Podcasts about roni horn

Roni Horn exhibit elevates her work at Beacon museum Memo to visitors at Dia Beacon's Roni Horn exhibition: Keep your heads up to avoid tripping or stubbing a toe. "Objects of Constancy," which weighs in at 300 pounds and looks like an oversized stick of licorice (or seven strands of intertwined rebar), rests in the middle of a walkway. Other dense works, made of cast lead, are tucked into a nook and also placed on the floor by the artist. "Mass Removal II" and "Mass Removal III," created with hand-hammering and a pneumatic drill, resemble elongated clamshells with scuffed-up interiors. The tops of four rocks-from-another-planet, an excerpt from the eight-piece Space Buttress series, look like petrified wood (one of which conveys the illusion of a knot). In contrast, the sides evoke moss-covered stone. "Things That Happen Again," another floor-based sculpture, consists of two shiny 1,752-pound copper cylinders placed at 90-degree angles. In a separate room, the cast iron pieces that make up "Post Work 3" resemble textured loudspeakers on poles and hint at an Easter Island vibe. "Vertical sculptures generally suggest the human form, just as horizontal works are often associated with landscapes," says curator Donna De Salvo. "Object of Consistency" (1980) "Post Work 3" (1986) "Things That Happen Again" (1986/90) "Space Buttress I" (1984-85) More than a sculptor, Horn installed this long-term exhibit that elevates her work into the pantheon of artists occupying permanent and semi-permanent spaces in the massive museum, like Donald Judd, Richard Serra and Andy Warhol. "Horn was friends with Serra, and Judd arranged for the permanent install of another version of 'Things That Happen Again' at Marfa [his 45,000-acre ranch and gallery in Texas], so she fits right in," says De Salvo. Of the exhibit's 23 works, nine are owned by Dia; the abstract color and texture studies hanging on the walls are on loan from the artist and her gallery. These framed works date to the mid-1980s. Horn deployed similar motifs and techniques in later, larger creations, says De Salvo. Building on a back-mounted sheet of paper, she created a second layer with smaller fragments of thicker, mottled paper arranged in a collage style covered with colorful, slate-like shapes seemingly outlined in black. Three works titled "Brooklyn Red" are accompanied by a couple of Brooklyn whites, Hamilton reds and Brooklyn grays. Some of the shapes seem three-dimensional, especially in "This 1," where the colored blotch looks bent like a butterfly wing. Horn enjoys pairing subjects, like the paper work "Untitled (Hamilton)," which looks like a couple of nuclear reactors. The objects in "Double I I' " and "Double N N' " seem more risque. In 2001 and 2002, as her international renown began to grow, Horn held two solo shows at the Dia Center for the Arts in Manhattan. Now, she's on the same level at Dia Beacon as Robert Ryman, Gerhard Richter and Louise Bourgeois. It's rare for a living artist to achieve such recognition (she is 69). "We've had a real commitment to her for more than 20 years," says De Salvo. "She's one of the major figures of her generation and there's a dialogue with our other artists on view." Dia Beacon, at 3 Beekman St., is open from 10 a.m. to 5 p.m. Friday to Monday. Admission is $20 ($18 seniors, $12 students and disabled visitors, $5 ages 5 to 11, free for members, ages 5 and younger and Beacon and Newburgh residents). See diaart.org.

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Sameiginlegur þáttur Víðsjár og Lestarinnar í upphafi ársins 2025. Í þáttum dagsins höldum við úr húsi, förum inn í lágvöruverslunina Prís í Kópavogi, verslunarmiðstöðina Eiðistorg á Seltjarnarnesi, vöðum slabbið út í strætóskýli og tökum líka upp tólið og hringjum út á land: austur, vestur, norður og suður. Hvað var fólk í Prís að hugsa rétt eftir jólin og hvað finnst unglingum á Eiðistorgi um bækur? Hvaða áhrif hefur risa myndlistarsýning á verkum Roni Horn í strætóskýlum á gangandi vegfarendur, nú eða akandi strætóbílstjóra? Hvað er low taper fade, hvað er best að gera á Benidorm og hvernig leggst þetta nýja ár í okkur? Umsjón: Kristján Guðjónsson, Halla Harðardóttir, Lóa Björk Björnsdóttir og Melkorka Ólafsdóttir

Nu kan du høre eller genhøre Morgenkrydderen fra søndag den 19. maj 2024. Der er følgende på programmet: Pinse, Højsager Mølle, Louisianas udstilling med Roni Horn samt lokale nyheder og Cybervejret.

