Visuais between 2000 and 2001. He was the curator of the Galeria de Artes da Universidade Federal do Amazonas (Art Gallery of the Federal University of Amazonas) between 2003 and 2012. He published the book: "Extremos: relações de representações - indicativos a uma curadoria" in 2009. He created the autonomous space Sala Ôca in 2017. He's the curator and director of Galeria do Largo since 2018.] ///imagens selecionadas|selected images: Keith Haring na 17ª Bienal de São Paulo (Keith Hering at the 17th São Paulo Biennial), 1983 + Leonilson, "Os pensamentos do coração" ("The thoughts of the heart), 1988/// [entrevista realizada em 15 de agosto|interview recorded on august 15th] [link para YouTube: https://www.youtube.com/watch?v=w5z7YvdfiRg]

Welcome to this fifth episode of Dior Talks. This podcast series will explore the connections between Creative Director of Women’s collections Maria Grazia Chiuri and contemporary women artists and curators.  In this episode, series host Katy Hessel, a London-based curator, writer and art-historian, talks to Tomaso Binga about her long and influential career as a feminist conceptual artist, in the wonderful setting of the seminal Galleria Il Mascherino in Rome. Tomaso Binga was born Bianca Pucciarelli in Salerno, southern Italy, in 1931. At the age of 18 she left her hometown and moved to Rome and she started making art in the 1960s. She was first asked to exhibit her work in a gallery setting in 1971 and was initially wary of exposure, preferring to leave art world recognition to her critic husband. However, she overcame her reticence and proceeded to create and exhibit a series of highly controversial and provocative works. The alter ego came about in the early 70s, when she decided to take a man’s name as a statement about the deeply ingrained sexism of the art world and indeed the world at large. The name was an homage to Marinetti, the surrealist poet whose work has been a lifelong inspiration for Binga. ‘Tomaso Binga’ was created as a challenge to men and their hegemonic status. Binga is best known for her seminal Alphabet works of the 1970s, in which she used her own naked body to form the letters of the alphabet – which was used as part of the scenography of the Dior Autumn-Winter 2019 show – and her 1977 performance, Just Married, when Bianca Menna married her male pseudonym Tomaso Binga.  She has been a major influence on generations of women artists. She was a Professor at the prestigious Academy of Fine Arts in Frosinone and is a vice president of the Filiberto Menna Foundation in Salerno. She has had exhibitions and participated in festivals and performances throughout Italy and internationally, including the 38th Venice Biennale, the 14th São Paulo Biennial, and the Biennale de Lyon. Discover a selection of works: Tomaso Binga, Feminist Works, 1970-1980, Galleria Mascherino (March – April 2020), Rome https://flash---art.it/2020/03/tomaso-binga-feminist-works-1970-1980-galleria-mascherino-roma/ Tomaso Binga: A Silenced Victory, Mimosa House, London (September- December 2019) https://mimosahouse.co.uk/tomaso-binga-2 Romana Loda, curator (-2010) http://dspace-unipr.cineca.it/bitstream/1889/3265/1/PERNA-mostre.pdf Mirella Bentivoglio, poet and curator (1922-2017) https://nmwa.org/explore/artist-profiles/mirella-bentivoglio https://www.centrepompidou.fr/cpv/ressource.action?param.id=FR_R-86fcbd9ef0ef89d5cca5d787204b4d91¶m.idSource=FR_P-86fcbd9ef0ef89d5cca5d787204b4d91 Verita Monselles, photographer (1929-2005) https://www.centrephotogeneve.ch/en/artist/verita-monselles/ https://archivioraam.org/en/artist/verita-monselles Verita Monselles, Ecce Homo, 1976 https://www.artribune.com/attualita/2016/02/dialoghi-di-estetica-raffaella-perna/attachment/verita-monselles-ecce-homo-ii-serie-1976/  Tomaso Binga, Dior Autumn-Winter 2019-2020, February 2019 https://www.youtube.com/watch?v=IQNTDiPoN7g

