Podcasts about serpentine gallery

Hans Ulrich Obrist is a a curator, critic, and art historian. He's the artistic director of the Serpentine Galleries in London and the author of many books, including Ways of Curating, A Brief History of Curating, and Everything You Always Wanted To Know About Curating But Were Afraid to Ask. In this wide-ranging conversation, Jarrett and Hans talk about the role of conversation and interviews in his work, the evolution of the Serpentine Pavilion, and why it's important that the art world is still his home base. Links from this episode can be found at scratchingthesurface.fm/271-hans-ulrich-obrist. 
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Giuseppe Penone is a contemporary artist associated with the Arte Povera art movement. He reinvented sculpture, drawing, conceptual photography, art installation, through proto environmental art with the sensibility of a late late romantic.Curator and art critic Germano Celant created the term #artepovera in 1967 to highlight a tendency toward a use of reduced material or idea to its archetype. How does Penone fit into that notion? He seems to have had a singular place in the Italian and global Western art canon of the time, using organic growth as an art process that the artist mirrors, plays and aligns with. Have we been forcing a dialogue between his work and Celant's concept? What other relations with memory and matter has he expanded through his work? Was he a pioneer of eco-art? A late romantic? All of the above? Artist ⁠Diogo Pimentão⁠ is my co-host for the first time. As ever, I'll introduce the artist and he'll take us through this small retrospective exhibition at the Serpentine Gallery. Curated by Claude Adjil, Curator at Large, and Hans Ulrich Obrist, Artistic Director, with Alexa Chow, Assistant Exhibitions Curator.You wouldn't leave the shop without paying for your latte, right?Buy us a latte ;-) ⁠https://exhibitionistaspodcast.com/support-us⁠SIGN UP for the NEWSLETTER! Be the first to know our upcoming episode, get our UNTIMELY BOOK RECOMMENDATIONS, and juicy facts + useful links.https://exhibitionistaspodcast.com/newsletterIf you enjoyed the episode, you may enjoy Joana's essays on Substack: ⁠https://joanaprneves.substack.com⁠For behind the scenes clips, links to the artists and guests we cover, and visuals of the exhibitions we discuss follow us on Instagram: @exhibitionistas_podcastBluesky: @exhibitionistas.bsky.socialexhibitionistaspod@gmail.com#contemporaryart #immersive #immersiveexperiences #artexhibitions #artisticidentity #artmovement #experimentalfilm #experimentalart #artmovement #archetype

The largest ever exhibition of the work of Jack Whitten opens this weekend at the Museum of Modern Art (MoMA), New York. Ben Luke speaks to Michelle Kuo, the curator of the show, about the political and experimental commitment that drove Whitten's remarkable body of work. In Paris, one of the final exhibitions to open at the Centre Pompidou before it closes for five years was unveiled this week. Paris Noir brings together more than 150 artists from across the African diaspora who were based in, or had notable stays in, the French capital between the 1950s and 2000. Ben went to Paris to speak to Alicia Knock, the lead curator on the show. And this episode's Work of the Week is Arpita Singh's Searching Sita Through Torn Papers, Paper Strips and Labels (2015). It features in a new exhibition of the Indian artist's work at the Serpentine North in London. The Art Newspaper's associate digital editor, Alexander Morrison, spoke to the Serpentine Galleries' artistic director, Hans Ulrich Obrist, about the painting.Jack Whitten: The Messenger, Museum of Modern Art, New York, 23 March-2 August. You can hear Jack Whitten talking about his life and work in the show's audioguide at moma.org.Paris Noir: Artistic Circulations and Anti-colonial Resistance, 1950-2000, Centre Pompidou, Paris, until 30 June.Arpita Singh: Remembering, Serpentine North, London, until 27 July.Subscription offer: enjoy a three-month digital subscription to The Art Newspaper for just £3/$3/€3. Get unrestricted access to the website and app, including all digital monthly editions dating back to 2012. Subscribe here. Hosted on Acast. See acast.com/privacy for more information.

"We're pro-AI and we're pro-consent. Those things don't have to be mutually exclusive." The activists and artists talk about the hot button issues facing AI's governance. The world is deep in the throes of a heightening debate over AI. Just this week, the Vatican published an essay addressing the potential, and risks, of AI in a new high-tech world as well as its intersection with religion and humanity. In politics, figures like Elon Musk are advising citizens that the US government will become increasingly "AI-first," using data about its individuals to make federal decisions. And in the world of culture and the humanities, the alarm has been sounded on AI's ability to both aid in creativity and homogenise the art and music being produced and consumed, raising concerns that much of what's being released is sounding increasingly the same. There are probably no better experts on this far-ranging topic than Holly Herndon and Mat Dryhurst, two Berlin-based academics and artists who have entrenched themselves in the world of AI ethics, advocacy and art for the past two decades. Now married, they come from DIY punk backgrounds, both having lived in the Bay Area pre-tech bubble while Herndon completed a Ph.D in Computer Music at Stanford. Their work is primarily concerned with how AI is governed as it becomes more ubiquitous in our everyday lives, and what its implications are for ownership of AI-generated artworks. In this urgent and timely RA Exchange, the duo talk about their shift closer to the art world following their 2024 exhibition at The Whitney Biennial and their most recent show at Serpentine Gallery in London, The Call, which will close at the end of this month. It's one of many forward-thinking projects they've worked on to move away from the fear narrative dominating dialogue around how AI is influencing art and music, instead showcasing how machine learning can be used to push art forward. They also address their view of socialist democratic values with the rise of the far right, raising a young child and doing work that sits squarely between activism and art. Listen to the episode in full. – Chloe Lula

"We're pro-AI and we're pro-consent. Those things don't have to be mutually exclusive." The activists and artists talk about the hot button issues facing AI's governance. The world is deep in the throes of a heightening debate over AI. Just this week, the Vatican published an essay addressing the potential, and risks, of AI in a new high-tech world as well as its intersection with religion and humanity. In politics, figures like Elon Musk are advising citizens that the US government will become increasingly "AI-first," using data about its individuals to make federal decisions. And in the world of culture and the humanities, the alarm has been sounded on AI's ability to both aid in creativity and homogenise the art and music being produced and consumed, raising concerns that much of what's being released is sounding increasingly the same. There are probably no better experts on this far-ranging topic than Holly Herndon and Mat Dryhurst, two Berlin-based academics and artists who have entrenched themselves in the world of AI ethics, advocacy and art for the past two decades. Now married, they come from DIY punk backgrounds, both having lived in the Bay Area pre-tech bubble while Herndon completed a Ph.D in Computer Music at Stanford. Their work is primarily concerned with how AI is governed as it becomes more ubiquitous in our everyday lives, and what its implications are for ownership of AI-generated artworks. In this urgent and timely RA Exchange, the duo talk about their shift closer to the art world following their 2024 exhibition at The Whitney Biennial and their most recent show at Serpentine Gallery in London, The Call, which will close at the end of this month. It's one of many forward-thinking projects they've worked on to move away from the fear narrative dominating dialogue around how AI is influencing art and music, instead showcasing how machine learning can be used to push art forward. They also address their view of socialist democratic values with the rise of the far right, raising a young child and doing work that sits squarely between activism and art. Listen to the episode in full. – Chloe Lula

EXHIBITIONISTAS CELEBRATES ONE YEAR OF PODCASTING!

