Podcasts about Sharjah Biennial

On this episode I'm joined by Luke Willis Thompson as we discuss his newly commissioned work presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as what does it mean to carry a home, a history, a language, a legacy, and a lineage.Luke Willis Thompson is a New Zealand artist of Fijian and European descent, currently working primarily in film and across performance, installation and sculpture to tackle traumatic histories of class, racial and social inequality, institutional violence, colonialism and forced migration. In this episode, Luke discusses his newly commissioned film, Whakamoemoeā. Set in 2040, it's a fictional state broadcast, where a woman delivering a monologue announces the successful transition of New Zealand from a liberal democracy to an Indigenous governance model. Thompson reflects on the collaborative nature of the project, and the importance of cultural practices, such as following Tikanga, during the production process, which involved a large team working together harmoniously. He also affirms the collective effort behind the project, which serves as a model for the political future he envisions, emphasizing trust and collaboration throughout the creative process.-------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

On this episode I'm joined by Rita Mawuena Benissan as we discuss her newly commissioned works presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as what does it mean to carry a home, a history, a language, a legacy, and a lineage.Born in Abidjan, Cote D'Ivoire in 1995 to Ghanaian parents, Rita's journey led her to the United States as a baby, where she earned a Bachelor of Fine Arts degree in Apparel and Textile Design from Michigan State University in 2017, followed by a Master of Fine Arts in photography and an African Studies Program Certificate from the University of Wisconsin-Madison in 2021.Rita is a Ghanaian-American interdisciplinary artist, on a mission to reimagine the royal umbrella, transforming it from a mere protective object into a potent symbol of Ghanaian identity. With a profound passion for art and cultural history, Rita collaborates with traditional artisans to breathe life into archival photos, immortalizing individual figures and communal scenes while embodying the beauty and power of her people.In this episode, Rita discusses her newly commissioned work 'You Must Cross and Seek.' The installation features photography, installations, and well-known umbrella works. Rita explains how the title and the works reflect themes of ancestral calls, cultural legacy, and the fishing community in the Volta region where her family is from. She emphasizes the need for cultural preservation, especially through her foundation, Si Hene, which focuses on documenting and archiving Ghanaian chieftaincy and traditional culture. Rita also discusses the challenges of accessing cultural archives and the importance of creating spaces for contemporary African art, urging a collaborative approach between communities and institutions. -------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

On this episode I'm joined by Kaloki Nyamai as we discuss his newly commissioned works presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as what does it mean to carry a home, a history, a language, a legacy, and a lineage.Kaloki Nyamai is a multidisciplinary artist working with installation, painting, and sculpture living and working in Nairobi. Born in Kenya, from an early age, his mother introduced him to painting and taught him to draw, fostering an ever-lasting interest in art throughout his life. He studied Interior Design at the Buruburu Institute Of Fine Arts (BIFA) and then pursued painting after working in other creative fields. His large-scale paintings and mixed-media installations intricately explore historical narratives, examining their resonance in the present. Using materials like acrylic paint, sisal rope, photo transfers, and stitched yarn, Nyamai's free-hanging pieces evoke the healing of historical wounds and a collective yearning for renewal. Rooted in Kenya's rich heritage—particularly of the Kamba people—Nyamai draws inspiration from traditions passed down to him by his mother and grandmother, and the dynamic rhythms of contemporary life in Nairobi. In this episode, he reflects on the themes of community and new beginnings expressed in his work on display. Nyamai delves into his inspiration drawn from ancestral storytelling and the importance of maintaining cultural heritage through art. He emphasizes the impact of oral traditions in African cultures and shares insights into his unique use of materials that link his art to cultural and historical narratives. Additionally, Nyamai highlights the Kamene Art Residency he launched in 2023 to promote artistic growth and cultural exchange in Nairobi, which has blossomed into a cultural center.-------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

On this episode I'm joined by Rajni Perera as we discuss his newly commissioned works presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as what does it mean to carry a home, a history, a language, a legacy, and a lineage? Rajni Perera was born in Sri Lanka in 1985 and lives and works in Toronto. She explores issues of hybridity, futurity, ancestorship, migrant and marginalized identities/cultures, monsters and dream worlds. These themes come together to fuel explorations within a multimedia practice that includes drawing and painting, clay, wood, lanterns, new media sculpture, textile, and most recently, synthetic taxidermy. In this episode, Rajni discusses how the dual influences of Canadian and Sri Lankan cultures shape her art, while highlighting the importance of contrasting her artisanal roots with Western art school experiences and hands-on, skill-based creation. She also goes into greater detail discussing the work  'Gatekeeper,' which explores themes of birth, motherhood, and the complexities around these subjects. The site of her installation, an old hospital, holds significance as a site of history and memory. -------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

On this episode I'm joined by Daniel Boyd as we discuss his newly commissioned work presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as, what does it mean to carry a home, a history, a language, a legacy, and a lineage.Born in 1982 in Cairns Australia, Daniel Boyd is one of Australia's most highly regarded artists. In 2014, Boyd became the first indigenous artist to win the prestigious Bulgari Art Prize, for his work, Untitled (2014), that referenced Australia's long but little known history of slavery. The painting is both a personal and social account of history, Pentecost Island was home to Daniel's great, great paternal grandfather before he was taken as slave to the sugarcane fields in Queensland. Through his artistic practice, he seeks to negotiate the identity of art, history and cultural survival through his investigations of oppressed and colonial culture. Daniel has been showing in Australia and internationally since 2005, and he participated in the 56th Venice Biennale in 2015, as curated by Okwui Enwezor.In this episode, Daniel discusses his installation for the Sharjah Biennial 16 and his use of black vinyl to create an immersive environment in the iconic star-shaped building, The Flying Saucer. He talks about his artistic approach, which engages with the history of modernism, the built environment, and First Nations Australian perspectives on placemaking. He also reflects on his responsibility as an Aboriginal artist to share his people's stories and how art can offer a counter-narrative to Australia's oppressive history. He elaborates on the importance of art in slowing down and engaging deeply, mentioning influences like the American artist Bruce Nauman and the Martinican literary titan and influential philosopher, Edouard Glissant. -------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