Luerweg, Susanne www.deutschlandfunk.de, Kultur heute

Luerweg, Susanne www.deutschlandfunkkultur.de, Fazit

Peder Lund, a seasoned figure in the world of art, started his career in the 1990s as an art dealer, curator, and gallerist. In 2009, he took a bold step after two decades in the art dealership industry by establishing his own gallery. His primary goal was to foster a more engaging dialogue with the Norwegian and Scandinavian public while enhancing Oslo's global prominence in the art scene. This vision revolved around showcasing modern and contemporary art crafted by internationally acclaimed artists. The gallery's exhibition program is meticulously crafted and executed through close collaboration with the artists themselves, their main galleries, and artist estates.The exhibition lineup at Peder Lund is remarkably diverse, encompassing photography, installations, sculptures, and paintings. Notably, Lund has collaborated with an impressive roster of artists, including Wolfgang Tillmans, Louise Bourgeois, Isa Genzken, Roni Horn, Ed Ruscha, Catherine Opie, Paul McCarthy, Mike Kelley, and Ida Ekblad, among others. With this wide array of artists, Peder Lund aims to provide a comprehensive and multifaceted view of contemporary art to the Scandinavian audience.This episode is brought to you by Colekt, a Stockholm-based clean beauty, fragrance, skincare and lifestyle brand. Gender free, vegan and inspired by Scandi nature, the cultural heritage and seasonal mood. Colekt has an open eye for freedom, impressions and expressions around the world, in arts, fashion, design and architecture. Colekt your creation, anytime anywhere. Explore the world of Colekt www.colekt.comMore information on www.theartbystander.com Hosted on Acast. See acast.com/privacy for more information.

Was ist die/der Andere? Für Gilles Deleuze: weder Subjekt noch Objekt, sondern Ausdruck einer möglichen Welt. Doch was heißt das? In dieser Episode lese ich mit Deleuze das Buch ‘Freitag oder im Schoß des Pazifik' von Michel Tournier, folge Simone de Beauvoir in die Berge und Roni Horn nach Island, blicke Jan Bas Ader in sein schmerzverzerrtes Gesicht und frage mich, warum ein bestimmter Satz mir nicht mehr passt. Alles, um herauszufinden, welches Welt-Verhältnis sich aus der Beziehung zum Anderen ableiten lässt.

Í Berg Contemporary við Klapparstíg var opnuð um liðna helgi sýningin Kerfi þar sem ný verk eftir Heklu Dögg Jónsdóttur myndlistarkonu eru til sýnis. Verkin á sýningunni eru þrenns konar: þarna er vídeóverk þar sem þrír litir blandast saman á vatnsyfirborði, í öðru verki rúlla hvítir og svartir textar yfir vegginn á plastrúllum, og svo eru þarna stór pappírs verk, sem ná frá gólfi og upp í loft. Meira um það þegar við göngum um sýninguna með Heklu Dögg í þætti dagsins. Og svo ætlum við að velta fyrir okkur hugmyndinni um prinsessuna. Goðsögnin um hina hreinu og duglegu prinsessu, prúðu og iðnu stúlkuna, sem Grimmsbræður festu á blað, og sem Disney verkmsiðjan festi svo enn betur í sessi í samtíma okkar, lifir enn góðu lífi, en afhverju? Austurríska nóbelskáldið Elfriede Jelinek tekst á við þessar spurningar í Prinsessuleikunum, verki sem Borgarleikhúsið frumsýnir um næstu helgi í leikstjórn Unu Þorleifsdóttur. Una verður gestur okkar í dag. Á fimmtudaginn síðasta var samþykkt á Alþingi að veita 21 ein­stak­lingi rík­is­borg­ara­rétt. Athygli vakti að meðal þeirra er banda­ríska lista­kon­an Roni Horn sem sannarlega má setja í flokk svokallaðra Íslands­vina eft­ir ára­löng tengsl henn­ar við land og þjóð. Af þessu tilefni ætlum við að hverfa aftur til ársins 2007, og rifja upp viðtal við listakonuna, sem ræddi þá meðal annars um áhrif Íslands á list hennar, efnahagsmálin sem þá voru á blússandi siglingu og náttúruvernd svo eitthvað sé nefnt.