SONIC ACTS FESTIVAL 2019 – HEREAFTER Filipa César, Jin Mustafa – Meteorisations: Reading Amílcar Cabral's Agro-Poetics of Liberation 24 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Mirna Belina. A reading of Amílcar Cabral’s agronomic writings exposes substrata of a syntax for liberation later performed in guerrilla language and the struggle against Portuguese colonialism in Guinea-Bissau and Cape Verde. This visual and sonic reading explores the definitions of soil and erosion that Cabral developed as an agronomist, as well as his reports on colonial land exploitation and analysis of the trade economy, to unearth his double agency as a state soil scientist and as a ‘seeder’ of African liberation. Cabral understood agronomy not merely as a discipline combining geology, soil science, agriculture, biology and economics but as a means to gain materialist and situated knowledge about peoples’ lived conditions under colonialism. The scientific data he generated during his work as an agronomist, along with his poetry, were critical to his theoretical arguments in which he denounced the injustices perpetrated on colonised land, and it later informed his warfare strategies. Cabral used his role as an agronomist for the Portuguese colonial government subversively to further anti-colonial struggle. Cabral’s process of decolonisation was understood as a project of soil reclamation and national reconstruction in the postcolony. His agency as an agronaut ventures through soil cosmologies, mesologies, meteorisations, ‘atmos-lithos’ conflict zones, celluloid compost, violence of imperial consumption — the sugar question. Humble derives from Humus. Performative lecture by Filipa César with sound by Jin Mustafa and images from Sana na N’Hada and Flora Gomes, 1974, Cape Verde. This iteration of the lecture has been commissioned by Sonic Acts as a part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union. Filipa César is an artist and filmmaker interested in the porous boundaries between the moving image and its reception, the fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. Characterised by rigorous structural and lyrical elements, her multiform meditations often focus on Portuguese colonialism and the liberation of Guinea-Bissau in the 1960s and 1970s. This research developed into the collective project Luta ca caba inda (The Struggle Is Not Yet Over). She gained an MA Art in Context at the University of Arts, Berlin. Selected exhibitions and screenings include at the São Paulo Biennial, Manifesta 8, Cartagena, and the Contour 8 Biennial in Mechelen, Belgium, and Gasworks, London. Festival screenings include the Kurzfilmtage Oberhausen, Curtas Vila do Conde, Forum Expanded at the Berlinale and the International Film Festival Rotterdam. Jin Mustafa is a Stockholm-based visual artist, DJ and electronic music producer. Her work shifts between media, often taking the form of moving images, objects, sound and music. She is interested in the relationship between technology, imaginary spaces and questions of personal and collective memory. Recent exhibitions include I’m fine, on my way home now at Mossutställningar, Stockholm (2017); Ripple at Alta Art Space in collaboration with Signal, Malmö; If she wanted I would have been there once, twice or again at Zeller Van Almsick Gallery, Vienna; and a collaborative work with Natália Rebelo for Chart Emerging at Kunsthal Charlottenborg, Copenhagen (2018).

RODERICK HIETBRINK Considering collegial exchange, informal peer-to-peer/practice-to-practice learning, and attempts at friendship as a fundamental part of our remit, UKS introduces a new, weekly walk-in-workshop: HOW TO PRACTICE? Starting off the workweek every Monday morning at 10am, rotating local and international artists teach their conspicuous version of this question, serving up their tricks and toolboxes, angry birds, excel, or yoga as UKS serves free coffee. Inaugurating this walk-in-workshop turned postcast, Oslo-based, Dutch artist Roderick Hietbrink will involve participants in questions of procrastination and confidence (or the lack hereof), digressions and digestion, meteorites and the miraculous. Hietbrink works with video and sculpture, touching on subjects of hypocrisy, nature’s agency, and humor. He has recently exhibited at the São Paulo Biennial and Kunsthall Oslo, and also happens to be UKS’ Production Manager. #1 HOW TO PRACTICE? took place on 28.01.2019 https://www.uks.no/archive/how-to-practice/ https://www.uks.no/archive/how-to-practice-1/