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

On this episode I'm joined by Zadie Xa as we discuss her newly commissioned works presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as what does it mean to carry a home, a history, a language, a legacy, and a lineage.Zadie Xa was born in Vancouver, Canada on unceded, ancestral and continually asserted territories of several tribes of First Nations Peoples and is now based in London, UK. Her practice focuses on familial legacies, interspecies communication and diasporic worlding. Throughout her practice, Xa uses water and marine ecologies as metaphors for exploring the unknown whilst also alluding to abstract notions of homeland. She explores these themes through immersive installations that appeal to the sensory experience of the viewer, often incorporating painting, sculpture, textile, sound and performance elements. Zadie earned an MA in Painting at the Royal College of Art in 2014 and a BFA at the Emily Carr Institute of Art and Design in 2007.In the episode Xa, describes one of the key influences on her work being Korean shamanism, which she discovered accidentally through the 1977 film 'Ido Island.' She explains how this discovery has profoundly impacted her artistic exploration of marginalized perspectives and the supernatural, and the importance of collaboration in her practice, notably with her longtime collaborator and life partner Benito Mayor Vallejo. -------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Website - Sign up for my newsletter https://lightworkco.com/ Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco

On this episode I'm joined by Julian Knxx as we discuss his newly commissioned work presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as, what does it mean to carry a home, a history, a language, a legacy, and a lineage.Julianknxx's work merges his poetic practice with films and performance; he engages in a form of existential inquiry that at once seeks to find ways of expressing the ineffable realities of human experiences while examining the structures through which we live.In casting his own practice as a ‘living archive' or an ‘history from below', Julianknxx draws on West African traditions of oral history to reframe how we construct both local and global perspectives. He does this through a body of work that challenges fixed ideas of identity and unravels linear Western historical and socio-political narratives, attempting to reconcile how it feels to exist primarily in liminal spaces. In the episode, Julian reflects on his transition from poetry to incorporating film and performance in his artistic practice. He shares how influences from his West African heritage and personal experiences led him to explore new mediums that could encapsulate his narratives more holistically. He delves into his project for Sharjah Biennial 16, inspired by a dancer named Dorothée Munyaneza, who performed a ritual dance reflecting on her grandmother.-------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco Website - Sign up for my newsletter https://lightworkco.com/

On this episode I'm joined by Ndidi Dike as we discuss her newly commissioned works presented for 16 edition of the Sharjah Biennial, elucidated through the curatorial theme, to carry. Asking questions such as what does it mean to carry a home, a history, a language, a legacy, and a lineage.Ndidi Dike was born in London. She returned to Nigeria to train as a painter and graduated from the University of Nigeria, Nsukka, graduating with a BA degree in mixed media painting. Although internationally known as a sculptor, having taught herself to sculpt, with decades of transgressive sculptural practice. In the current climate of contemporary politics, protectionism, nationalism and globalization Dike primarily works as a multi-media artist with a special interest in personal archives and long term researched based projects and engagement with global histories to address the pre and post-colonial historic and social-economic legacy of the enslaved, forced migration, and memory among other issues. Ndidi participated in the 60th edition of the Venice Biennale in 2024 with two commissions, "Blackhood: the Living Archive" and  "Bearing Witness: Optimism In A Disquiet Present." In the episode Dike discusses her art practice, focusing on installations that examine complex themes such as pre and post-colonialism, global capitalism, and the impacts of the resource extraction industry in Africa, particularly in the Democratic Republic of Congo and Madagascar. She reflects on her latest works showcased at the Sharjah Biennial 16. -------------------------------------------------------------------- WHERE YOU CAN FOLLOW ME AND SUBSCRIBE Instagram - Follow me on Instagram https://www.instagram.com/sadeolo/https://www.instagram.com/lightworkcompany/ YouTube - Subscribe to my YouTube Channel www.youtube.com/@lightworkco Website - Sign up for my newsletter https://lightworkco.com/

On this episode I'm joined by Hoor Al Qasimi during the opening week of the Sharjah Biennial.Al Qasimi is the President and Director Sharjah Art Foundation, an organization she founded in 2009 as a catalyst and advocate for the arts around the world. She has been the Director of Sharjah Biennial since 2002, an internationally recognized platform for contemporary artists, curators and cultural producers, and curated Thinking Historically in the Present, the Sharjah Biennial 15 in 2023, originally conceived by the late Nigerian curator, Okwui Enwezor. After establishing the Sharjah Art Foundation (SAF) in 2009, she developed programming that included exhibitions, artist residencies, and educational initiatives, aimed at fostering a cross-cultural dialogue and exchange within the UAE and globally. Recently, Al Qasimi was named the artistic director for both the 2026 Biennale of Sydney and the 2025 Aichi Triennale in Japan—the latter appointment marking her as the first non-Japanese curator to hold the position.In this episode, the director reflects on the meaningful aspects of this year's edition of the Sharjah Biennial, the collaboration among the five curators, and the importance of showcasing art in small local communities. 