Í Berg Contemporary við Klapparstíg var opnuð um liðna helgi sýningin Kerfi þar sem ný verk eftir Heklu Dögg Jónsdóttur myndlistarkonu eru til sýnis. Verkin á sýningunni eru þrenns konar: þarna er vídeóverk þar sem þrír litir blandast saman á vatnsyfirborði, í öðru verki rúlla hvítir og svartir textar yfir vegginn á plastrúllum, og svo eru þarna stór pappírs verk, sem ná frá gólfi og upp í loft. Meira um það þegar við göngum um sýninguna með Heklu Dögg í þætti dagsins. Og svo ætlum við að velta fyrir okkur hugmyndinni um prinsessuna. Goðsögnin um hina hreinu og duglegu prinsessu, prúðu og iðnu stúlkuna, sem Grimmsbræður festu á blað, og sem Disney verkmsiðjan festi svo enn betur í sessi í samtíma okkar, lifir enn góðu lífi, en afhverju? Austurríska nóbelskáldið Elfriede Jelinek tekst á við þessar spurningar í Prinsessuleikunum, verki sem Borgarleikhúsið frumsýnir um næstu helgi í leikstjórn Unu Þorleifsdóttur. Una verður gestur okkar í dag. Á fimmtudaginn síðasta var samþykkt á Alþingi að veita 21 ein­stak­lingi rík­is­borg­ara­rétt. Athygli vakti að meðal þeirra er banda­ríska lista­kon­an Roni Horn sem sannarlega má setja í flokk svokallaðra Íslands­vina eft­ir ára­löng tengsl henn­ar við land og þjóð. Af þessu tilefni ætlum við að hverfa aftur til ársins 2007, og rifja upp viðtal við listakonuna, sem ræddi þá meðal annars um áhrif Íslands á list hennar, efnahagsmálin sem þá voru á blússandi siglingu og náttúruvernd svo eitthvað sé nefnt.

durée : 00:52:34 - L'Heure bleue - par : Laure Adler, Céline Villegas - À la Bourse de Commerce-Pinault Collection à Paris, l'artiste et écrivaine américaine Roni Horn explore les thèmes du double et de l'identité mais seulement, alors rendez-vous dans l'Heure Bleue pour une rencontre hors-norme.

This week: as more than two million refugees leave war-torn Ukraine, what can the arts do? Counterpoints Arts is a charity that works with refugee artists and creates programmes in a range of artforms on the subject of migration and displacement in the UK and beyond. Their mission is underpinned by a belief that arts can inspire social change and enhance the inclusion and cultural integration of refugees and migrants. We talk to a producer at Counterpoints Arts, Tom Green. The Art Newspaper's deputy digital editor Aimee Dawson is at the Art Dubai fair, and talks about its new digital section, focusing on NFTs, virtual reality and more, with the artist Gretchen Andrew and Anna Seaman, a curator at Morrow Collective, an NFT curatorial platform that is participating in the fair. And in this episode's Work of the Week, as Summer, an exhibition dedicated to the work of the late Cuban-American artist Felix Gonzalez-Torres, opens at the Museum of Contemporary Art in Toronto, its curator Rui Mateus Amaral discusses Untitled (Golden) (1995), a key work in the show and one of the last pieces Gonzalez-Torres created before his death in 1996.Counterpoints ArtsTogether with RefugeesRefugee WeekArt Dubai, until 13 MarchArticle on the Metaverse by The Art Newspaper's XR panelFelix Gonzalez-Torres: Summer, Museum of Contemporary Art, Toronto, until 31 JulyFelix Gonzalez-Torres's Untitled (Golden) (1995) at the Felix Gonzalez-Torres FoundationA brush with… Roni Horn, in which Roni Horn discusses her relationship with Felix Gonzalez-Torres See acast.com/privacy for privacy and opt-out information.