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

Beta Festival, Ireland's art and technology festival was on Friday, 1st November, featuring a robot that rolls its eyes at live social media algorithms, the opportunity to reduce emissions by distracting fossil fuel companies, and digital tools that investigate real-life conspiracies, Beta runs until Sunday, November 17th at The Digital Hub and wider Dublin 8 area. Beta Festival of art and technology Co-founded and supported by The Digital Hub, Beta has announced a full line-up of artists, exhibitions, installations, and workshops that will focus on the key theme of the relationship between technology and power, with specific focus areas including artificial intelligence and facial recognition technology. In addition, a first-of-its-kind Assembly on AI and Art will bring together leading experts in technology and culture to discuss critical areas in the arts industry that are impacted by AI and should be considered for future policy developments. AI Ambassador for Ireland Patricia Scanlon will be among the facilitators leading discussions. Cannes Film Festival winner Noire, the Unknown Life of Claudette Colvin will make its Irish debut at this year's Beta Festival at the Samuel Beckett Theatre from Thursday, November 7th to Sunday, November 10th. Noire tells the real-life story of 15-year-old Claudette Colvin, who refused to give up her bus seat to a white passenger in a segregated 1950s Alabama. The production uses virtual reality to provide viewers with an immersive digital experience. Tickets for Noire are limited and range from €15 - €22. Beta will also host an international exhibition Unsettling the Algorithm: Seeds of Resistance, which will explore how digital systems and algorithms shape, influence, and govern our daily lives. Curated by Aisling Murray and Nora O' Murchú, the exhibition will feature artists including Basil Al-Rawi, Tega Brain and Sam Levigne, Firas Shehadeh, Winnie Soon, and Tzu-Tung Lee among others. Separately, the Local Artists Network will spotlight emerging Irish artists with new work from Conan McIvor and new commissions from Aisling Phelan and Cailean Finn. Both exhibitions are free of charge and will run from Friday, November 1st to Sunday, November 17th. Additional workshops covering digital democracy, facial recognition technology, and artist networking events are taking place over the two weeks and will be free of charge to attendees. Events and exhibitions will take place predominantly in buildings across The Digital Hub campus, including iD8 Studio, The Bank, and wider Dublin areas including Pallas Projects Studios, Fire Station Artists Studio, and the Samuel Beckett Theatre. Beta will officially launch on Friday, November 1st with events including the Assembly on AI and Art, keynote from Abeba Birhane as well as free workshops and panel discussions. The conference over the opening weekend will cover topics from digital activism to immersive storytelling, algorithmic resistance, and future archives. Tickets for the conferences are available to purchase from the Beta website from €15 - €25. Key highlights from the weekend will include: Samuel Beckett Theatre will host performances from Noire, an immersive virtual reality performance that tells the story of Claudette Colvin who refused to give up her bus seat to a white passenger in the 1950s segregated Alabama. Directed by Stéphane Foenkinos and Pierre-Alain Giraud. The Ethics Studio is a space for members of the public to engage with real ethical concerns and potential real-world impacts of new and emerging technologies developed with the festival research partner ADAPT Research Centre. This will include The Bigger Picture - an exhibition of new commissions that challenge outdated tropes and offer a more grounded, realistic portrayal of AI. Keynote talks from Kay Watson, Head of Arts Technologies at London's Serpentine Gallery, and Abebe Birhane, who is a member of the United Nations Secretary-General's AI Advisory Body and was featured ...

Beta Festival starts this weekend. Do you want to reduce emissions by chatting to fossil fuel businesses on the phone, see a robot roll its eyes at live social media algorithms or go back in time to experience the first act of racial activism in 1950's America? Beta festival, Ireland's art and technology festival, opens this weekend from Friday, 1st November to Sunday, 17th of November at The Digital Hub and the surrounding Dublin 8 area. Co-founded and supported by The Digital Hub, Beta has announced a full line-up of artists, exhibitions, installations and workshops that will focus on the key theme of the relationship between technology and power, with specific focus areas including artificial intelligence and facial recognition technology. In addition, a first-of-its-kind Assembly on AI and Art will bring together leading experts in technology and culture to discuss critical areas in the arts industry that are impacted by AI and should be considered for future policy developments, with AI Ambassador for Ireland Patricia Scanlon set to be among the facilitators leading discussions. Cannes Film Festival winner Noire, the Unknown Life of Claudette Colvin, will make its Irish debut at this year's Beta Festival at the Samuel Beckett Theatre from Thursday, November 7th to Sunday, November 10th. Noire tells the real-life story of 15-year-old Claudette Colvin, who refused to give up her bus seat to a white passenger in a segregated 1950s Alabama through an immersive digital performance using virtual reality, showing the power of storytelling through technology. Tickets for Noire are limited and range from €15 - €22. Beta will also host an international exhibition, Unsettling the Algorithm: Seeds of Resistance, which will explore how digital systems and algorithms shape, influence and govern our daily lives. Curated by Aisling Murray and Nora O' Murchú, the exhibition will feature artists including Basil Al-Rawi, Tega Brain and Sam Levigne, Firas Shehadeh, Winnie Soon, and Tzu-Tung Lee, among others. Separately, the Local Artists Network will spotlight emerging Irish artists with new work from Conan McIvor and new commissions from Aisling Phelan and Cailean Finn. Both exhibitions are free of charge and will run from Friday, November 1st to Sunday, November 17th. Additional workshops covering digital democracy, facial recognition technology and artist networking events are taking place over the two weeks and will be free of charge to attendees. Events and exhibitions will take place predominantly in buildings across The Digital Hub campus, including iD8 Studio, The Bank and wider Dublin areas, including Pallas Projects Studios, Fire Station Artists Studio and the Samuel Beckett Theatre. Beta will officially launch on Friday, November 1st with events including the Assembly on AI and Art, keynote from Abeba Birhane as well as free workshops and panel discussions. The conference over the opening weekend will cover topics from digital activism to immersive storytelling, algorithmic resistance and future archives. Tickets for the conferences are available to purchase from the Beta website from €15 - €25. Key highlights from the weekend will include: Samuel Beckett Theatre will host performances from Noire, an immersive virtual reality performance that tells the story of Claudette Colvin who refused to give up her bus seat to a white passenger in the 1950s segregated Alabama. Directed by Stéphane Foenkinos and Pierre-Alain Giraud. The Ethics Studio, a space for members of the public to engage with real ethical concerns and potential real-world impacts of new and emerging technologies developed with the festival research partner ADAPT Research Centre. This will include The Bigger Picture - an exhibition of new commissions that challenge outdated tropes and offers a more grounded, realistic portrayal of AI. Keynote talks from Kay Watson, Head of Arts Technologies at London's Serpentine Gallery and Abebe Birhane, who is a member of the Un...

On Thursday, I was at the Serpentine Gallery in London for the opening of The Call, an exhibition by Holly Herndon and Mat Dryhurst. The work, as they write in the program, is a commentary on how “the process of collecting data raises questions about the governance and permission of its use.” and so is this episode.. See the scans in the youtube version of this episode! https://youtu.be/BXBF1MsvOlE Full Show Notes: https://thejaymo.net/2024/10/06/2426-shape-thief/ Experience.Computer: https://experience.computer/ Worldrunning.guide: https://worldrunning.guide/ Subscriber Zine! https://startselectreset.com/ Permanently moved is a personal podcast 301 seconds in length, written and recorded by @thejaymo Subscribe to the Podcast: https://permanentlymoved.online/

This week's show kicks off our annual celebration of Gothtober in a grand way! Your favorite fiends welcome local Atlanta goth legend Matt Spatial from Now After Nothing who provides us with some tunes that show a true appreciation of the grim and ghastly! That's right, everything turns grey as they once again explore the dark and ethereal world of Goth Rock…What is it we do here at InObscuria? Every show Kevin opens the crypt to exhume and dissect from his personal collection, an artist, album, or collection of tunes from the broad spectrum of rock, punk, and metal. Robert is forced to test his endurance and provide feedback, as he has no idea what he will be subjected to every week. Our hope is that we turn you on to something that was lost on your ears, or something you've simply forgotten about, or that (in our opinion) should have been the next big thing.Songs this week include:Bauhaus – “Sanity Assassin” from Sanity Assassin - Single (1983)Astari Nite – “Tongue Tied Galore” from Resolution Of Happiness (2024)Switchblade Symphony – “Bad Trash” from Serpentine Gallery (1995)Curse Mackey – “Lacerations” from Immoral Emporium (2022)Al1ce – “Wide Awake” from The Thirteenth Hour (2018)Now After Nothing – “Fixation Fantasy” from Artificial Ambivalence (2024)If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/Please subscribe everywhere that you listen to podcasts!Visit us: https://inobscuria.com/https://www.facebook.com/InObscuriahttps://twitter.com/inobscuriahttps://www.instagram.com/inobscuria/Buy cool stuff with our logo on it!: https://www.redbubble.com/people/InObscuria?asc=u

Chris and Rifa are in London on a visual art binge. We talk about Now You See Us: Women Artists in Britain 1520-1820 at Tate Britain. We also argue about Judy Chicago: Revelations at the Serpentine Gallery. Rifa is reading the classic Theosophical Society book Thoughtforms: A Record Of Clairvoyant Investigation by Annie Besant and Charles Leadbeater. Chris is reading The Place Where Souls Are Born, A Journey Into The American South West by the Australian novelist Thomas Keneally. Thanks for listening!