"Dance Talk” ® with Joanne Carey and special guest Candace Thompson-ZacheryIn this episode of "Dance Talk” ® with Joanne Carey , join host Joanne Carey as she speaks with Candace Thompson-Zachery, co-executive director of Dance NYC, about the organization's mission, the challenges facing the dance industry, and the findings of the recent State of NYC Dance 2023 report. While they discuss the importance of advocacy, the impact of the pandemic, and the financial struggles of dance workers and organizations, the conversation highlights the need for greater equity and support within the dance community. During the conversation, Candace Thompson-Zachery also discusses the complexities of the dance industry, focusing on the freelance nature of dance work, financial challenges faced by artists, and the importance of advocacy for the dance community. The discussion also covers the differences between non-profit and for-profit organizations, the launch of the Dance Workforce Resilience Hub, and the significance of grants and funding in supporting dance initiatives. The conversation concludes with insights on future directions for dance advocacy and the importance of community support.Dance/NYC is a valuable resource for dancers and the dance community. Check out their website to find out all that is happening in the NYC Dance World and what resources are available- make use of them!Candace Thompson-Zachery was born in Trinidad and Tobago, now local to Brooklyn, NY, operates between the spheres of dance, cultural production and fitness and wellness, with a focus on the Contemporary Caribbean. She has had an established career as a performer, choreographer, fitness professional, cultural producer, teaching artist, community facilitator and Caribbean dance specialist. In addition to her work in these areas, she leads ContempoCaribe, an ongoing choreography and performance project and is the founder of Dance Caribbean COLLECTIVE, an organisational platform for Caribbean dance in the diaspora that spearheads the New Traditions Festival in Brooklyn, NY. She graduated from Adelphi University's BFA program for Dance, and has presented, performed and taught at major venues including: Queen's Hall (T&T), John F. Kennedy Center, New York Live Arts, Brooklyn Museum, and The Ohio State University. She was an inaugural member of the Dancing While Black Fellowship Cohort 2015/2016, was an awardee of Adelphi University's 2017 - 10 Under 10 program, and a Dixon Place Artist-in-Residence for fall 2017. As a cultural producer and strategist, Candace has worked with the Dance and Performance Institute of Trinidad and Tobago, WIADCA (NY), Sydnie L. Mosley Dances, Renegade Performance Group, and curator Claire Tancons, for the 2019 Sharjah Biennial. Ms. Thompson-Zachery holds an M.A. in Performance Curation from the ICCP program at Wesleyan University and a certificate from the Executive Program in Arts & Culture Strategy at UPenn. with National Arts Strategies. Of tantamount importance to her is the vital role dance plays in our communities and she is eager to see dance artists of various styles, practices and traditions thrive in New York City.https://www.dance.nyc/“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ ⁠Follow Joanne on Instagram @westfieldschoolofdanceTune in. Follow. Like us. And Share.Please leave a review!“Dance Talk” ® with Joanne Carey"Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

This is the first part of a two part conversation with Maryam Kashani on her book Medina By The Bay: Scenes of Muslim Study and Survival It's a cool book that weaves Maryam's scholarly ethnographic work with her talents as a filmmaker and a DJ to examine and illuminate various strains of Islam in the San Francisco Bay Area from the Black Power Movement to the so-called war on terror and the rise of the surveillance state. She dubs her approach an “ethnocinematic.”  We discuss legacies of anti-imperialist Islam on Turtle Island as well as more assimilative ways of being. We'll dig into this more in part 2, but we wanted to make sure to get this part out during Ramadan.  Kashani is an associate professor in Gender and Women's Studies and Asian American Studies at the University of Illinois Urbana-Champaign and is in the leadership collective of Believers Bail Out, a community-led effort to bailout Muslims in pretrial and immigration incarceration towards abolition. We'll include a lengthier bio in the show description. Believers Bail Out has a fundraiser to bail out Muslims during Ramadan which we will link in the show description. We really encourage folks to kick in what they can to support that initiative.  The other thing I wanted to make sure to mention is we do talk a little bit about Imam Jamil Al-Amin in this episode. I'm including a couple of links to projects and campaigns related to Imam Jamil Al-Amin in the show description. According to Students for Imam Jamil he has received a medical transfer thanks to the support and calls of many folks. But there are other ways people can continue to support Imam Jamil Al-Amin (see below).  And lastly, we have a Samir Amin Accumulation on a World Scale Study Group for patrons only. It will start Wednesday the 12th of March and run through June. I'll include a link with more details in the show description, but space is limited on that so if you want to reserve a spot make sure to sign up today at patreon.com/millennialsarekillingcapitalism which is also the best place to support our work on this podcast. Links: Purchase Medina By The Bay through Massive Bookshop, the bookstore that bails people out of jail. For Maryam's essay on Hajja Dhameera Ahmad check out the book Black Power Afterlives For more on Imam Jamil Al Amin: https://www.imamjamilactionnetwork.org/ and freeimamjamil.com and support the fundraiser for the "What Happened to Rap" film. Samir Amin Accumulation on a World Scale Study Group (7:30 PM Eastern Time US on Wednesdays) Believers Bail Out use Zakat to bail Muslims out of jail or immigrant detention Full bio: Maryam Kashani works from a deep commitment to the aesthetic and political possibilities of experimental filmmaking, music, and the essay form, whether as 16mm films and videos, text/sound/image installations and live performance, DJing, or written monograph. Her work explores the relationships between physical landscapes and the sociopolitical, material, and spiritual histories and forces that emerge with and against them and is concerned with narration and description, archive, and knowledge production with a particular focus on collective study and struggle in and against colonial racial capitalism across local and global geographies. She recently published Medina by the Bay: Scenes of Muslim Study and Survival (Duke University Press, 2023), which is an ethnocinematic examination of how multiracial Muslim communities in the San Francisco Bay Area survive within and against racial capitalist, carceral, and imperial logics. Her films and video installations (http://www.maryamkashani.com/) have been shown at film festivals, universities, and museums internationally, including the Sharjah Biennial, MoMA, Hammer Museum, Chelsea Museum, and the Pacific Film Archive. Kashani is an associate professor in Gender and Women's Studies and Asian American Studies at the University of Illinois at Urbana-Champaign and is in the leadership collective of Believers Bail Out, a community-led effort to bailout Muslims in pretrial and immigration incarceration towards abolition.    