We're putting ourselves into isolation for this part of our Winter Horrors series. Whether we're stuck on ski lift in the middle of a winter storm or rekindling with our exes in an isolated Icelandic cabin, our two films this week look at loneliness and isolation in different ways. First, we discuss with Jessica Scott, of We Who Walk Here, Adam Green's tense survival thriller, Frozen (starting at 00:01:06). Then, we dive into analyzing the queer loneliness of Erlingur Thoroddsen's 2017 film, Rift (starting at 00:58:14) with actor and writer Jose Nateras. About Jessica Scott Check out Jessica Scott's piece on female slashers and their masks at Manor Vellum here and her further horror writing portfolio here, and at https://wewhowalkhere.com or follow her on Twitter @WeWhoWalkHere About Jose Nateras You can purchase Jose Nateras' Testament: A Novel as an eBook through Ninestar Press or paperback through Bookshop.org. Read Jose script for the horror-comedy Zero Feet Away from the 2021 BloodList here. And follow Jose on Twitter @josenateras and Instagram @JLorca13 Follow our show on social media @CallsInsidePod Referenced in this episode: Adam Barnick - FROZEN Behind the Scenes Clip: “Wolves” and “Dart” Art21. 2005. Roni Horn in “Structures”. PBS. Melissa Carroll - Lonely Affects and Queer Sexualities: A Politics of Loneliness in Contemporary Western Culture [Doctoral thesis]. McMaster University. collegemoviereview - Sundance: Frozen: Adam Green, Emma Bell, Shawn Ashmore, Kevin Zegers [Interview]. Colorado State University - Wolves and Human Safety. Rebecca Solnit - The Faraway Nearby. 2013. Penguin Books. --- Send in a voice message: https://anchor.fm/calls-inside-pod/message

Roni Horn ne s'est jamais quittée. Roni Horn naît à New York, en 1955. Elle choisira à l'adolescence le prénom Roni, un prénom qui ne révèle aucune identité. Très tôt, elle tient le monde à distance ou plutôt se tient à distance du monde. Une vraie méthode de travail pour tenter de saisir l'insaisissable, l‘inqualifiable : le passage du temps, la mutabilité de toute chose, la fluidité des identités. Artiste de tous les médiums, elle écrit, sculpte, dessine, photographie, peint… avec un thème de prédilection : l'eau, les états de la matière, les états de l'être. Des bouillons noirs de la Tamise aux glaces de l'Islande en passant par le regard d'Isabelle Huppert, son œuvre inclassable présente un miroir formant et déformant de soi et du monde.CRÉDITSÇa a commencé comme ça est un podcast co-produit par Binge Audio et la Bourse de commerce - Fondation Pinault. Écriture : Caroline Halazy. Incarnation et interprétation : Charlotte Le Bon. Direction de projet : Soraya Kerchaoui-Matignon. Production et édition : Dimitri Mayeur. Réalisation et mixage : Maxime Singer. Musique originale : Nicolas Olier. Identité graphique : Upian. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

00:25min - “First creation, second business” ~ Adrian Joffe-07:40min - Produkte die du gerne hättest, aber keine Verwendung dafür hast?-23:40min - Kaufeinstellung zu Möbeln, Interior, etc.-30:50min - Last Cops Dan: Carol Christian Poell “Cofifty” Longsleeve, Halstuch, Maison Rose Bamboo Shirt, Anselm Kiefer “Notizbücher”, Samuel Becket “Murphy”, Dostojewski “Notes from the underground”, Martin Margiela “Lafayette Anticipations”, Franz Kafka “Der bau, mit Zeichnungen von Roni Horn”, John Coltrane “Blue Train” LP, Chet Baker “Chet Baker sings” LP-42:40min - Portrait: @__nitch-45:07min - Musikempfehlungen der Woche (feat. James Blake, Sampha etc.)-48:47min - Gastankündigung für Folge #105-51:40min - Welche(n) Künstler:in würdest du gerne in welchem Produkt sehen?

Today for the second episode of XTer Asia season, Dispatch is going to talk to Barcelona-based art patron Han Nefkens. Despite having a lot of mutual friends through our cross-continent network, this is the first time our host Arlette meets Han. The conversation will anchor to Han Nefkens' close engagement with Asia at large. We start from the new initiative of Han Nefken's foundation with major institutions across Asia, to Han's very first activities in the continent at the AIDS-awareness event in Bangkok, and the idea of collecting without artwork possession. Han Nefkens is a writer, art collector, and patron of the arts. His collection of contemporary art consists of photographs, videos, installations, and paintings by Jeff Wall, Roni Horn, Bill Viola, Shirin Neshat, Felix Gonzalez-Torres, and others...