Beta, Ireland's art and technology festival, will return for its second year in the first two weeks of November. Co-founded and supported by The Digital Hub, Beta will host a series of events including creative exhibitions, keynote speakers, interactive workshops and an assembly centred on artificial intelligence in Dublin 8 and beyond. The 2024 edition of Beta will explore critical themes around the relationship between technology and power including facial recognition technologies, the impact of AI on artists, untold histories and elevating empathy through creative technologies. The festival's main exhibition, curated by Beta co-founder and director Aisling Murray and curator and Associate Professor at University of Limerick Nóra O'Murchú, features international and Irish artists, whose work will explore how technology can become a tool to resist hegemonic political orders and open new avenues for resistance. Irish-Iraqi artist Basil Al Rawi is among those who will partake in the exhibition with his artwork House of Memory, which immerses viewers in a digital environment that reveals different image landscapes constructed from archived pictures and stories from Iraqi diaspora who hold the memories of these landscapes. This work connects to ongoing research showcasing the value of XR experiences in developing empathy. Other artists confirmed for the exhibition include Firas Shehadeh, Jennifer Gradecki and Derek Curry, Sebastian Schmieg, Sam Levigne and Tega Brain, with more to be announced. Following on from its' successful first year - which saw an audience of nearly 2,000 people attend the festival in 2023, Beta Co-Founder and Director Aisling Murray, is looking forward to welcoming more visitors to the second year: "I'm excited to bring Beta back to Ireland for a second year where we can explore how the intersection of art and technology enables us to understand more about the world around us. This year, we're conscious of current technological advancements that impact Irish society including conversations about the impact of artificial intelligence on arts and culture, the influence of algorithms on politics and democracy and law enforcement's use of facial recognition technology. "We're hoping to stimulate conversation about technology policy, ethics and regulation and the important cross-section between art and technology. We want to help people understand how technology and art impacts action, and this year's programme gives a really fertile space to enrich these conversations." In addition to the main exhibition, a second exhibition - Local Artists Network - will spotlight newly commissioned work by Irish artists including Aisling Phelan and Cailean Finn, among others. Beta will aim to evoke important discussions on topical areas at the intersection of art and technology, with Kay Watson, Head of Arts Technologies at the Serpentine Gallery in London scheduled to deliver a thought-provoking keynote speech at this year's festival. CEO of The Digital Hub, Fiach Mac Conghail expands on the concepts at play in this year's festival, stating: "The Digital Hub continues to support Aisling Murray's vision of Beta as we mark the second festival. We operate at the intersection of technology, creativity and imagination. Beta is about exploring debate and insights into the critical issues facing us as a society as we witness major technological shifts and innovations. Art has a role in challenging us and we hope our audiences will continue to find inspiration throughout the festival." ADAPT Research Centre will return as the research partner for Beta with their collaborative interactive Ethics Studio, a dedicated exhibit space for visitors, researchers, and artists to meet and explore our relationship with AI using creative methods and interactions. This year, Beta will offer specific activities as part of the official Science Week programme, including a Digital Democracy Lab with KT4D (Knowledge Technologies for Democracy) dev...

Danielle travels to Kettle's Yard, the contemporary art gallery in Cambridge, UK, to meet Megan Rooney, a Canadian artist renowned for her diverse and interdisciplinary practice encompassing painting, sculpture, installation, and performance.Kettle's Yard is a charming art gallery and house that was originally the home of Jim Ede, a former curator at the Tate Gallery, and his wife Helen. From the mid-1950s until the early 70s, the Edes resided at Kettle's Yard and created a space to display their impressive personal art collection, which includes works by Miro, Henry Moore, and Ben Nicholson. The house is arranged to maintain its domestic atmosphere, blending art with everyday objects to create an inspiring environment. Kettle's Yard also hosts temporary exhibitions, concerts, and educational programs, the most recent of which is a showcase of Megan Rooney's work, including a site-specific temporary mural, a series of paintings, a dance performance, and a book.Born in South Africa and raised between Brazil and Canada, Rooney's work explores themes of identity, memory, and the human experience, blending abstract forms with narrative elements. Now based in London, her vibrant, large-scale paintings and immersive installations are characterised by a dynamic use of colour and texture. She has exhibited internationally, including at prominent institutions like the Serpentine Galleries in London and the Louis Vuitton Foundation, and is recognised for her innovative approach to blending different media and creating evocative, experiential art.Danielle visited Kettle's Yard to discuss with Megan her latest offering on the eve of the exhibition opening, which is her first major solo show in the UK.https://www.kettlesyard.cam.ac.uk/https://ropac.net/artists/210-megan-rooney/ Photo (detail): Eva Herzog   

We are delighted to be joined by Simone Farresin and Andrea Trimarchi, the visionary duo behind the acclaimed design studio Formafantasma, with studios in Milan and Rotterdam. Working with brands such as Prada, Artek and Flos, they have created exhibitions, installations and shows at the Serpentine Galleries in London, the Venice Biennale and the Salone del Mobile in Milan. Simone and Andrea explore the transformative power of design and how it shapes our world. They share insights on the importance of conversation and dialogue in their creative process and highlight the need to respond to the present moment. We explore their diverse work with different clients and cultures, the evolving role of artificial intelligence in design, and their belief that form should follow function.In this episode we also get an insight into their personal design preferences and their vision for contemporary design, objects and interdisciplinary exchange. Fore more information please visit cultureshifts.net and follow us on Instagram & LinkedIn.

I am so excited to say that my guest on the GWA Podcast is one of the most pioneering and revelatory artists alive, Judy Chicago. Born Judith Sylvia Cohen, then Judy Gerowitz, but changed it to Judy Chicago to renounce the name of her first husband to instead adopt the name of her birth city instead, Chicago has been at the forefront of art since the 1960s. Following her studies at UCLA in the 1950s, Chicago attended auto body school, as the only woman out of 250 men. It was here that she learnt to use spray guns, but instead of actually painting cars, she used these skills to formulate vaginal forms onto carhoods, as if to poke fun at her male contemporaries. In the 1960s, she turned to Minimalism, creating block-like sculptures which she executed in exuberant colours. While her work was acclaimed, she was one of only three women (out of 51 artists) included in the landmark Jewish Museum exhibition, Primary Structures, in 1966. During this decade, she became increasingly aware of the lack of women artists available to her – as an undergraduate at UCLA in the late 1950s and 60s, she had taken a class titled the Intellectual History of Europe, where her professor declared that women had made zero contributions to European History – so she set herself the task of looking for it herself. As she has said “there was actually a huge amount of information if one looked for it, especially dating back to the 19th century…” Out of this – and turning to the importance of education – she began the first ever feminist art programme, at Fresno State College, with artist Miriam Schapiro in 1970, which, as feminist art historian, Linda Nochlin has declared, was a time when there were no women's studies, no feminist theory, no African American studies, no queer theory, no postcolonial studies. What there was ... was a seamless web of great art, often called “The Pyramids to Picasso”... extolling great (male, of course) artistic achievement since the very dawn of history'... In the 1970s, Chicago created the famous Dinner Party, worked on between 1974 and 1978: a giant minimalist-like table that awards 39 women from history and mythology a ‘seat at the table' – with the further names of 999 women in the porcelain in the middle. She has created images of birth, death, animals, plants, that deal with an attitude entrenched in feminism towards caring for our planet, and so much more. But! The reason why we are speaking to her today is because this summer in London, Chicago will take over the Serpentine Gallery with an exhibition that corresponds to her major new book: Revelations, a project that has been unrealised for over 30 years, but is finally being published, that includes rewriting the story of creation, spotlighting the Great Mother Goddess, and a plethora of other women, and challenging the patriarchal paradigms that have always dictated how stories have been read, written, and accepted. -- LINKS: https://www.serpentinegalleries.org/whats-on/judy-chicago-revelations/?gad_source=1&gclid=CjwKCAjwo6GyBhBwEiwAzQTmc3bNjJ0zjNj2RgMuZomrRmjd8Bhuvx6YlLjhkJ8sk0ZYIgxU_IQVmRoCEWoQAvD_BwE https://www.thamesandhudsonusa.com/books/judy-chicago-revelations-hardcover https://judychicago.com/ https://www.newmuseum.org/exhibitions/view/judy-chicago-herstory -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm.mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Art, technology and artificial intelligence working together! For more than a decade at the Serpentine Galleries in London. Join us for a conversation with Hans Ulrich Obrist, the Artistic Director of the Serpentine Galleries in London, curator, writer and sought-after speaker at academic and art institutions worldwide. With a portfolio that includes hundreds of curated exhibitions and countless interviews, Hans Ulrich is arguably the driving force in shaping the contemporary art landscape.In our conversation, we delve into the Serpentine Galleries' innovative approach to embracing technology and AI, and explore how art intersects with these emerging fields. We also explore the symbiotic relationship between artists and the corporate world, discussing the crucial role that creatives play in shaping the vision of businesses and boards. Hans Ulrich emphasises the importance of using technology responsibly and creating new alliances between art institutions, universities, and other sectors. He also talks about the role of artists in subverting the intended use of technology and creating space and agency for people. He highlights the need for togetherness and interdisciplinary collaboration in addressing the challenges of the 21st century. Join us as we embark on a journey of exploration and imagination with Hans Ulrich Obrist, unravelling the opportunities and challenges that connect art, technology and the future.Fore more information please visit cultureshifts.net and follow us on Instagram & LinkedIn.