Episode No. 695 features artist Cannupa Hanska Luger and curator Ken Myers. The Nasher Museum of Art at Duke University is presenting "Cannupa Hanska Luger: Speechless," an examination of the complications of colonial histories from an Indigenous perspective. "Speechless" particularly focuses on how narratives, myths, and histories are constructed through the concept of the cargo cult, which developed as a result of Western military campaigns that delivered supplies to foreign lands inhabited by Indigenous peoples. These cults formed around the provisions that were delivered by the imperial forces (such as radios), the very groups that were colonizing Indigenous lands. The exhibition was curated by Apsara DiQuinzio and remains on view through July 6. Concurrently, Luger's work may be seen in the 16th Sharjah Biennial, "Breath(e): Toward Climate and Social Justice" at the Moody Center, Rice University, and in "Indigenous Identities: Here, Now & Always" at the Zimmerli Art Museum, Rutgers University. Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara and Lakota. His work, across a wide range of media, extends cultural awareness and enables action. His work has been presented in solo or two-person shows by the Public Art Fund, New York; the University of Michigan Museum of Art; the Peabody Essex Museum, Salem, Mass., and more. Works discussed on the program include: A single-channel version of Luger's Future Ancestral Technologies: New Myth, 2021; Luger's extended Mirror Shield project; and Luger's Uŋziwoslal Wašičuta installation series, which celebrates the Transportable Intergenerational Protection Infrastructure (TIPI), 2021-. Myers is the curator of "Painted with Silk: The Art of Early American Embroidery" at the Detroit Institute of Arts. "Painted with Silk" looks at how US schoolgirl embroideries made from the seventeenth to nineteenth centuries helped build and extend ideas around nation, gender, class, and religion. It also includes contemporary embroideries by Elaine Reichek that repurpose the form of earlier embroideries and investigate their constructions of gender, class, and race. The exhibition is on view through June 15. Instagram: Cannupa Hanska Luger, Tyler Green.

Next month, the German artist Anselm Kiefer will be 80, and the first of a number of shows internationally to mark this landmark moment opened this week at the Ashmolean Museum, Oxford, UK. It focuses on his early works, and Ben Luke visits Oxford to discuss this pivotal moment in his career with Lena Fritsch, the curator of the exhibition. The latest edition of the biennial in the United Arab Emirate of Sharjah opened earlier this month. The Art Newspaper's correspondent Dale Berning Sawa visited during opening week and spoke to Sheikha Hoor Al Qasimi, the president and director of Sharjah Art Foundation, which runs the biennial, about this year's edition, her journey in art, and her role in establishing the biennial as a leading art world event. And this episode's Work of the Week is Portrait of Mateu Fernández de Soto (1901) by Pablo Picasso, a painting from the artist's Blue Period. Conservators at The Courtauld Institute in London have discovered an image of a mystery woman hidden beneath this portrait of De Soto, Picasso's friend and fellow artist. We talk to Barnaby Wright, deputy head of The Courtauld Gallery, about the painting and the image beneath it. The work features in a new exhibition at the gallery, Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.Anselm Kiefer: Early Works, Ashmolean Museum, Oxford, UK, 14 February-15 June; Anselm Kiefer: Where Have All the Flowers Gone, Van Gogh Museum and the Stedelijk Museum, Amsterdam, 7 March-9 June; Kiefer / Van Gogh, Royal Academy of Arts, London, 28 June-26 October; Anselm Kiefer: Becoming the Ocean, Saint Louis Art Museum, US, 18 October 2025-25 January 2026To carry, the 16th Sharjah Biennial, until 15 June 2025.The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, The Courtauld Gallery, London, 14 February-26 May.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

Hangama Amiri, an acclaimed Afghan-Canadian textile artist, joins us to share her remarkable journey from painting to textiles, drawing deeply from her Afghan heritage and personal history. In our conversation, Amiri explains how she transforms fabrics to tell a story with her art and how powerful the medium is to express authenticity and connection.We also shine a light on the resilience of Afghan women through salon culture, a fascinating aspect of Amiri's experiences during her visits to Afghanistan that have become prominent in her work. These salons are more than spaces for beauty—they are bastions of resistance and entrepreneurship in male-dominated settings. Amiri reflects on the art world's often narrow views on textiles and shares insights inspired by her academic journey, challenging the notion that textile art is merely craft. Her experiences at NSCAD and Yale underscore the importance of diversity and representation in fostering artistic growth and confidence.In our final segment, Amiri reflects on her transition to an independent artistic practice and the freedom it offered to develop her unique voice. Aspiring artists will find her advice invaluable: understanding your relationship with your materials and staying true to your intuition as key to authentic expression. ---Hangama Amiri holds an MFA from Yale University, where she graduated in 2020 from the Painting and Printmaking Department. She received her BFA from NSCAD University in Halifax, Nova Scotia, and is a Canadian Fulbright and Post-Graduate Fellow at Yale University School of Art and Sciences (2015-2016). She is also a Kaiserring Stapendiatin of 2023 by Monchehaus Museum in Goslar, Germany. Her recent exhibitions include A Quiet Resistance (2023) at Monchehaus Museum, Goslar, Germany; A Homage to Home (2023) at The Aldrich Contemporary Art Museum, Ridgefield, CT; Sharjah Biennial 15: Thinking Historically in the Present (2023), Sharjah, UAE; Reminiscences (2022) at Union Pacific in London; Henna Night/ Shabe Kheena (2022) at David B. Smith Gallery, Denver, CO; Mirrors and Faces (2021) at Cooper Cole Gallery, Toronto; Wandering Amidst the Colors (2021) at Albertz Benda, New York, NY; Spectators of a New Dawn (2021), Towards Gallery, Toronto; and Bazaar: A Recollection of Home (2020) at T293 Gallery, Rome, Italy.Follow Hangama on InstagramCover photo taken by Denis Gutiérrez-Ogrinc. Connect with us:Madison Beale, HostCroocial, ProductionBe a guest on The Artalogue Podcast

