POPULARITY
9 episodes with ricarda brosch
8 episodes with ricarda brosch
8 episodes with ricarda brosch
2 episodes with ricarda brosch
2 episodes with ricarda brosch
The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Genji Album (1510) in the Harvard Art Museums is the oldest dated set of Genji illustrations known to exist. In The Tale of Genji. A Visual Companion, published by Princeton University Press in 2018, Melissa McCormick discusses all of the fifty-four paintings by Tosa Mitsunobu and calligraphies in the album, thus providing a unique companion to Murasaki Shikibu’s eleventh century masterpiece of prose and poetry, The Tale of Genji. Ricarda Brosch is an Assistant Curator at the V&A’s Asian Department, East Asia section. You can follow her on Twitter: @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
Elizabeth A. Fraser's Mediterranean Encounters: Artists Between Europe and the Ottoman Empire, 1774–1839 (Penn State University Press, 2017) takes its readers on a journey through six illustrated travel albums covering territories held by the Ottomans in the Mediterranean basin and produced between 1774-1839. By decentring the importance of Europe, Elisabeth Fraser instead highlights the entangled histories and intercultural nature of the Ottoman Empire. Through six intertextual although very distinct travel albums, the book challenges its readers to look very closely at and engage with images in the works of Choiseul, Cassas, Mouradgea d’Ohsson, Melling, Louis Dupré and Delacroix, underscoring multidirectional viewing. In this podcast, we talk about the six travel albums and their imagery, about the markedness of translating ‘foreign’ images and about how viewing is culturally determined; we also discuss the notion of a single master author and the collaborative enterprise of producing travel books, as well as many other fascinating aspects the book covers. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
Elizabeth A. Fraser's Mediterranean Encounters: Artists Between Europe and the Ottoman Empire, 1774–1839 (Penn State University Press, 2017) takes its readers on a journey through six illustrated travel albums covering territories held by the Ottomans in the Mediterranean basin and produced between 1774-1839. By decentring the importance of Europe, Elisabeth Fraser instead highlights the entangled histories and intercultural nature of the Ottoman Empire. Through six intertextual although very distinct travel albums, the book challenges its readers to look very closely at and engage with images in the works of Choiseul, Cassas, Mouradgea d’Ohsson, Melling, Louis Dupré and Delacroix, underscoring multidirectional viewing. In this podcast, we talk about the six travel albums and their imagery, about the markedness of translating ‘foreign’ images and about how viewing is culturally determined; we also discuss the notion of a single master author and the collaborative enterprise of producing travel books, as well as many other fascinating aspects the book covers. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
Elizabeth A. Fraser's Mediterranean Encounters: Artists Between Europe and the Ottoman Empire, 1774–1839 (Penn State University Press, 2017) takes its readers on a journey through six illustrated travel albums covering territories held by the Ottomans in the Mediterranean basin and produced between 1774-1839. By decentring the importance of Europe, Elisabeth Fraser instead highlights the entangled histories and intercultural nature of the Ottoman Empire. Through six intertextual although very distinct travel albums, the book challenges its readers to look very closely at and engage with images in the works of Choiseul, Cassas, Mouradgea d’Ohsson, Melling, Louis Dupré and Delacroix, underscoring multidirectional viewing. In this podcast, we talk about the six travel albums and their imagery, about the markedness of translating ‘foreign’ images and about how viewing is culturally determined; we also discuss the notion of a single master author and the collaborative enterprise of producing travel books, as well as many other fascinating aspects the book covers. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
Elizabeth A. Fraser's Mediterranean Encounters: Artists Between Europe and the Ottoman Empire, 1774–1839 (Penn State University Press, 2017) takes its readers on a journey through six illustrated travel albums covering territories held by the Ottomans in the Mediterranean basin and produced between 1774-1839. By decentring the importance of Europe, Elisabeth Fraser instead highlights the entangled histories and intercultural nature of the Ottoman Empire. Through six intertextual although very distinct travel albums, the book challenges its readers to look very closely at and engage with images in the works of Choiseul, Cassas, Mouradgea d’Ohsson, Melling, Louis Dupré and Delacroix, underscoring multidirectional viewing. In this podcast, we talk about the six travel albums and their imagery, about the markedness of translating ‘foreign’ images and about how viewing is culturally determined; we also discuss the notion of a single master author and the collaborative enterprise of producing travel books, as well as many other fascinating aspects the book covers. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