Artist Yinka Shonibare CBE RA, and Hans Ulrich Obrist and Tamsin Hong of The Serpentine Galleries, coat London's historic statues and public monuments with fresh layers of history. For over 30 years, Yinka Shonibare CBE RA has used Western European art history to explore contemporary culture and national identities. With his iconic use of Dutch wax print fabric - inspired by Indonesian batik designs, mass-produced in the Netherlands (and now China) and sold to British colonies in West Africa - he troubles ideas of ‘authentic' ‘African prints'. Painting these colourful patterns on his smaller-scale replicas of sculptures of British figures like Winston Churchill, Robert Clive, and Robert Milligan, he engages with contemporary debates raised in Black Lives Matter (#BLM) and the toppling of slave trader Edward Colston's statue in Bristol. Suspended States, the artist's first London solo exhibition in over 20 years, puts these questions of cultural identity and whiteness, within the modern contexts of globalisation, economics, and art markets. Wind Sculptures speak to movements across borders, other works how architectures of power affect refuge, migration, and the legacies of imperialism in wars, conflict, and peace today. With his Library series, we read into Wole Soyinka, Bisi Silva, and canonised 17th, 18th, and 19th century artists like Diego Velázquez, focussing on Yinka's engagement with Pablo Picasso, modernism, and ‘primitivism'. Hans Ulrich Obrist and Tamsin Hong highlight the connection between the Serpentine's ecological work, and Yinka's new woodcuts and drawings which consider the impact of colonisation on the environment. As a self-described ‘post-colonial hybrid', Yinka details his diasporic social practices, including his Guest Project experimental space in Hackney, and G.A.S. Foundation in Nigeria, and collaborations with young artists and researchers like Leo Robinson, Péjú Oshin, and Alayo Akinkubye. Yinka Shonibare: Suspended States runs at the Serpentine Galleries in London until 1 September 2024. Yinka is also an Invited Artist, and participant in Nigeria Imaginary, the official Nigerian Pavilion, at the 60th Venice Biennale, which runs until 24 November 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Dutch wax fabric and ‘African' textiles, listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath and British Textile Biennial 2021, and the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx by Araminta de Clermont (2010)⁠. For more about Nelson's Ship in a Bottle (2010), listen to historicity London, a podcast series of audio walking tours, exploring how cities got to be the way they are. On bronze as the ‘media of history', hear artist Pio Abad on Giolo's Lament (2023) at the Ashmolean Museum in Oxford. And on the globalisation of ‘African' masks, listen to Tate curator Osei Bonsu in the episode about Ndidi Dike's A History of A City in a Box (2019). For more about the Blk Art Group, hear curator Dorothy Price on Claudette Johnson's And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Hear curator Folakunle Oshun, and more about Yinka Shonibare's Diary of a Victorian Dandy (1998), in the episode on Lagos Soundscapes by Emeka Ogboh (2023), at the South London Gallery. Read about Nengi Omuku in this article about Soulscapes at the Dulwich Picture Gallery in London. And for other artists inspired by the port city of Venice, hear John Akomfrah of the British Pavilion (2024) on ⁠Arcadia (2023)⁠ at The Box in Plymouth. WITH: Yinka Shonibare CBE RA, British-Nigerian artist. Hans Ulrich Obrist, Artistic Director, and Tamsin Hong, Exhibitions Curator, at the Serpentine Galleries in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

Hello and welcome back to Jo's Art History Podcast. Today I'm joined by artist Phil Barton to discuss the groundbreaking artist Gustave Metzger. A pioneer of protest and political art activism, Metzger developed the concept of ⁠Auto-Destructive Art⁠ and the ⁠Art Strike⁠. He went on to forge a career which saw retrospectives held at TATE and The Serpentine Gallery. Metzger is an artist I had not come across and found endlessly fascinating as my conversation with Phil went on. It's an episode not to be missed. Thank you so much to Phil for being such a brilliant guest. Links https://www.youtube.com/watch?v=g_ONHWuusyA https://www.youtube.com/watch?v=5ioYs20rnL8 Auto Destructive Art: https://en.wikipedia.org/wiki/Auto-destructive_art Artist Overview: https://www.jewthink.org/2021/05/18/the-auto-destructive-creative-world-of-gustav-metzger/ Exhibition: https://benuri.org/video/144/ GuardianArticle: https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot Remember Nature: https://www.serpentinegalleries.org/whats-on/remember-nature/ Phil Barton  Website: https://philbartonartist.c4cp.net/project/day-of-action-to-remember-nature/ Instagram: https://www.instagram.com/philbxyz/ https://philbartonartist.c4cp.net/project/day-of-action-to-remember-nature/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/jos-art-history-podcast/message

Artist Yinka Shonibare talks about his new exhibition at the Serpentine Gallery, which explores the legacy of Imperialism. Guitarist Sean Shibe performs early Scottish lute music and previews a new classical guitar concerto live in the Front Row studio.And film experts Stephen McConnachie and Inés Toharia explain how fast changing technology and digital decay is putting preserving cinema under threat.Presenter: Samira Ahmed Producer: Olivia Skinner

Building upon Kew's commitment to re-examine the history of its collections, this discussion explores the colonial legacies of botany and botanic gardens, featuring a panel of leading writers and thinkers in this area. All too often history shows us that the origins of botanic gardens are intertwined with the histories of colonialism, imperialism and enslavement. How can understanding these connections pave the way to a more inclusive future? Given this legacy, what is the role that botanic gardens play today in supporting and addressing climate justice? Speakers Sathnam Sanghera is a journalist and best-selling author. His acclaimed books include The Boy with the Topknot and Empireland, which inspired the Channel 4 series Empire State of Mind. His highly anticipated new book, Empireworld, traces the legacies of the British empire around the world. Andrea Wulf is an award-winning author of several books, including The Brother Gardeners: Botany, Empire and the Birth of an Obsession and the international bestseller The Invention of Nature: Alexander von Humboldt's New World which is published in 27 languages. A New York Times bestseller, it also won fifteen international literary awards, including the Royal Society Science Book Prize, Costa Biography Award and the LA Times Book Prize. Her latest book Magnificent Rebels was published under great acclaim in autumn 2022. Andrea is a member of PEN American Center and a Fellow of the Royal Society of Literature. Emma Nicolson is Head of Art at Royal Botanic Garden Edinburgh where she spearheads a transformative arts strategy, integrating nature, science, and environmental concerns. Initiating projects like Climate House and collaborating with institutions like Serpentine Galleries, Emma engages audiences with climate and ecological issues. With a background as the founding director of ATLAS Arts and senior roles at institutions like the Museum of Contemporary Art, Sydney, Emma has a proven passion for collaborative, audience-building initiatives. Chaired by Rosie Boycott, Crossbench Peer, Food Campaigner, and co-founder of 5x15. This talk is part of a series of activities planned by RBG Kew, aligning with its objectives under its Manifesto for Change and History, Equity, and Inclusion Plan. As part of its own journey of introspection and exploration, Kew Gardens looks to promote open dialogue, platform diverse perspectives and foster learning from the rich tapestry of voices that surround these matters. Kew is not only a botanic garden; it is a leading centre of plant and fungal science and a repository of history, a living testament to the relationships between humans and plants over centuries. In examining the history of its collections, the RBG Kew aims to enrich the stories it tells its visitors, providing different layers of information on plant history and the pivotal role of botanic gardens. Responsible investing at Rathbones Investment Management We see it as our responsibility to invest for everyone's tomorrow. That means doing the right thing for our clients and for others too. Keeping the future in mind when we make decisions today. Looking beyond the short term for the most sustainable outcome. This is how we build enduring value for our clients, make a wider contribution to society and create a lasting legacy. Recordings of Rathbones and 5x15's online series The Earth Convention can be viewed on 5x15's Youtube channel. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

Asad Raza (born in Buffalo, USA) creates dialogues and rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience. Diversion, first shown at Kunsthalle Portikus in 2022, diverted a river through the gallery. Absorption, in which cultivators create artificial soil, was the 34th Kaldor Public Art Project in Sydney (2019), later shown at the Gropius Bau, Berlin (2020) and Ruhrtriennale (2021). In Untitled (plot for dialogue) (2017), visitors played tennis in a sixteenth-century church in Milan. Root sequence. Mother tongue, at the 2017 Whitney Biennial, combines twenty-six trees, caretakers and objects. Schema for a school was an experimental school at the 2015 Ljubljana Graphic Art Biennial. Raza premiered the feature Minor History at the International Film Festival Rotterdam (2019). Other projects take intimate settings: The Bedroom at the 2018 Lahore Biennale; Home Show (2015) at his apartment in New York, where Raza asked artists to intervene in his life; and Life to come (2019) at Metro Pictures, featuring participatory works and Shaker dance.  With Hans Ulrich Obrist, Raza curates exhibitions inspired by Édouard Glissant, including Mondialité (Villa Empain, Brussels), Trembling Thinking (Americas Society, New York), Where the Oceans Meet (MDC Museum of Art and Design, Miami), and This language which is every stone (IMA, Brisbane). Raza will serve as Artistic Director of the upcoming FRONT 2025: Cleveland Triennial of Contemporary Art. Of Pakistani background, Raza studied literature and filmmaking at Johns Hopkins and NYU. Still from Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Asad Raza, Untitled (plot for dialogue), 2017, CONVERSO, Milan Photo Credit: Andrea Rossetti