Ep.218 Ibrahim Mahama was born in 1987 in Tamale, Ghana. He lives and works in Accra, Kumasi, and Tamale. Solo exhibitions include Fruitmarket Gallery, Edinburgh (2024); Barbican Centre, London (2024); Kunsthalle Osnabrück, Germany (2023); Oude Kerk, Amsterdam (2022); Frac des Pays de la Loire, France (2022); The High Line, New York (2021); University of Michigan Museum of Art (2020); The Whitworth, The University of Manchester, UK (2019); Norval Foundation, Cape Town (2019); Tel Aviv Art Museum, Israel (2016); and KNUST Museum, Kumasi, Ghana (2013). He has participated in numerous group exhibitions including Desert X AlUla, Saudi Arabia (2024); Sharjah Biennial 15, UAE (2023); 18th International Venice Architecture Biennale, Italy (2023); the 35th Bienal de São Paulo, Brazil (2023); Museum of Fine Arts, Houston, Texas (2021); Centre Pompidou, Paris (2020); 22nd Biennale of Sydney, Australia (2020); Stellenbosch Triennale, South Africa (2020); 6th Lubumbashi Biennale, Democratic Republic of the Congo (2019); Ghana Pavilion, 58th Venice Biennale, Italy (2019); Documenta 14, Athens and Kassel, Germany (2017); Broad Art Museum, Michigan State University (2016); Kunsthal Charlottenborg, Copenhagen and Holbæk, Denmark (2016); 56th Venice Biennale, Italy (2015); and Artist's Rooms, K21, Düsseldorf, Germany (2015). Mahama was also appointed Artistic Director of the 35th Ljubljana Biennale of Graphic Arts, Ljubljana (2023). In 2024, Mahama was selected for the inaugural Sam Gilliam award by the Dia Art Foundation and the Sam Gilliam Foundation, which includes the presentation of a public program at Dia in fall 2024. Photo credit: Carlos Idun-Tawiah White Cube https://www.whitecube.com/artists/ibrahim-mahama Sam Gilliam Award https://www.diaart.org/about/sam-gilliam-award Dia Art Foundation https://www.diaart.org/program/calendar/sam-gilliam-award-program-ibrahim-mahama-dia-talks-11212024/period/2024-11-02 Fruitmarket https://www.fruitmarket.co.uk/about-us/ Stedelijk Museum Amsterdam https://www.stedelijk.nl/en/events/artist-talk-ibrahim-mahama-en Ghana Remembers https://ghanaremembers.com/stories/people/ibrahim-maham-the-first-ghanaian-artist-to-win-the-inaugural-sam-gilliam-award-in-2024.html#google_vignette Barbican https://www.barbican.org.uk/whats-on/2024/event/ibrahim-mahama-purple-hibiscus Observer https://observer.com/2024/09/interview-ibrahim-mahama-artist-white-cube-exhibition/ Vennice Biennale https://www.labiennale.org/en/architecture/2023/force-majeure/ibrahim-mahama Institute for Humanity Activities https://www.humanactivities.org/en/iha-blank/sculpture-workshop-with-ibrahim-mahama/ Edinburgh Art Festival https://www.edinburghartfestival.com/event/ibrahim-mahamasongs-about-roses/ Wallpaper https://www.wallpaper.com/art/exhibitions-shows/ibrahim-mahama-tells-us-why-he-has-covered-the-barbican-in-pink-fabric Reiter Galleries https://www.reitergalleries.com/en/artists/ibrahim-mahama/ NYTimes https://www.nytimes.com/2024/09/19/arts/design/ibrahim-mahama-artist-ghana-white-cube.html The Brooklyn Rail https://brooklynrail.org/2024/10/artseen/ibrahim-mahama-a-spell-of-good-things/ Bonhams https://www.bonhams.com/press_release/38679/ Burlington Contemporary https://contemporary.burlington.org.uk/reviews/reviews/ibrahim-mahama-songs-about-roses The Highline https://www.thehighline.org/art/projects/ibrahim-mahama/ Desert X AlUla https://desertx.org/dx/dx24-alula/ibrahim-mahama C& https://whitewall.art/whitewaller/best-of-new-york-exhibitions-ibrahim-mahama-janaina-tschape-and-more/ artnet https://news.artnet.com/art-world/ibrahim-mahamas-stunning-textile-installation-blankets-the-barbican-in-london-2476760 BBC https://www.bbc.com/news/world-africa-68846770 The Art Newspaper https://www.theartnewspaper.com/2024/08/23/saatchi-collection-ibrahim-mahama-auction-bonhams Whitewall https://whitewall.art/whitewaller/best-of-new-york-exhibitions-ibrahim-mahama-janaina-tschape-and-more/