Today for the second episode of XTer Asia season, Dispatch is going to talk to Barcelona-based art patron Han Nefkens. Despite having a lot of mutual friends through our cross-continent network, this is the first time our host Arlette meets Han. The conversation will anchor to Han Nefkens' close engagement with Asia at large. We start from the new initiative of Han Nefken's foundation with major institutions across Asia, to Han's very first activities in the continent at the AIDS-awareness event in Bangkok, and the idea of collecting without artwork possession. Han Nefkens is a writer, art collector, and patron of the arts. His collection of contemporary art consists of photographs, videos, installations, and paintings by Jeff Wall, Roni Horn, Bill Viola, Shirin Neshat, Felix Gonzalez-Torres, and others...

In an episode largely about imagination, Walls recaps her time in Galaxy's Edge before dreaming up a completely hypothetical, wide-spanning musical theatre career. Rachel's got a good reminder about masks and a (possibly very relatable) relationship with journaling. Both hosts have got new access points for art that they hope you'll check out. Stay safe, y'all! Keep your masks on! Have you ever wanted to throw a journal out the window? Have you been to Star Wars Land?! Share your woes and wins with the hosts! We're on Instagram and Twitter, or you can send an email or voice memo to withrachelandwalls@gmail.com! Supporters! THANK YOU! To join them, tap the "Support" button here. Music by Royer Bockus LINKS! Look out for the Haunted Mansion episode of Happy Harvest Horror Show Learn more about the Imagineers Order your own sketchbook from the Brooklyn Art Library See some of Roni Horn's work --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/withrachelandwalls/support

Dans des œuvres comme Le Bar aux Folies Bergère de Manet, dans Portrait of an image de Roni Horn ou dans l’exposition « Voici » qu’il évoque en parcourant le Palais des Beaux Arts de Bruxelles, comme dans sa façon d’observer une pièce d’Anne Teresa de Keersmaeker, Thierry de Duve invite à réfléchir à une « scénographie de l’adresse » : à la façon dont un tableau se présente aux yeux du spectateur, aux moyens dont il dispose pour attirer son regard, mais aussi aux liens qui unissent le spectateur à l’œuvre observée – autant de questions essentielles à l’art.

Noah introduces a Keith Haring documentary - Artist and Whitehot Magazine publisher Noah Becker and guests discuss contemporary art. Galleries and museums and all things visual art come together for this art world podcast by Whitehot Magazine of Contemporary Art. ARTISTS WE LIKE: Andy Warhol, Alice Neel, Jean-Michel Basquiat, Paul McCarthy, Keith Haring, Marina Abramovic, Takashi Murakami, Jeff Koons, Noah Becker, Roni Horn, Elizabeth Peyton and art dealers like David Zwirner, Larry Gagosian, Pace Gallery, Hauser & Wirth and many others... Visit www.whitehotmagazine.com @whitehotmagazine on Instagram @newyorkbecker on Instagram --- Support this podcast: https://anchor.fm/noah-becker4/support