For the 33rd São Paulo Biennial, curator Gabriel Pérez-Barreiro challenges the norm. Rather than explore an overarching theme, he invited seven artists to curate exhibitions featuring their own art. Likewise, the twelve solo projects that he curated suggest we look closely at individual creative practices. Purposefully choosing not to direct our gaze, this biennial allows us to explore freely, to discover for ourselves the power of contemporary art. Biennial programming builds on this notion in a free audio guide, a digital publication that proposes viewing exercises and an international, public symposium. The three-day event brings together artists, scientists, critics, writers, and scholars for a deep dive into one of the major issues of our time: attention. Who controls it, why and how are just a few of the questions to be considered… Voices: Claudia Fontes, Sofia Borges, Wura-Natasha Ogunji, Gabriel Pérez-Barreiro Sound Editor: Laura Spencer-Morris | Special Audio: Sebastián Castagna, Ex Situ, Tal Isaac Hadad, Récital pour un masseur, Mame-Diarra Niang, 11:11, Tamar Guimarães, The Rehearsal Related Episodes: Live from 32nd São Paulo Biennial, Sep 6, Sep 7, Sep 8, Anawana Haloba on Vanishing Cultures, Donna Kukama on Unfinished Stories, William Pope.L on Endurance, Jochen Volz on Living Uncertainty Related Links: 33rd São Paulo Biennial, Claudia Fontes, Sofia Borges, Wura-Natasha Ogunji, Gabriel Pérez-Barreiro, Mário Pedrosa, Goethe

Curators and artists whose passion is social engagement share their experiments in relational aesthetics—participatory performances, interactive installations, community events, and inside/outside exhibitions—invite viewers to become co-creators, to take ownership in the creative process. Curators Jochen Volz (São Paulo Biennial, Live Uncertainty, 2016), Susan Cross (Massachusetts Museum of Contemporary Art, Material World, 2010-2011, The Workers, 2011-2012), James Voorhies (Bureau of Open Culture, MASS MoCA, The Workers) and Stephanie Smith (SMART Museum of Art, FEAST, 2012, and Institute for Contemporary Art, Richmond, Declaration, 2018) share their perspectives, as do artists William Pope.L (Baile, 2016), Theaster Gates (Soul Food Pavilion, 2012) and Marinella Senatore (Estman Radio, ongoing). Sound Editor: Anamnesis Audio Special Audio: William Pope.L, Baile, São Paulo BiennialThere Is Only Light (We Do Not Know What To Do With Other Worlds) performance-reading, July 2011, MASS MoCA. Produced by Bureau for Open CultureTheaster Gates, FEAST, SMART Museum of Art, University of ChicagoMarinella Senatore and Estman Radio recording, courtesy Marinella Senatore and Virginia Commonwealth University Institute for Contemporary Art Related Links: Live Uncertainty, Material World, The Workers: Precarity/Invisibility/Mobility, FEAST: Radical Hospitality in Contemporary Art, Declaration, Emily Hall Tremaine Foundation Exhibition Award, Exhibitions on the Cusp

Brazilian artist Jorge Menna Barreto created Restauro, or Restoration, an eco-sensitive café within the pavilion that houses the 32nd São Paulo Biennial in Brazil. In partnership with local chefs and farmers, he encourages awareness about the way we use our land and the global consequences of how we eat. The entire project is an environmental sculpture. Sound editor: Guney Ozsan

Curator Jochen Volz talks about the 32nd São Paulo Biennial exhibition titled "Live Uncertainty." With curators Júlia Rebouças, Gabi Ngcobo, Lars Bang Larsen and Sofía Olascoaga, Volz designed the exhibition to resonate with the park’s spatial dynamic; many of the installations in the exhibition are living environments. Allowing political protests within the pavilion, taking performances out into the city, and involving local communities in creating projects, the biennial demonstrates the vital role of creativity in a world where the future of free expression, human rights and the environment seems uncertain. Sound editor: Guney Ozsan