Welcome back to ARTMATTERS: The Podcast for Artists. My guest today is Ebtisam Abdulaziz. Ebtisam is a multidisciplinary artist and writer. She explores issues of identity and culture through installation, performance, mixed-media, painting and works on paper. She has exhibited extensively and internationally including the 53rd Venice Biennale as part of the United Arab Emirates and Abu Dhabi Pavilions. Her installations, paintings, works on paper and videos are held in numerous public and private collections.Her video work Autobiography from 2007 was purchased for the Guggenheim Museum collection in Abdu Dhbai. Additionally Abdulaziz was named as one of 100 Powerful Arab Women of 2013. She has been living and working  in Washington, D.C. since 2014. In our conversation, Ebtisam explains her art-making as a mix of meditation, play and practicality. We discuss her drawings, her mentor Hassan Sharif, her daily practice, how her practice relates to her audience, how she judges ideas only after they are complete, and so much more. Enjoy the show!About Ebtisam Abdulaziz:  Combining the scientific with the arbitrary, Abdulaziz draws from her training in science and mathematics, methodically exploring subconscious states and the expansiveness of daily life. She creates codes, systematic structures, graphic language, and performative gestures to force viewers to question their assumptions about rules in the natural and formulaic world. The intimate juxtapositions of these concepts center awareness on our surrounding environment and the issues that perplex and shape us. In addition to the Venice Biennale, Ebtisam Abdulaziz's work has been exhibited at the 7th and 10th Sharjah Biennial, Sharjah, United Arab Emirates; Dubai Next, Basel; The Institut du Monde Arabe, Paris, France; The Kunst Museum, Bonn, Germany; The Mori Art Museum, Tokyo, Japan; Benin Biennial 2012, Kora Centre, Benin; FotoFest Biennial, Art in Houston, Texas; Cara Gallery; Smack Mellon gallery in New York; NYUAD Art Gallery;  Guggenheim Abu Dhabi, The Florida Museum of Photographic Arts; Tampa; American University Museum at the Katzen Arts Center.  In 2014, her work was part of the touring exhibition of Past Forward: Contemporary Art from the Emirates, which took place across several American cities and is included in international collections. Her installations, paintings, works on paper and videos are held in numerous public and private collections. You can now support this podcast by clicking HERE where you can donate using PATREON or PayPal!If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM!   If you have an any questions you want answered, write in to artmatterspodcast@gmail.com host: Isaac Mann www.isaacmann.cominsta: @isaac.mann guest: Ebtisam Abdulaziz www.artistebtisamaziz.com insta: @ebtisamabdulazizThank you as always to ARRN, the Detroit-based artist and instrumentalist, for the music. 

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily chats with south asian multidisciplinary artist Suchitra Mattai.  Suchitra, born in Guyana and now based in Los Angeles, discusses her journey and the influences behind her artwork. She details her move from a background in statistics to a career in art, highlighting how her work addresses themes of memory, labor, migration, and colonization. Suchitra shares insights about her solo exhibit, 'She Walked in Reverse and Found Their Songs' at ICA San Francisco, which explores her ancestors' forced migration and personal history through installations made of used saris. The episode also includes discussion about how she combines different materials to tell stories and reconcile her multicultural experiences. Additionally, Suchitra talks about the impactful art pieces and places that inspire her creative process.About Artist Suchitra Mattai:Suchitra is a multi-disciplinary Guyanese American artist of South Asian descent. She received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, Philadelphia. Recent projects include group exhibitions at the MCA Chicago, Crystal Bridges Museum of Art, the Art Gallery of Ontario, the MCA Denver, the John Michael Kohler Arts Center and the Sharjah Biennial 14 and solo exhibitions at the Boise Museum of Art , Roberts Projects, and Kavi Gupta Gallery. Upcoming projects include solo exhibitions at the ICA San Francisco (San Francisco), the Tampa Museum of Art (Tampa, FL) , the National Museum for Women in the Arts (Washington, DC) and Socrates Sculpture Park (NYC, NY). Her works are represented in collections which include Crystal Bridges Museum of Art, the Nasher Museum of Art, the Denver Art Museum, the Tampa Museum of Art, the Joselyn Museum, the Tia Collection, the Perez Collection, the Shah Garg collection, and the University of Michigan Museum of Art. Visit Suchitra's  Website:  SuchitraMattaiArt.comFollow  on Instagram:  @SuchitraMattaiStudioFor more about her exhibit, "She Walked In Reverse And Found Their Songs" at the ICA San Francisco, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Ep.193 Helina Metaferia is an interdisciplinary artist working across collage, assemblage, video, performance, and social engagement. Her work integrates archives, somatic studies, and dialogical practices, creating overlooked narratives that amplify BIPOC/femme bodies. Metaferia received her MFA from Tufts University's School of the Museum of Fine Arts and attended the Skowhegan School of Painting and Sculpture. Recent solo exhibitions and projects include RISD Art Museum (2022-2023); Museum of Fine Arts, Boston, MA (2021-2022); New York University's The Gallatin Galleries, New York, NY (2021); Michigan State University's Scene Metrospace Gallery, East Lansing, MI (2019); and Museum of African Diaspora, San Francisco, CA (2017). Metaferia's work was included in the Sharjah Biennial in the United Arab Emirates (2023), the Tennessee Triennial through the Frist Art Museum and Fisk University Art Gallery (2023). Her work is in the permanent collection of institutions including Los Angeles County Museum of Art, Los Angeles, CA; Museum of Fine Arts, Boston, MA; Sharjah Art Foundation, United Arab Emirates; Kadist, San Francisco, CA and Paris, France; and the Schomburg Center for Research in Black Culture, New York, NY. Metaferia's work has been supported by several residencies including MacDowell, Yaddo, Bemis Center for Contemporary Art, and MASS MoCA. She is currently a 2021-2023 artist-in-residence at Silver Art Projects at the World Trade Center in New York City. Her work has been written about in publications including The New York Times, Financial Times, The Washington Post, The Boston Globe, Artnet News, The Art Newspaper, and Hyperallergic. Metaferia is an Assistant Professor at Brown University in the Visual Art department, and lives and works in New York City. Photo credit: Tommie Battle Artist https://www.helinametaferia.com/ NYTimes https://www.nytimes.com/2021/06/24/arts/things-to-do-this-weekend.html Artsy Helina Metaferia Honors the Activist Legacies of Black Women across Collage and Performance | Artsy Artnet News https://news.artnet.com/art-world/how-do-you-judge-the-value-of-social-practice-art-artist-helina-metaferia-developed-metrics-to-determine-if-a-project-is-successful-2181336 Vanity Fair Leisure, Adornment, and Beauty Are Radical Acts in “Resting Our Eyes” | Vanity Fair The Cut ‘Resting Our Eyes': 10 Black Artists at ICA San Francisco (thecut.com) Chicago Tribune 4 female artists mount a Chicago exhibit on climate issues: ‘Activism work is care work' – Chicago Tribune Sugarcane Magazine Ritual and Remembrance in Sharjah Biennial 15 - Sugarcane Magazine ™| Black Art Magazine Interior Design Magazine Artist Helina Metaferia Celebrates Black Women Activists in Two Solo Shows - Interior Design The Art Newspaper https://www.theartnewspaper.com/2021/06/16/black-artists-and-performers-take-over-fort-greene-park-for-juneteenth-jubilee Financial Times ( First) https://www.ft.com/content/9b75fdcd-9f1a-4c3f-ae70-b1140fc9cdad Financial Times (Second) https://www.ft.com/content/e8030f71-2925-4fbb-8e0a-96d6ce1cf774 Contemporary And https://contemporaryand.com/magazines/helina-metaferia-weaving-and-resisting-in-more-than-a-few-ways/