Elizabeth A. Fraser's Mediterranean Encounters: Artists Between Europe and the Ottoman Empire, 1774–1839 (Penn State University Press, 2017) takes its readers on a journey through six illustrated travel albums covering territories held by the Ottomans in the Mediterranean basin and produced between 1774-1839. By decentring the importance of Europe, Elisabeth Fraser instead highlights the entangled histories and intercultural nature of the Ottoman Empire. Through six intertextual although very distinct travel albums, the book challenges its readers to look very closely at and engage with images in the works of Choiseul, Cassas, Mouradgea d’Ohsson, Melling, Louis Dupré and Delacroix, underscoring multidirectional viewing. In this podcast, we talk about the six travel albums and their imagery, about the markedness of translating ‘foreign’ images and about how viewing is culturally determined; we also discuss the notion of a single master author and the collaborative enterprise of producing travel books, as well as many other fascinating aspects the book covers. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan’s systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan’s systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan's systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com.
The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan’s systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Steven Lubar’s latest book Inside the Lost Museum: Curating, Past and Present (Harvard University Press, 2017), Steven gets to the heart of what makes museums so interesting to both appreciate and critique. For him, the complex nature of the museum lies in the balancing act a curator and other museum staff must strike in both displaying a collection and making it open, accessible and useful while resisting the temptation to encourage or even force a certain way of looking or behaving among visitors. Structured along the four chapters collect, preserve, display and use, Steve tells the history of museums, from cabinets of curiosities and the Victorian model all the way to the contemporary in an easily accessible and very engaging way. In the last part of his book, the coda, he reveals how working with contemporary artist Mark Dion allowed him and his students from the Jenks Society for Lost Museums to think about museums in new ways, making them social and useful spaces that combine an object-centered and people-centered approach. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Steven Lubar’s latest book Inside the Lost Museum: Curating, Past and Present (Harvard University Press, 2017), Steven gets to the heart of what makes museums so interesting to both appreciate and critique. For him, the complex nature of the museum lies in the balancing act a curator and other museum staff must strike in both displaying a collection and making it open, accessible and useful while resisting the temptation to encourage or even force a certain way of looking or behaving among visitors. Structured along the four chapters collect, preserve, display and use, Steve tells the history of museums, from cabinets of curiosities and the Victorian model all the way to the contemporary in an easily accessible and very engaging way. In the last part of his book, the coda, he reveals how working with contemporary artist Mark Dion allowed him and his students from the Jenks Society for Lost Museums to think about museums in new ways, making them social and useful spaces that combine an object-centered and people-centered approach. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Steven Lubar’s latest book Inside the Lost Museum: Curating, Past and Present (Harvard University Press, 2017), Steven gets to the heart of what makes museums so interesting to both appreciate and critique. For him, the complex nature of the museum lies in the balancing act a curator and other museum staff must strike in both displaying a collection and making it open, accessible and useful while resisting the temptation to encourage or even force a certain way of looking or behaving among visitors. Structured along the four chapters collect, preserve, display and use, Steve tells the history of museums, from cabinets of curiosities and the Victorian model all the way to the contemporary in an easily accessible and very engaging way. In the last part of his book, the coda, he reveals how working with contemporary artist Mark Dion allowed him and his students from the Jenks Society for Lost Museums to think about museums in new ways, making them social and useful spaces that combine an object-centered and people-centered approach. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Steven Lubar’s latest book Inside the Lost Museum: Curating, Past and Present (Harvard University Press, 2017), Steven gets to the heart of what makes museums so interesting to both appreciate and critique. For him, the complex nature of the museum lies in the balancing act a curator and other museum staff must strike in both displaying a collection and making it open, accessible and useful while resisting the temptation to encourage or even force a certain way of looking or behaving among visitors. Structured along the four chapters collect, preserve, display and use, Steve tells the history of museums, from cabinets of curiosities and the Victorian model all the way to the contemporary in an easily accessible and very engaging way. In the last part of his book, the coda, he reveals how working with contemporary artist Mark Dion allowed him and his students from the Jenks Society for Lost Museums to think about museums in new ways, making them social and useful spaces that combine an object-centered and people-centered approach. Ricarda Brosch is a curatorial trainee at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Ming China and Vietnam: Negotiating Borders in Early Modern Asia (Cambridge University Press, 2016), Kathlene Baldanza explores the complex diplomatic exchanges between China and Vietnam from the 13th to the 17th centuries. Drawing on vast material of both Chinese and Vietnamese primary sources, Baldanza challenges conventional narratives that focus on Chinese aggression and Vietnamese resistance, instead highlighting Vietnam’s use of East Asian classical culture as an ideological threat to China. As such, Sino-Viet relations, read through the seven interrelated biographies covered here, should be understood as a process of negotiation and compromise. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Ming China and Vietnam: Negotiating Borders in Early Modern Asia (Cambridge University Press, 2016), Kathlene Baldanza explores the complex diplomatic exchanges between China and Vietnam from the 13th to the 17th centuries. Drawing on vast material of both Chinese and Vietnamese primary sources, Baldanza challenges conventional narratives that focus on Chinese aggression and Vietnamese resistance, instead highlighting Vietnam’s use of East Asian classical culture as an ideological threat to China. As such, Sino-Viet relations, read through the seven interrelated biographies covered here, should be understood as a process of negotiation and compromise. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Ming China and Vietnam: Negotiating Borders in Early Modern Asia (Cambridge University Press, 2016), Kathlene Baldanza explores the complex diplomatic exchanges between China and Vietnam from the 13th to the 17th centuries. Drawing on vast material of both Chinese and Vietnamese primary sources, Baldanza challenges conventional narratives that focus on Chinese aggression and Vietnamese resistance, instead highlighting Vietnam’s use of East Asian classical culture as an ideological threat to China. As such, Sino-Viet relations, read through the seven interrelated biographies covered here, should be understood as a process of negotiation and compromise. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
In his latest book, Chinese Painting and Its Audiences published in 2017 by Princeton University Press, Craig Clunas puts to question the entire concept of “Chinese painting” by looking at how this category is in fact a creation of its viewers. The book, which expanded on the A. W. Mellon lecture series Clunas gave at the National Gallery of Art in Washington DC in 2012, was selected as one of the best art books of 2017 by The New York Times. The engaging and lavishly illustrated book draws on some familiar material but more importantly on a wide range of previously unknown or understudied sources. Spanning roughly the time period from the Ming period (1368-1644) until the present day, the book reveals how the notion of Chinese painting only became possible in early modern times, when audiences started to have a wider range of material they could choose from. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art and material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research and digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane's life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo's book reveals the complex lives and stories around Hans Sloane's collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Delbourgo‘s new book Collecting the World: The Life and Curiosity of Hans Sloane (Allen Lane, 2017) tells the fascinatingly complex and controversial story of Hans Sloane, the man whose collection and last will laid the foundation for the British Museum, the first national, free, public museum. For Delbourgo, Sloane was for far too long an overlooked figure, who knitted together the interests of a rising empire through methods of botany, natural history and medicine. Overshadowed in part by his counterpart Isaac Newton, Sloane’s life synchronizes with the changes from seventeenth-century England to eighteenth-century Britain. His life and the time are deeply interwoven with slavery and a new world of commerce. It was thanks to this interconnected world and the many intermediaries that Sloane managed to accumulate so many weird and wonderful objects from different places. He collected, catalogued, and exhibited them according to his own belief system, which centered around binaries of enlightenment versus superstition and sober empiricism versus magic. More than anything, Delbourgo’s book reveals the complex lives and stories around Hans Sloane’s collection and the many different peoples, places and stories that are attached to the silent objects, even today. It raises important historical questions about ownership and authorship of public museums, collections and curatorial practices and makes them relevant for us today. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tom Mullaney’s new book The Chinese Typewriter: A History (MIT Press, 2017) provides a fascinating first look at the development of modern Chinese information technology. Spanning 150 years from the origins of telegraphy in the early 1800s to the advent of computing in the 1950s – the book explores the at times fraught relationship between Chinese writing and global modernity. It covers some of the earliest and varied attempts to make the Chinese script fit for Western communication systems, taking the reader on a journey through Chinese telegraphy, Morse code, typewriters and early computing. In addition, Mullaney includes reference to the many failed attempts, ideas and approaches in the history of Chinese information technology through a series of lively and insightful stories and people. Perhaps most interestingly, Mullaney covers how various inbuilt linguistic inequalities in turn eventually led to the evolution of innovative strategies and technologies, including input method and predictive text. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tom Mullaney’s new book The Chinese Typewriter: A History (MIT Press, 2017) provides a fascinating first look at the development of modern Chinese information technology. Spanning 150 years from the origins of telegraphy in the early 1800s to the advent of computing in the 1950s – the book explores the at times fraught relationship between Chinese writing and global modernity. It covers some of the earliest and varied attempts to make the Chinese script fit for Western communication systems, taking the reader on a journey through Chinese telegraphy, Morse code, typewriters and early computing. In addition, Mullaney includes reference to the many failed attempts, ideas and approaches in the history of Chinese information technology through a series of lively and insightful stories and people. Perhaps most interestingly, Mullaney covers how various inbuilt linguistic inequalities in turn eventually led to the evolution of innovative strategies and technologies, including input method and predictive text. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tom Mullaney’s new book The Chinese Typewriter: A History (MIT Press, 2017) provides a fascinating first look at the development of modern Chinese information technology. Spanning 150 years from the origins of telegraphy in the early 1800s to the advent of computing in the 1950s – the book explores the at times fraught relationship between Chinese writing and global modernity. It covers some of the earliest and varied attempts to make the Chinese script fit for Western communication systems, taking the reader on a journey through Chinese telegraphy, Morse code, typewriters and early computing. In addition, Mullaney includes reference to the many failed attempts, ideas and approaches in the history of Chinese information technology through a series of lively and insightful stories and people. Perhaps most interestingly, Mullaney covers how various inbuilt linguistic inequalities in turn eventually led to the evolution of innovative strategies and technologies, including input method and predictive text. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tom Mullaney’s new book The Chinese Typewriter: A History (MIT Press, 2017) provides a fascinating first look at the development of modern Chinese information technology. Spanning 150 years from the origins of telegraphy in the early 1800s to the advent of computing in the 1950s – the book explores the at times fraught relationship between Chinese writing and global modernity. It covers some of the earliest and varied attempts to make the Chinese script fit for Western communication systems, taking the reader on a journey through Chinese telegraphy, Morse code, typewriters and early computing. In addition, Mullaney includes reference to the many failed attempts, ideas and approaches in the history of Chinese information technology through a series of lively and insightful stories and people. Perhaps most interestingly, Mullaney covers how various inbuilt linguistic inequalities in turn eventually led to the evolution of innovative strategies and technologies, including input method and predictive text. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
Tom Mullaney’s new book The Chinese Typewriter: A History (MIT Press, 2017) provides a fascinating first look at the development of modern Chinese information technology. Spanning 150 years from the origins of telegraphy in the early 1800s to the advent of computing in the 1950s – the book explores the at times fraught relationship between Chinese writing and global modernity. It covers some of the earliest and varied attempts to make the Chinese script fit for Western communication systems, taking the reader on a journey through Chinese telegraphy, Morse code, typewriters and early computing. In addition, Mullaney includes reference to the many failed attempts, ideas and approaches in the history of Chinese information technology through a series of lively and insightful stories and people. Perhaps most interestingly, Mullaney covers how various inbuilt linguistic inequalities in turn eventually led to the evolution of innovative strategies and technologies, including input method and predictive text. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
© 2020-2025 Ivy Podcast Discovery LLC