Season 9 continues! Russell & Robert meet LEGENDARY artist Roni Horn!!!! We discuss Iceland, cameras, drawing, androgyny, memory, British weather, words, Emily Dickinson, Missy Elliott, John Waters, Maria Bamford and SO much more in this extraordinary and deeply personal episode.Using drawing, photography, installation, sculpture and literature, Roni Horn’s work consistently questions and generates uncertainty to thwart closure in her work, engaging with many different concerns and materials. Important across her oeuvre is her longstanding interest to the protean nature of identity, meaning, and perception, as well as the notion of doubling; issues which continue to propel Horn’s practice.Beginning 23 February, ‘Roni Horn. Recent Work’ will present the artist’s latest achievements in the realm of drawing, a medium she has described as ‘a kind of breathing activity on a daily level.’ Here, intricate works on paper extend Horn’s masterful use of mirroring and textual play to explore the materiality of color and the sculptural potential of the medium. Her preoccupation with language permeates these works; scattered words read as a stream of consciousness spiraling across the paper. In addition to pieces from her series Wits’ End Mash and Yet, the exhibition will present for the first time LOG (March 22, 2019 – May 17, 2020), (2019 – 2020), a new large-scale installation comprised of more than 400 individual works on paper, the result of a daily ritual of art making undertaken by Horn for a span of fourteen months.‘Recent Work’ follows the artist’s two-part 2019 drawing survey ‘Roni Horn: When I Breathe, I Draw’ at the Menil Collection in Houston. Her work has been the subject of numerous major exhibitions including ‘Roni Horn’ at the Fondation Beyeler, Basel (2016); ‘Roni Horn a.k.a Roni Horn,’ organized by the Tate Modern, London, which travelled to the Whitney Museum of American Art, New York, and the Institute of Contemporary Art, Boston (2009 – 2010). Roni Horn lives and works in New York.Roni Horn's solo exhibition runs until 10th Apr 2021 in New York, at Hauser & Wirth, 22nd Street. Follow @HauserWirth on Instagram and their official website at: www.hauserwirth.comFor images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email talkart@independenttalent.com See acast.com/privacy for privacy and opt-out information.

Nell'arte la parola acqua ha sempre fatto rima con viaggio. Stavolta, però, il viaggio è burrascoso, perché Costantino e Francesco si scontrano sull'americana Roni Horn e la scoperta dell'acqua calda, su polli e balene, sul ruolo di Willy il Coyote nell'arte concettuale e sulla doppia vita del padre di William Turner: William Gayone Turner. Infine, dei prestigiosi ospiti si uniscono al cast di ArteFatti: due dei maggiori critici di design al mondo, amici intimi di Francesco Bonami.In questa puntata si parla di Roni Horn, Bas Jan Ader, Thierry De Cordier, Hiroshi Sugimoto, Gordon Matta-Clark, Simon Starling, Willy il Coyote, Fabrizio Plessi, Claudio Monteverdi, Luigi Tenco, Peter Fend, Colin De Land, Andrea Fraser, Cady Noland, Rob Scholte, Tacita Dean, William Turner, William Gayone Turner, Mike Leigh, Nanni Moretti, Guy Bourdin, Vaginal Davis, Gustave Moreau, Thomas Chippendale, Laura Ashley, Antonio Citterio, Dan Graham, Donald Judd, Gerrit Rietveld e Gio Ponti

Ben Luke talks to the US artist Roni Horn about her life and work, with reference to the art, music and literature that are her influences and touchstones. Among much else, they discuss Horn's enduring engagement with the poems of Emily Dickinson, and the sculptures and installations that she has made as a result; her unique friendship with Felix Gonzalez-Torres and the works it inspired; the jazz and R&B singers that she has listened to throughout her life; and her profound experiences in Iceland, the subject of her new book, Island Zombie: Iceland Writings (Princeton University Press). Plus, the questions Ben asks all the guests on A brush with..., including: if you could live with just one work of art, what would it be? And what is art for? See acast.com/privacy for privacy and opt-out information.

Wir nehmen die Sammlung des Museum Folkwang aus einer LGBTQ-Perspektive in den Blick und diskutieren künstlerische Positionen, die sich auf unterschiedliche Weise mit Gender, Sexualität und queeren Lebensweisen und Selbstverortungen auseinandersetzen.