Episode No. 644 features artists Thenjiwe Niki Nkosi and Trey Burns. The Hammer Museum is presenting "Hammer Projects: Thenjiwe Niki Nkosi" through August 11. The exhibition features ARENA V (2024), Nkosi's latest investigation of the social and psychological experiences of Black gymnasts. "Nkosi" is curated by Ikechúkwú Onyewuenyi with Connie Butler. Nkosi is a South Africa-based artist whose work often uses the world of sport, and especially athletes, to consider imperial histories and their impacts on the present, fellowship, competition, and performance. She has been featured in group exhibitions at the 15th Sharjah Biennial, United Arab Emirates, at the Zeitz Museum of Contemporary Art Africa, Cape Town, the Aga Khan Museum, Toronto, and more. In collaboration with East Side Projects, Nkosi presented the multimedia work Equations for a Body at Rest across many spaces in Birmingham, UK as part of the 2022 Commonwealth Games. Nkosi's short film The Same Track, referenced on the program, may be viewed here. The Nasher Sculpture Center in Dallas is showing "Nasher Public: Trey Burns" through April 21. The exhibition features Burns' Prairie Piece which examines north Texas' ecology through seemingly incongruent subjects such as Robert Smithson's unrealized proposals for the Dallas-Fort Worth airport, and the George W. Bush administration and Bush's presidential library at Southern Methodist University. Burns has exhibited at the Pavilion Vendôme and the Ecole Nationale d'Architecture in Paris, at Wassaic Projects, and more. He is also the co-director of Dallas' Sweet Pass Sculpture Park, a non-profit that provides space and support for outdoor sculpture.

Olalekan Jeyifous' irresistible visions of a future in which humanity makes the best out of its many mistakes and thrives within the strictures of its self-inflicted handicaps have had a remarkable effect on the architecture world––and beyond. From the Venice Architecture Biennale, where he won the Silver Lion in 2023, to the Museum of Modern Art and the Sharjah Biennial, his work never ceases to delight and puzzle. Could these really be the futures we are heading for? In this episode of the Design Emergency podcast, Olalekan explains to Paola his idea of utopia and the role of speculation in guiding our behaviors towards positive change.Nigerian-born and Brooklyn-based, Olalekan puts his architectural training to good use and imagines our old cities reframed on new systems of communication, transportation, occupation, and exchange. He describes them in rich visual detail with immersive collages, videos, objects, and even VR experiences. The characters in his tableaus are often smiling, gregarious, in charge of their destinies, imaginary and yet familiar. His communities are strong, his economies a mix of informal and creatively structured. His work has been described with many florid labels––from architectural utopianism to speculative world-building and eco-fiction, by way of Afrofuturism and retrofuturism.You can find images of Olalekan and his work on our Instagram grid @design.emergency. Please join us for future episodes of Design Emergency when we will hear from other global design leaders who, like Olalekan, are at the forefront of positive change.Design Emergency is supported by a grant from the Graham Foundation for Advanced Studies in the Fine Arts.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

For EMPIRE LINES' 100th episode, we join artist and filmmaker John Akomfrah to journey the Columbian Exchange, connecting continents from the 15th century, and contemporary port cities from Plymouth to Sharjah and Venice. The Columbian Exchange refers to the widespread transfer of plants, animals, goods, and people between the Americas, Afro-Eurasia and Europe - or the ‘Old' and ‘New World' - since the 1400s. With five screens, Arcadia considers these layered, overlapping journeys, travelling across stormy seas and sublime, epic landscapes. But these histories are also ‘interrupted' with symbolic images of trade, disease, and smallpox, highlighting the fatal, often ‘genocidal', nature of colonial encounters. Artist and filmmaker John Akomfrah talks about his intersectional, environmentally-engaged films, comparing previous works like Purple (2017) to this first ‘post-human project'. He connects historic viruses - often represented by Indigenous cultures in vivid oral and visual sources like Aztec codexes and ‘plague journals' - with his experience producing during the COVID pandemic. Drawing on his work with the Black Audio Film Collective, John shares his collaborative, ‘democratic' approach to filmmaking. And, 400 years since the Mayflower sailed from Plymouth to transport the Pilgrims to North America, we discuss the meaning of Arcadia's immersive cinematic display for the port city today. John Akomfrah: Arcadia runs at The Box in Plymouth runs at The Box in Plymouth until 2 June 2024. He will represent Great Britain at the Venice Biennale 2024⁠ in Italy from 20 April to 24 November 2024. For more on water and migration on film, hear Barbican curator Eleanor Nairne on Julianknxx's Chorus in Rememory of Flight (2023), on EMPIRE LINES: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7 For more on sublime landscapes, listen to photographer David Sanya on the EMPIRE LINES episode about Lagos Soundscapes, Emeka Ogboh (2023): pod.link/1533637675/episode/dd32afc011dc8f1eaf39d5f12f100e5d WITH: Sir John Akomfrah CBE RA, British artist, writer, film director, screenwriter, theorist and curator of Ghanaian descent. Akomfrah was a founding member of the influential Black Audio Film Collective (1982-1998), and now Smoking Dogs Films, with works including The Unfinished Conversation (2012), a moving portrait of the cultural theorist Stuart Hall's life and work recently on display at Tate Britain. Arcadia (2023), which premiered at the Sharjah Biennial 15 in the United Arab Emirates, is co-commissioned by The Box, Plymouth, Hartwig Art Foundation, Amsterdam, and Sharjah Art Foundation. ART: ‘Arcadia, John Akomfrah (2023)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Big Hass speaks his heart and give flowers to Sheikha Hoor Al Qasimi for the work she has been doing... Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.instagram/com/pulse95radio www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