This week: Adriano Pedrosa, the artistic director of the 60th Venice Biennale, on his exhibition, Foreigners Everywhere. As he announces the themes, concepts and the list of artists in the show, we speak to the Brazilian curator about his plans. Hugely popular immersive art experiences are popping up across the world from London to Las Vegas, Tokyo and Abu Dhabi, and we discuss this phenomenon and its implications for museums and galleries with Chris Michaels—an art and technology consultant and former director of digital, communications and technology at the National Gallery, London. And this episode's Work of the Week is Barbara Kruger's Untitled (Forever), an installation first made in 2017 and now on view in the Serpentine South gallery in London, where Kruger's career survey arrived this week after spells in Chicago, Los Angeles and New York. Hans Ulrich Obrist, the Serpentine Galleries' artistic director, explores the installation.The 60th Venice Biennale: Foreigners Everywhere, Giardini and Arsenale, Venice, Italy, 20 April-24 November.Barbara Kruger: Thinking of You. I Mean Me. I Mean You, Serpentine South, London, until 17 March.Offer: you can still buy The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings—many of which were discussed on our podcast from 12 January. Get a print and digital subscription to The Art Newspaper at theartnewspaper.com before the 15th of this month to receive a copy of The Year Ahead with your next printed issue. Or you can buy the magazine on its own on the website for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

In every office, there is someone with so much accumulated knowledge the boss wants to “clone” them. At structural engineering firm Thornton Tomasetti (TT), they've basically done that. The firm has taken the concept of a “digital twin” to a newly literal level – engineers can now quiz a synthetic clone of the firm's in-house welding and metallurgy expert, constructed from 30 years of his files and emails. Chief Technology Officer Robert Otani tells Unfrozen where TT is taking generative artificial intelligence (GAI) next. -- Intro/Outro: “Mr. Roboto,” by Styx -- Discussed: ·     ZHA's Patrik Schumacher keynote at the AIA Center for Architecture's AI+A Symposium, 16 December 2023 ·     Dall-E, ChatGPT, Midjourney, OpenAI ·     HOU 3000: Serpentine Galleries' virtual chief curator, Hans Ulrich Obrist ·     TT's Spark Intranet ·     Cornell Tech Jacobs Institute: The Future of Generative AI in Architecture, Design and Engineering ·     TT made a digital twin of welding and metallurgy expert Mike DeLashmit. The real Mike gives "Mike 2.0" a “4.7 out of 5” in terms of the accuracy of its answers. ·     Converting scanned PDF drawings with annotations into vectors + tabular data ·     Google Gemini ·     A “hallucination throttle” for generative AI iterations on existing documents ·     Using AI to optimize material quantities, operational energy, and eventually, embodied carbon

This episode we are thrilled to be joined by the artist P Staff.  Born in Bognor Regis in the UK and now living and working between Los Angeles and London, P's work draws from a wide-ranging assortment of inspirations, materials, and settings to emphasize the processes by which bodies – especially those of people who are queer, trans, or disabled – are controlled by society.  P works across multiple media, including installation, film, and poetry. In their 2019 installation On Venus at the Serpentine Gallery in London, P used mirrored floors, yellow lights, and warped footage to explore the exchange between bodies, ecosystems, and institutions from a queer and trans perspective. P went on to present a version of this work at the Venice Biennale last year. And in their exhibition this summer at the Kunsthalle Basel titled In Ecstasy (or alternatively In Ekstase), P used materials including electric nets, architectural interventions, and holograms to consider how bodies are disciplined in a society defined by capitalism and its brutality.  Among a host of venues worldwide, P has had solo exhibitions at institutions including the Irish Museum of Modern Art, Dublin, The Museum of Contemporary Art, Los Angeles, and the Chisenhale Gallery, London (which is actually run by Zoe Whitley, a guest from Season 1 of Art from the Outside). Some artists and thinkers discussed in this episode: Yvonne Rainer Eve Kosofsky Sedgwick Nina Hagen Candice Lin Johanna Burton Justin Vivian Bond Jackson Pollock Nikita Gale Tishan Hsu Tracey Emin Rachel Cusk Tiona Nekkia McClodden Ashley James, Ph.D P is represented by Commonwealth and Council in the United States and Galerie Sultana in Europe. https://commonwealthandcouncil.com/us/patrick-staff/biography https://galeriesultana.com/artists/p-staff For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram. Enjoy! https://www.instagram.com/artfromtheoutsidepodcast/

Hans Ulrich Obrist is a curator and artistic director of the Serpentine Galleries in London. This episode features Part 2 of his interview for Scaffold. (Listen to part 1 here). "There is a different kind of time in the studio of artists […] time almost gets suspended when I do a studio visit, which is a major aspect of how I break with routine and liberate time. Artists are world builders, and so you travel into another world." – HUOScaffold is an Architecture Foundation production, hosted by Matthew Blunderfield. Download the London Architecture Guide App via the App Store or Google Play Hosted on Acast. See acast.com/privacy for more information.

Hans Ulrich Obrist is a curator and Artistic Director of the Serpentine Galleries in London. "We need protected spaces for art, yes – that's why we have museums – but we need also to find ways to actually go from from the gallery space to the park, into the city, and into society…curating is about building bridges between art and society, and I've always believed we need to create this kind of experience for people”Scaffold is an Architecture Foundation production, hosted by Matthew Blunderfield Download the London Architecture Guide App via the App Store or Google Play Hosted on Acast. See acast.com/privacy for more information.

Jinny Blom speaks to her old friend Brian Eno, the musician, composer, record producer and visual artist. One of the founding members of Roxy Music, Brian has worked with everyone from David Bowie, David Byrne, Laurie Anderson, U2, Coldplay and Grace Jones to name but a very few, and his visual artworks have been exhibited around the world, including at the Serpentine Gallery, the Science Museum and the Venice Biennale. As well as both supporting the work of CW+, the arts charity at Chelsea & Westminster Hospital, Jinny and Brian sing together in his a cappella choir. They sit down to talk about art, architecture, music and much more.Production: Danielle Radojcin, In Talks WithSound: Warren Borg at Worgie ProductionsOriginal music commissioned by Jinny Blom, composed by Peter Vettese and produced by Marc Fox Hosted on Acast. See acast.com/privacy for more information.

Takeshi and Santos deep dive or try to into The Sandman & Switchblade Symphony - Serpentine Gallery 

In the first of this new series of A brush with…, Yinka Shonibare talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Shonibare was born in 1962 in London to Nigerian parents and moved to Lagos in Nigeria when he was a child. He returned to London for his fine art studies at Byam Shaw School of Art and Goldsmiths College. He explores race, class and constructions of cultural identity through sculpture, installation, painting, photography, film and other media. His signature material is Dutch wax fabric, which he is able endlessly to repurpose and recontextualise. He chose this material precisely for its complex and loaded history: it was originally inspired by Indonesian batik, mass-produced by the Dutch and then sold to European colonies in West Africa. Dutch wax fabric eventually became a signifier of independence and culture in Africa and its diaspora. Through references to Western art history, film and literature Shonibare uses this textile to playfully, even provocatively, explore the validity of national identities and the cultures that inform them. He discusses his perennial fascination with William Hogarth and Francisco Goya, and his admiration for contemporary artists as diverse as Cindy Sherman, David Hammons and Paul McCarthy, who he describes as “Hogarth x100”. He explains his love of opera—the total artwork—and contemporary dance. And he reflects on the consistent environmentalist strand in his work. Plus he gives insight into his studio life and answers our usual questions, including the ultimate: what is art for?Yinka Shonibare CBE RA: Free The Wind, The Spirit, and The Sun, Stephen Friedman Gallery, London, 6 October-11 November; Yinka Shonibare CBE: Ritual Ecstasy of the Modern, Cristea Roberts Gallery, London, 22 September-4 November; Shonibare's public work Hibiscus Rising, commissioned by the David Oluwale Memorial Association for Aire Park, Leeds, as part of Leeds 2023, is unveiled on 25 November. Between April and September 2024, Shonibare will have a solo exhibition at the Serpentine Galleries, London. He will also participate in Nigeria's Pavilion at the 60th International Venice Biennale from April 2024. Hosted on Acast. See acast.com/privacy for more information.

Lucia Pietroiusti ist Leiterin des Bereichs Ökologie in der Serpentine Gallery in London. Als Kuratorin arbeitet sie an der Schnittstelle von Kunst, Ökologie und Systeme. In ihrem Gespräch mit Chefredakteur Christoph Wellner spricht sie einerseits über ihr Keynote zum Thema „Art for Regeneration“ und andererseits über ein Projekt mit dem Namen „Shape of a Circle in the Mind of a Fish“.