Michael Petry, author, artist and Director of the Museum of Contemporary Art in London talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about his new book “The Word Is Art” that addresses how contemporary global artists incorporate text and language into their works that speaks to some of the most pressing issues of the 21st century. In the digital and online age words have become more important than ever with text becoming information and information striving to become a free form of expression. “The Word Is Art” looks at the work of a diverse range of artists including Annette Messager, Barbara Kruger, Cerith Wyn Evans, Christian Marclay, Christopher Wool, Chun Kwang Young, eL Seed, Fiona Banner, Ghada Amer, Glenn Ligon, Harland Miller, Jenny Holzer, Kay Rosen, Laure Prouvost, Martin Creed, Rachel Whiteread, Raymond Pettibon, Roni Horn, Tania Bruguera, Zhang Huan and many more interpreting how the digital and online age have made words more important than ever. “The Word Is Art” takes us on a fascinating and richly illustrated tour interpreting these trending global art forms. We talked to Michael about his inspiration for creating this book and his spin on our LGBTQ issues. When asked what his personal commitment is to LGBTQ civil rights Petry stated, “I’m one of the ancients who’s been around fighting for LGBTQ rights since the early eighties and I’ve been involved in so many different ways over the years. I consider myself queer because I think that is a broader term that for me represents who I am and what I think and part of that commitment as a queer who is an artist and who also is an author and a curator is to try and bring queer artists to the foreground of the art world. We only have to think back a few years to realize that LGBTQ artists were very marginalized and that’s still the case for many people. In the LGBTQ movement every year I curate a Pride Exhibition in London which I really hope to introduce LGBTQ artists not only to that community but to the straight community and I work within all the structures that are available whether that’s museums or the corporate structure to get that recognition for LGBTQ people because I think what is at issue in the broader political sphere is this notion of fear. Fear of others and of course that fear is not limited to the general public. It’s also in the art world.” Michael Petry has written a number of books, including “Installation Art”, “The Art of Not Making: the new artist/artisan relationship”, “Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition” and his most recent work “The Word Is Art” all published by Thames & Hudson. In 2019 he will be speaking and exhibiting his work worldwide.For More Info: michaelpetry.com Hear 450+ LGBT Interviews @OUTTAKE VOICES

Episode Note:Two guests:Julia Boros, a Melbourne based artist - http://www.juliaboros.comAllison Chan, a Melbourne based writer - http://peril.com.au/people/allison-chan/Julia’s residency -Blönduós, Icelandhttps://guidetoiceland.is/travel-iceland/drive/blonduosIcelandic Textile Centrehttp://textile.is/english-2/https://textilsetur.com/residency/Roni Horn - https://en.wikipedia.org/wiki/Roni_HornBird - https://steidl.de/Books/Bird-0911385960.htmlA library of Glacial Water in Iceland - https://hyperallergic.com/226116/a-library-of-glacial-water-in-iceland/Allison Chanthe 21st Biennale of Sydney. Superposition Equilibrium and Engagement - https://www.biennaleofsydney.art/venues/cockatoo-island/Icarus Cell, 2016. Yukinori Yanagi. https://www.biennaleofsydney.art/artists/yukinori-yanagi/Julie's upcoming exhibition:Confluent, October 13 - November 13, 2018. Opening Saturday October 13 4-6pm.Gallery Smith Projecthttp://www.gsprojectspace.com/exhibitions/Host note:In this episode, I had two eloquent and thoughtful speakers: Julia Boros, a Melbourne-based artist and Allison Chan, a Melbourne-based writer. Julia spoke about her recent liberating experience of taking an artist residency at Icelandic Textile Centre in Blönduós, Iceland. She unrevaled her deep connection to the unique landscape of Iceland and the community of Blönduós. Julia also showed us the relationship that another artist, Roni Horn (USA) has drawn with Iceland. From Julia's talk, a conundrum was emerged that one sometimes need travel far to find centre of self. Following Julia, Allison shared her critical view on the 21st Biennale of Sydney (BOS) this year and her experience of visiting the cockatoo island site. Allison asked how we should answer the questions: What is art in Australian? and What is the relevance of the biennale to the art in Australia? also, Is it nesccesary to bring an Asian perspective into the BOS? When Allison was asked about the works that stood out from her experience, Allison talked bout Yukinori Yanagi’s Icarus Cell. As I had seen the BOS this year too, I probably spoke too much on the topic of BOS. In the end of this episode, in response to the conversation about the BOS 2018, Julia brought up Roni Horn’s another project “A library of Glacial water in Iceland' and read a quote from Roni's writing about the need of traveling to different place. It was such a thoughtful discussion with Julis and Allison. There were so many good points opened up during our conversation. I hope the listeners will enjoy this episode too. :)Vegetable soup was served after the episode recording. 

Roni Horn (artist, New York and Reykjavik) speaks at Frieze London 2007

In light of her current exhibition at Tate Modern, Roni Horn discusses her practise with curator and Art Angel co-director James Lingwood and art historian Briony Fer, chaired by Tate Curator Mark Godfrey.

The latest instalment of Adrian Searle's weekly audio series on major contemporary artworks. This week: Roni Horn's Blue by Blue (2007)