American artist William Pope.L talks about endurance in performance art and shares the story of Baile, or Ball, the project he created for the 32nd São Paulo Biennial. Based on Pope.L’s research into recent political frictions and social inequalities in Brazil, the theatrical endurance project involves three pairs of professional dancers taking 8 hour shifts to perform 24 hours a day, for four days. They walk and dance along a mapped-out route at the heart of the city. Sound editor: Guney Ozsan

Today, we share our final live broadcast on Jolt Radio, Miami, from inside the exhibition pavilion of the 32nd São Paulo Biennial! We have quite the line-up! Brazilian artist Vivian Caccuri talks about her Afro-Brazilian sound project to kick off the show. Yvette Mutumba and Julia Grosse, Germany-based editors of Contemporary And (C&), follow, with their impressions of the exhibition and an introduction to their latest print publication. Our last guest, Brazilian artist scholar Jorge Menna Barreto, tells the story behind Restauro, a biennial dining experience inspired by local agro-forestry efforts.

Today, we’re sharing one of the three shows we broadcast this month on Jolt Radio, Miami, from inside the exhibition pavilion of the 32ndSão Paulo Biennial! Our special guest is Pia Lindman, an artist from Finland whose project Nose Ears Eyes centers on the hut made of mud and bamboo that you see in the photo gallery below. Later in the show, Eduardo Navarro, an artist from Argentina, drops in to our ad hoc studio, to talk about his Sound Mirror. Pia and Eduardo are two of the biennial artists whose projects connect conceptually and physically with Ibirapuera Park, a gorgeous urban green space that surrounds the exhibition pavilion designed by the legendary architect Oscar Niemeyer. Sound Editor: Guney Ozsan

Today, we share our first-ever Fresh Art International radio broadcast, recorded live in Brazil! For three days only, we were livestreaming from inside the São Paulo Biennial pavilion on Jolt Radio. Our new hour-long show expands on conversations about creativity that we’ve been recording with contemporary artists, curators, filmmakers, and architects since 2011 for the Fresh Art International podcast. The cultural context for our remote broadcast is Incerteza Viva, Live Uncertainty. The title and theme of the 32nd biennial exhibition revolves around the political, social, and environmental uncertainties of contemporary life. Today’s show features participating artists Eduardo Navarro (Argentina); Ebony G. Patterson (Jamaica), and artist collective Opivivaro! (Brazil), as well as activists from the Aparelhamento movement, a group or artists protesting current politics in Brazil. We hope you enjoy the show!

Kara Walker was born in Stockton, California in 1969 and grew up in Atlanta, Georgia. She graduated from the Atlanta College of Art in 1991 and received her MFA from the Rhode Island School of Design in 1994. She is known for her candid investigation of race, gender, sexuality, and violence through silhouetted figures that have appeared in numerous exhibitions worldwide. Her major survey show, Kara Walker: My Complement, My Enemy, My Oppressor, My Love, premiered at the The Walker Art Center, Minneapolis, MN in February 2007 before traveling to ARC/Musée d’Art moderne de la Ville de Paris, France; The Whitney Museum of American Art, New York, NY; The Hammer Museum, Los Angeles, CA; and the Museum of Modern Art, Fort Worth. Other recent solo exhibitions have taken place at Center for Contemporary Art Ujazdowski Castle, Warsaw, Poland (2011); CAC Málaga, Centro de Arte Contemporáneo de Málaga, Spain and MDD–Museum Dhondt-Dhaenens in Deurle, Belgium (both 2008). She participated in the 52nd Venice International Biennale in 2007 and was the United States representative to the 25th International São Paulo Biennial in Brazil in 2002. Walker is the recipient of many awards including the John D. and Catherine T. MacArthur Foundation Achievement Award in 1997, the Deutsche Bank Prize in 2000, and United States Artists Eileen Harris Norton Fellowship in 2008. Her work is included in numerous museums and public collections including The Solomon R. Guggenheim Museum, New York; The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The Tate Gallery, London; the Centro Nazionale per le Arti Contemporanee, Rome; and Deutsche Bank, Frankfurt. She lives and works in New York City. Walker is represented by Sikkema Jenkins & Co., New York.