How do our dreams shape our reality? Tonight, with the help of scientists, artists, philosophers, and historians, we're sprinkling a little stardust on our understanding of the more-than-human — from fish, to demons and gods.This episode features the words and voices of Lucia Pietroiusti, Filipa Ramos, Alex Jordan, Sophie Lunn-Rockliffe, Rain Wu, Nahum Mantra, Onome Ekeh, Federico Campagna, Yussef Agbo-Ola, and Hatis Noit, recorded at The Shape of a Circle in the Dream of a Fish — a recurrent festival exploring ideas of consciousness, language and the mind across non-human species and beings, initiated in 2018 by the Serpentine Galleries and held in 2022 in partnership with the Galeria Municipal do Porto.With music by Yussef Agbo-Ola, Hatis Noit, Thumbug, and Any-Angled Light.Big thanks to Adam's Electric Sheep Radio co-hosts, Ryder Thomas White & Samantha Ruth, to Kostas Stasinopoulos, and to Arda Studios.— — —Love and strength to everyone affected by wildfires, floods, hurricanes, or other disasters right now. We're feeling... not great about planetary stability, and we'd bet you're in the same boat.This episode doesn't directly address the climate breakdown, but we hope it can at least be a reprieve — or even offer some ways to reframe a shared nightmare.Our next episode (on fire) is in the works. For now, we're wishing you safety, preparedness, and many moments of joy in all the life around you. Get to know your neighbours, and take care of each other. Maybe have a chat about holding climate criminals accountable.— — —Our supporters on Patreon get early episode releases, a lovely discord server, and other bonus content, including some of the unabridged presentations that went into this episode.Join our community at https://www.patreon.com/futureecologies— — —VANCOUVER: Spiders Song will return to Lobe Studio on Thursday, September 14th!Join us for this exploration of the music of evolution, presented in 4DSOUND spatial audio.2 showtimes: 6:30pm and 8:30pm, both including a Q&A with Mendel.Tickets available on a sliding scale:

Hans Ulrich Obrist is the artistic director of the Serpentine Gallery in Kensington, west London, and is universally acknowledged as one of the most important and prolific art curators of our time. When I spoke to him at his office, I discovered a force of nature with an energy unlike that of anyone I've met before. His notion of home is also pretty extreme. When he was a student, he turned his flat into a gallery and he's lived in some of the world's most famous house-museums. This episode doesn't follow the usual format, but I think it's a really interesting portrait of a brilliant man. This conversation was recorded in person in Hans Ulrich Obrist's office at the Serpentine gallery. For more: Head over to our website for more images of the places discussedVisit The Serpentine Gallery Sign up to The Modern House newsletter for weekly interiors inspiration Check out Matt Gibberd's latest book, A Modern Way To Live Executive Producer: Kate Taylor of Feast CollectiveProduction: Hannah PhillipsMusic: FatherGraphic Design: Tom Young Hosted on Acast. See acast.com/privacy for more information.

We meet Lina Ghotmeh, the architect behind this year's pavilion at London's Serpentine Gallery, and visit a digital fabrication studio and research lab in Beirut. Plus: we catch up with Hanna Dís Whitehead in Iceland, a maker committed to working with local materials, wool and oat straw. See omnystudio.com/listener for privacy information.

When I phoned Frank Gehry to ask him to do this podcast, he immediately said yes. And I'm not the only one Frank has said yes to. Ask around and the stories are the same—Frank giving a million dollars for an arts education in underserved communities along the Los Angeles River, or overseeing a program for mentoring children in underperforming elementary schools. His philanthropy is based on personal relationships, and I think his architecture is, too. Every time a new Frank Gehry building opened, Richard and I would make a pilgrimage to visit them—the Disney center in Los Angeles, the Louis Vuitton building in Paris, the Guggenheim Museum in Bilbao. But one summer, in 2008, all we had to do was walk 10 minutes from our house to Hyde Park, because he had built a temporary pavilion for the Serpentine Gallery. He designed the timber-and-glass structure with his son Sammy. For those few months, we met there almost daily, to watch the sunset, to listen to people play music, to eat, and drink. This brave and beautiful structure made the park a better park and, for the summer, London a better city. Today, I have traveled from London to Los Angeles, not to see a Frank Gehry building but to see my dear friend, Frank. Will we have a good time? As always with Frank Gehry, the answer is yes.  Please rate & review the podcast on Apple podcasts, Spotify, IHeart Radio app or wherever you get your podcasts. For more information, recipes, and ingredients, go to: Web: https://rivercafe.co.uk/Instagram: www.instagram.com/ruthiestable4Facebook: https://en-gb.facebook.com/therivercafelondon/ For any podcast enquires please contact: willem.olenski@atomizedstudios.tv For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows.See omnystudio.com/listener for privacy information.

Ruth Catlow is an artist, researcher, and recovering web utopian. Her projects include: the CultureStake  app for collective cultural decision-making and LARPs for planetary-scale interspecies justice. She was an early visionary when it comes to seeing the potential of the blockchain to democratize art, and is the author of Radical Friends - DAOs and the Arts  and Artists Re:thinking the Blockchain. Let's dive in! Key Takeaways:Planetary scale interspecies justice and live action role play, or LARPMore than human equal rights Effects of LARPing as a dog Pressure to maintain status and culture over tech Coordination vs collaboration and democracy Voting, deliberations, and understanding what we care aboutComplexities of nested systems Opting out of a system Catlow's new book with Marc Garrett Additional Resources:Learn more about CultureStakeFollow FurtherfieldAmber Case on Controlling our own User DataLearn more about Logos DAOConnect with Logos DAO on LinkedIn and TwitterGet all the news from DAO or NeverIf you enjoyed this episode, please follow, rate, and leave a review on your favorite podcast platform!  

This is the audio version of RadicalxChange and Serpentine Arts Technologies' latest white paper titled Rethinking Art Ownership: Partial Common Ownership as a Step Towards a More Symbiotic Ecosystem.Through a collaboration between Serpentine Arts Technologies and RadicalxChange Foundation, it was written by Paula Berman (RxC), Victoria Ivanova (Serpentine), and Matt Prewitt (RxC).This episode was narrated, co-produced, and audio engineered by Aaron Benavides and produced by G. Angela Corpus.This audio version is a RadicalxChange Production.

In 2014, the Mayor of New York City, Michael Bloomberg opened an exhibition at the Serpentine Gallery in London. His speech at the Pavilion, to about 300 people, urged us all to support the arts and true to his word, he has done just that. What I found most memorable about the speech was the ending  “Come to New York City” he said, “and if you want to have coffee or lunch, just call me, this is my number.” I did go there soon after, number in hand but never made that call, something I'll always regret. But here I am almost ten years later, having the coffee with Mike Bloomberg – founder of Bloomberg LP and Bloomberg Philanthropies - ready to talk.  For more than 30 years The River Cafe in London, has been the home-from-home of artists, architects, designers, actors, collectors, writers, activists, and politicians. Michael Caine, Glenn Close, JJ Abrams, Steve McQueen, Victoria and David Beckham, and Lily Allen, are just some of the people who love to call The River Cafe home. On Ruthie's Table 4, Rogers sits down with her customers—who have become friends—to talk about food memories. Table 4 explores how food impacts every aspect of our lives. “Foods is politics, food is cultural, food is how you express love, food is about your heritage, it defines who you and who you want to be,” says Rogers. Each week, Rogers invites her guest to reminisce about family suppers and first dates, what they cook, how they eat when performing, the restaurants they choose, and what food they seek when they need comfort. And to punctuate each episode of Table 4, guests such as Ralph Fiennes, Emily Blunt and Alfonso Cuarón, read their favourite recipe from one of the best-selling River Cafe cookbooks.  Table 4 itself, is situated near The River Cafe's open kitchen, close to the bright pink wood-fired oven and next to the glossy yellow pass, where Ruthie oversees the restaurant. You are invited to take a seat at this intimate table and join the conversation. For more information, recipes, and ingredients, go to https://shoptherivercafe.co.uk/ Web: https://rivercafe.co.uk/Instagram: www.instagram.com/ruthiestable4Facebook: https://en-gb.facebook.com/therivercafelondon/ For more podcasts from iHeartRadio, visit the iheartradio app, apple podcasts, or wherever you listen to your favourite shows.See omnystudio.com/listener for privacy information.

Here at Artnet, we typically look to thorough data and the hard facts to tell us what to make of the wily, unpredictable art world. But every now and then, it's important to remember that ours is an industry based on unorthodox minds and a reverence for avant garde expression, so magical thinkers ought to remain a legitimate resource to our team of reporters. To that end, our Artnet News Pro Wet Paint columnist, Annie Armstrong recently spoke with Micki Pellerano, who has earned himself the nickname "The Art Warlock", to discuss the occult's role in the art world, and why so many esteemed minds in our industry look in earnest to astrology for guidance. Pellerano is an artist himself, working mainly in drawing and sculpture to express his affinity to ritual symbolism and esotericism. His work has been on view at esteemed spaces such as MoMA, the Serpentine Gallery, Brooklyn Museum, and the 2019 Venice Biennale. More than that, though, he has also been the art world's go-to astrologer, hosting one-on-one sessions to art world luminaries such as Jenny Hval and Alissa Bennet from his studio in Brooklyn. Pellerano's study of the occult is ongoing, and in this conversation, he asserts his belief that astrology's impact is inextricable from the advancement of humankind, and certainly from the canon of art history.

Frieze Masters presents this conversation with Kamala Ibrahim Ishag and Hans Ulrich Obrist in partnership with the Serpentine (@serpentineuk). To celebrate the opening of her solo exhibition at Serpentine, Ishag returns to the RCA where she studied in the 1960s. She discusses her background, her relationship with nature and the influence of the Sudanese Zār cult on her work.  "If people are really genuine with their plants and they respect their plants, they should talk to them as human, as a source of creation from God. Humans and plants, we are all the same." – Kamala Ibrahim Ishag  Kamala Ibrahim Ishag was amongst the first women artists to graduate from the College of Fine and Applied Art in Khartoum in 1963, which she followed with studies in Mural Painting at the RCA in London between 1964 and 1966 and Lithography, Typography and Illustration from 1968-9. Her work bridges the earthly and spiritual through an understanding of our connections with the natural world. Hans Ulrich Obrist (@hansulrichobrist) is Artistic Director at Serpentine  Find images of artwork discussed here.  About the Frieze Masters Podcast  Exploring themes of identity, originality, geopolitics and Blackness through a historical lens, the new Frieze Masters Podcast is now available. Bringing together some of today's most celebrated artists, art historians and curators, the podcast launches with the Talks programme from the 2022 edition of Frieze Masters – one of the world's leading art fairs – and offers compelling insight into the influence of historical art on contemporary perspectives and creativity.     www.frieze.com  @friezeofficial

Ann Lepore and Jeanne Brasile discuss interdisciplinary engagement in the studio art classroom with an emphasis on student-centered activities in an inclusive environment. What lessons were learned by the professor and her students in this period of pandemic? What roles do community, conversation and social justice contribute to a visual arts curriculum and what is that relationship in the inverse? Ann LePore was raised in the garage under her father's car. The works she creates are heavily influenced by her experiences as a champion of science, civil society and as a seeker of secret landscapes. Her processes include projection mapping, animation, printmaking, installation, and data visualization. LePore has exhibited with e-Flux and Serpentine Gallery, London, and also shown her work in New York, Paris, Rome, Berlin, Moscow and Art Basel Switzerland. Much of her research has been completed during artist residencies including at the Frank Lloyd Wright Foundation, and aboard the Research Vessel Sea Wolf. Ann received her MFA from the School of Visual Arts. She is currently Associate Professor of 3D Design and Animation at Ramapo College of New Jersey. Jeanne Brasile is the Director of the Walsh Gallery at Seton Hall University. She earned her M.A. in Museum Studies at Seton Hall University and studied art history and studio art as an undergraduate at Ramapo College of New Jersey. Her background in non-profit administration spans over 20 years and she serves on numerous boards and committees within the arts community. Brasile specializes in curating and is primarily interested in developing interdisciplinary exhibitions that challenge visitors to re-think their perceptions about art, art-making and the role of the museum/gallery. Brasile often speaks and writes on issues in contemporary art and art practices.

Zeinab Badawi speaks to American artist and writer Barbara Chase-Riboud at the Serpentine Galleries in London. Over a career spanning seven decades, Chase-Riboud has explored public memory and commemorative forms, as well as shone a light on historical perspectives that have been overlooked or neglected. Her work raises fascinating questions about how society deals with public monuments of controversial figures from the past.

Season 14 continues with VERY special episode with one of our all-time ART WORLD ICONS!!!! We meet the legendary gallerist MAUREEN PALEY. Inspiration to many of today's international contemporary galleries, Maureen was in fact the reason our co-host Robert Diament became inspired to change careers to work full-time in a gallery!We discover how she began her gallery programme in 1984 in a Victorian terraced house in London's East End. Initially named Interim Art, the gallery changed its name to Maureen Paley in 2004 as a celebration of its 20th anniversary. Since September 1999 the gallery has been situated in Bethnal Green, and in September 2020 relocated to Three Colts Lane. In July 2017 Maureen Paley opened a second space in Hove called Morena di Luna. In October 2020 a third space was opened in Shoreditch, London called Studio M. From its inception, the gallery's aim has remained consistent: to promote great and innovative artists in all media.-Maureen Paley was one of the first to present contemporary art in London's East End and has been a pioneer of the current scene, promoting and showing a diverse range of international artists. Gallery artists include Turner Prize winners Lawrence Abu Hamdan, 2019; Wolfgang Tillmans, 2000 and Gillian Wearing, 1997 as well as Turner Prize nominees Rebecca Warren, 2006; Liam Gillick, 2002; Jane and Louise Wilson, 1999 and Hannah Collins, 1993. Represented artists also include AA Bronson, Felipe Baeza, Tom Burr, Michaela Eichwald, Morgan Fisher, General Idea, Anne Hardy, Peter Hujar, Michael Krebber, Paulo Nimer Pjota, Olivia Plender, Stephen Prina, Maaike Schoorel, Hannah Starkey, Chioma Ebinama, Oscar Tuazon, and James Welling.Maureen Paley, the gallery's founder and director, was born in New York, studied at Sarah Lawrence College, and graduated from Brown University before coming to the UK in 1977 where she completed her Masters at The Royal College of Art from 1978–80.Together with running the gallery, Maureen Paley has also curated a number of large-scale public exhibitions. In 1994 she organised an exhibition of works by Felix Gonzales Torres, Joseph Kosuth and Ad Reinhardt at the Camden Arts Centre. In 1995 Wall to Wall was presented for the Arts Council GB National Touring Exhibitions and appeared at the Serpentine Gallery, London, Southampton City Art Gallery and Leeds City Art Gallery showing wall drawings by international artists including Daniel Buren, Michael Craig-Martin, Douglas Gordon, Barbara Kruger, Sol Lewitt, and Lawrence Weiner. Maureen Paley also selected an exhibition of work by young British artists in 1996 called The Cauldron featuring Christine Borland, Angela Bulloch, Jake & Dinos Chapman, Steven Pippin, Georgina Starr and Gillian Wearing for the Henry Moore Sculpture Trust which was installed in their Studio space in Dean Clough, Halifax.Follow @MaureenPaley on Instagram. Visit the gallery's official website at https://www.maureenpaley.com/Maureen Paley are exhibiting at Frieze London art fair next week in Regent's Park, Stand C9, 12th-16th October 2022. See works from her booth at Frieze's website: https://viewingroom.frieze.com/viewing-room/1750 Hosted on Acast. See acast.com/privacy for more information.

Ep.119 features Sarah Arison. Born and raised in Miami, Arison is President of the Arison Arts Foundation, a private grant-making organization that supports emerging artists and the institutions that foster them. She was immersed in the arts from a young age by her grandparents, visionary philanthropists Ted and Lin Arison, who founded Arison Arts Foundation, YoungArts, and the New World Symphony, among their many philanthropic endeavors. Arison is active across a broad cross-section of national arts organizations. She is Chair of the Board of YoungArts, where she has developed strategic partnerships with the Center for the Art of Performance at UCLA, Jacob's Pillow, The Metropolitan Museum of Art, Sundance Film Festival and more to provide aspiring talent with presentation and mentorship opportunities. Arison is also the Chair of the board of MoMA PS1; a trustee of MoMA; Board President of American Ballet Theatre; a trustee of Lincoln Center; a trustee of the Brooklyn Museum and Chair of the Education Committee; a trustee at New World Symphony; a member of the Board of Directors of Americans for the Arts; and a trustee of the Americas Foundation of the Serpentine Galleries. Arison has also ventured into film producing, supporting projects that shed light on lesser-known aspects of the arts. In 2015, she produced her first feature film, Desert Dancer, starring Freida Pinto. She later went on to co-produce The First Monday in May, a documentary film chronicling the creation of The Metropolitan Museum of Art's Costume Institute blockbuster exhibition China: Through the Looking Glass. She co-produced The Price of Everything which was acquired by HBO and she most recently served as an executive producer for the film Aggie, which premiered at the Sundance Film Festival. Photo by Nick Garcia | Provided courtesy of National YoungArts Foundation YoungArts Foundation https://youngarts.org/ MoMA PS1 https://press.moma.org/news/moma-ps1-announces-new-board-leadership/ NYTimes https://www.nytimes.com/2018/12/26/arts/design/show-us-your-wall-sarah-arison.html WSJ https://www.wsj.com/articles/a-day-in-the-life-of-philanthropist-sarah-arison-1527612533 Cultured Magazine https://www.culturedmag.com/article/2021/11/10/on-its-40th-anniversary-youngarts-is-just-getting-started Observer https://observer.com/2016/03/young-collectors-showed-their-apetite-for-art-last-night-at-the-bowery-hotel/ Anderson Ranch https://www.andersonranch.org/blog/summer-series-2019-in-review-sarah-arison-in-conversation-with-anne-pasternak/ Miami Herald https://account.miamiherald.com/paywall/subscriber-only?resume=259706365&intcid=ab_archive Aspen Art Museum https://www.aspenartmuseum.org/summermagazine2022/young-patrons/ Galerie Magazine https://galeriemagazine.com/creative-minds-sarah-arison/ White Wall https://whitewall.art/art/sarah-arison-returns-as-guest-editor-of-whitewaller-miami-2021 Modern Luxury Miami https://digital.modernluxury.com/publication/?i=732871&article_id=4185630&view=articleBrowser Social Miami SocialMiami - Sarah Arison Northern Trust Sarah Arison When Passion Meets Purpose | Northern Trust Artnet https://news.artnet.com/art-world/sarah-arison-art-basel-miami-beach-2042017 Americans for the Arts https://www.americansforthearts.org/about-americans-for-the-arts/board-of-directors/sarah-arison Larry's List https://www.larryslist.com/artmarket/features/16-next-gen-women-collectors-influencing-the-art-scenes/

Talk Art Season 13 continues with a broadcasting LEGEND!!! We meet Clara Amfo, one of British radio and television's most dynamic voices and faces. An award winning broadcaster, podcaster and television presenter best known for her work on BBC Radio 1, where she hosted the official chart and the world famous Live Lounge. She currently hosts Future Sounds, breaking the new music from rising and established musicians.A little known fact about Clara is that she collects art and is friends with many artists. Her brother also collects art and photography and his record collection even inspired the teenage Clara to get into the artistic side of music - including the album artwork of Lauryn Hill. We discuss the art scene in Accra, the awesome capital of Ghana. We learn about Clara's art collection and why she is an advocate for living with art at home - from postcards to prints to unique paintings! We learn about her new role as Trustee of Royal Academy of Arts in London's Green Park and how she's been brainstorming about how to make art more accessible for everyone.During the pandemic, Clara collaborated with the Serpentine Gallery during their major survey of British-Ghanaian photographer James Barnor. Clara is a big fan of Barnor's work, whose career spans six decades, two continents and numerous photographic genres through his work with studio portraiture, photojournalism, editorial commissions and wider social commentary. Clara also introduces us to the work of Ted Pearce aka Ted's Draws known for illustrations of iconic musicians, as well as Josephine Chime, a contemporary painter who has in recent years created portraits of Clara's mother and father.She remembers an Inspiring studio visit to the Brixton-based artist Abe Odedina. We explore why art exhibitions are the perfect venue for dating and Clara reminisces about memorable exhibitions she's visited such as Faith Ringold, Kehinde Wiley at the National Gallery and Lubaina Himid's current solo exhibition at Tate Modern and the impact that Yinka Ilori's 'Better Days Are Coming I Promise' public artwork had on London during lockdown.Follow Clara on Instagram: @ClaraAmfoVisit her official website: www.claraamfo.comLearn more about the Royal Academy and the Summer Exhibition 2022 at @RoyalAcademyArts See acast.com/privacy for privacy and opt-out information.

A wide-ranging discussion with Hans Ulrich Obrist on ecology and contemporary art. Hans discusses his work as at the Serpentine Gallery in London which has made an important commitment to ecology. He highlights the  Gallery's ongoing exploration of an idea of communion with the environment through is exhibitions and activities—and how he has been inspired by the work of artist and political activist Gustav Metzger. Hans also explores the potential fo climate and environmental art --and the role of the avante garde-- within an increasingly financialised global art market. Hans Ulrich Obrist is a Swiss art curator, critic and historian of art. He is artistic director at the Serpentine Galleries, London, which has embedded environmental and ecological concerns across its programmes and activities-- and research around ecology and climate change. He is the author of The Interview Project, an extensive ongoing project of interviews: so far, some 2000 hours of interviews have been recorded. He is also co-editor of the Cahiers d'Art review. He recently edited the book 140 Artists' Ideas for Planet Earth.  

Chicago based artist Theaster Gates on The Black Chapel - his design for this year's Serpentine Gallery pavilion, which is created each year by world class artists who have included Ai Wei Wei, Olafur Eliasson, Zaha Hadid, and Rem Koolhaus. The latest Pixar film is Lightyear, which tells the story of Buzz, the square-jawed astronaut, before he touched down in Andy's toybox in Toy Story. After being marooned on a hostile planet with his commander and crew, Buzz valiantly tries to find his way back home through space and time, while, of course, also confronting a threat to the universe's safety. But does this space odyssey fly? Catherine Bray gives her verdict. Music back catalogues: as Kate Bush's 1985 hit Running Up That Hill and decades old-catalogues sell for huge sums, we speak to former Spotify Chief Economist Will Page on the new frontiers of the pop music business, and the impact of streaming, licensing and TikTok. Poet Dean Atta's first young adult novel in verse, The Black Flamingo, won the 2020 Stonewall Book Award. He joins Samira to discuss his second, Only On The Weekends, telling the story of Mack - a gay teenager who finds himself at the centre of a queer love triangle as he attempts a long distance relationship between London and Glasgow. Presenter: Samira Ahmed Producer: Julian May

Dan Saladino meets people saving endangered foods and bringing diversity back to our diets. Groups of scientists, chefs and artists are now finding pioneering ways to rethink the global food system. At the Royal Botanic Gardens, Kew a programme of events called Food Forever involves exhibitions and installations exploring some of the biggest and most complex questions over the future of our food (including this fantasy world of food abundance by Australian artist Tanya Schultz (Pip & Pop), ranging from biodiversity loss and climate change to under utilised crops and enticing flavours. Dr James Borrell, a research fellow at Kew, explains why a giant plant in south-western Ethiopia, a valuable source of food, called enset (aka 'false banana') is one of the stories we should all know. Designers, María Fuentenebro and Mario Mimoso (Sharp and Sour) describe the 'Museum of Endangered Food', also on display at Kew, which includes enset. Meanwhile at The Serpentine Gallery,, artists Cooking Sections, is not only creating installations but influencing menus at restaurants such as Benugo's The Magazine. Photo: When Flowers Dream, an installation by Pip & Pop, (photographer Roger Wooldridge). Produced and presented by Dan Saladino.

Aujourd'hui, immersion musicale avec la productrice électronique Ouri, que j'ai reçu à mon micro lors de son dernier passage à Paris.  Ce fut l'occasion de découvrir son parcours, de sa formation classique en violoncelle et harpe à ses DJ sets aux quatre coins du monde en passant par sa découverte de Montréal - où elle s'installe il y a un peu plus de dix ans maintenant – et sa scène musicale underground foisonnante et inspirante.  Après Beya Rebaï et Karla Sutra, je suis heureuse de vous présenter, selon moi, un des nouveaux visages de l'art.       _____     Pour prolonger l'épisode :   Site Internet d'Ouri  Compte Instagram  d'Ouri    ______     Notes de l'épisode :      • Food : L'Île Flottante , restaurant végétarien à Montréal  • Art : les raves improbables, Serpentine Galleries à Londres   • Voyage : se perdre dans une ville jusqu'à en comprendre le sens // Hawaii, île de Socotra  • Film : Queen & Slim, de Melina Matsoukas  • Livre : Ma vie, de Carl Gustav Jung     • Scène musicale montréalaise : Kaytranada (Loop sessions), soirées Booty Bakery (menées par Phil Sparks - Odile et Victor)   • Dans la playlist d'Ouri : Alice Coltrane, Jimy Hendrix, Ana Roxanne, Helena, Anthony, Givengy, Mind Bath, Forever, Aphex Twin, James Holden, Ed Banger   • Logiciel de mixage Ableton / Labels Ghostly, Bonsound / Magazine Project Pablo   • Projet Hildegard avec Helena Deland      Boiler Room à Montréal (avec Fore ver, Mind Bath et CR i) Clip de Surreal  ______     Retrouvez toute l'actualité du podcast sur Instagram  ou en vous abonnant a la newsletter .

Karla Diaz was born in Los Angeles, CA. She received an MFA from the California Institute of the Arts in 2003 and a BA from California State University Los Angeles in 1999. Her works have been exhibited nationally and internationally at the Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, CA; Museum of Contemporary Art, Los Angeles, CA; LAXART, Hollywood, CA; Pitzer College, Claremont, CA; California State University Los Angeles, CA; San Jose Museum of Art, CA; Institute for Contemporary Art, Boston, MA; Hyde Park Art Center, Chicago, IL; Museum of Contemporary Art Detroit, MI; the Serpentine Gallery, London, U.K.; and Museo Case de Cervantes, Madrid, Spain.She has been the recipient of numerous grants and awards from Art Matters, New York, NY; Tiffany Foundation, New York, NY; City of Los Angeles, CA; Riverside Art Museum, CA; and CalArts, Los Angeles, CA. Karla Diaz lives and works in Los Angeles, CA.