Sharjah Art Foundation presents Grammy Award-winning musician and Senegalese icon Youssou N' Dour, debuting The Salam Project as part of the Sharjah Biennial 15 Music Programme. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.instagram/com/pulse95radio www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

Jiwon Lee, Curatorial Department Manager at Sharjah Art Foundation. speaks to the Morning Majlis about the key events of the Sharjah Biennial 15 and how to make the most of your time.

Sharjah Biennial 15 will position Sharjah's own lived past within the transcultural universe of thought furthered by over 300 works by over 150 artists and collectives, which will be installed in 5 cities and towns across the emirate. Sheikha Nawar Al Qasimi, Director of the Sharjah Art Foundation speaks to Aisha Al Mazmi of Pulse 95 Radio to discuss the event and why it should be visited.

As we approach the first anniversary of the Russian invasion of Ukraine, The Art Newspaper has published an investigation that raises serious concerns that works of art taken by Russian troops from a museum in Kherson, Ukraine, in November 2022 may not be repatriated once the fighting ends. Our London correspondent Martin Bailey tells us about his story. Plus, the Sharjah Biennial opens next week, and is the final biennial curated by Okwui Enwezor, who died in 2019, but set the blueprint for the show, entitled Thinking Historically in the Present. We talk to Nadine Khalil about the biennial and Sharjah's place in the Middle Eastern art ecosystem. And this episode's Work of the Week is Invisible Man, Somewhere, Everywhere (1991) by the American photographer Ming Smith, a key piece in a new exhibition of Smith's work at the Museum of Modern Art in New York. Oluremi Onabanjo, the curator of the show, tells us about the work.The Sharjah Biennial runs from 7 February to 11 June.Projects: Ming Smith, Museum of Modern Art, New York, 4 February-29 May. Ming Smith: Invisible Man, Somewhere, Everywhere, by Oluremi C. Onabanjo, Museum of Modern Art, New York, 48pp, $14.95/£17 (pb) Hosted on Acast. See acast.com/privacy for more information.

Ep. 135 features Suchitra Mattai (b.1973 Georgetown, Guyana) , a multi-disciplinary artist of Indo-Caribbean descent. Her work explores how collective and individual memory and the space of myth and folklore allow us to unravel and re-imagine colonial histories and narratives. Using both her own family's history and her research of colonial indentured labor during the 19th century, Mattai seeks to expand our sense of “history.” Suchitra received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania. Recent and upcoming projects include a commission for the Sharjah Biennial 14, solo exhibitions at the ICA San Francisco and Kavi Gupta Gallery (Chicago) and group exhibitions at the MCA Chicago, Crystal Bridges Museum, the Art Gallery of Ontario, the San Antonio Museum of Art, the Sarasota Museum of Art and the John Michael Kohler Arts Center. Her works are represented in collections which include Crystal Bridges Museum of Art, the Denver Art Museum, and the Tampa Museum of Art. Suchitra is represented by Kavi Gupta Gallery. Photo credit: Kendra Custer Maximiliano Duron, The Best Booths at Art Basel Miami Beach 2022 (Arghavan Khosravi and Suchitra Mattai at Kavi Gupta), From Dazzling Abstractions to Urgent Protest Art HTTPS://WWW.ARTNEWS.COM/LIST/ART-NEWS/MARKET/ART-BASEL-MIAMI-BEACH-2022- BEST-BOOTHS-1234648390/ Emann Odofu, Suchitra Mattai's Guyana exists in the gaps of the western archive, Document Journal, March 08, 2022, https://www.documentjournal.com/2022/03/suchitra-mattais- guyana-exists-in-the-gaps-of-the-western-archive/ Aron Mok, Suchitra Mattai Probes the Monstrous Misperceptions Around Immigrant Identity, Hyperallergic, March 8, 2022, https://hyperallergic.com/715678/suchitra-mattai-probes-the- monstrous-misperceptions-around-immigrant-identity/ Salomé Gómez-Upegui, Artsy, Suchitra Mattai's Soulful Works Convey Unspeakable Truths, February 4, 2022 https://www.artsy.net/article/artsy-editorial-suchitra-mattais- soulful-works-convey-unspeakable-truths Sammi Lee, Plinth UK, Monstering with Suchitra Mattai, January, 2, 2022 https://plinth.uk.com/blogs/in-the-studio-with/monster- suchitra-mattai-unit-london Sadaf Padder, A Tale of Two Countries: Finding Indo-Caribbean Shakti in Colorado, Hyperallergic, January 23, 2022 https://hyperallergic.com/705864/a-tale-of-two-countries-finding- indo-caribbean-shakti-in-colorado/ ArtNet News, Looking for the Next Big Thing? Here Are 6 Exciting Artists to Watch From Miami Art Week 2021, December 7, 2021 https://news.artnet.com/market/looking-for-the-next-big-thing- here-are-6-artists-to-watch-from-miami-art-week-2021-2043675 Alison S. Cohn, Harpers Bazar, Art Returns to Miami After a Two- Year Hiatus, Dec. 2, 2021 https://www.harpersbazaar.com/culture/art-books- music/a38402593/art-returns-to-miami-december-2021-january- 2022/ Salome Gomez-Upegui, Artsy , Nov. 30, 2021 https://www.artsy.net/article/artsy-editorial-10-best-booths- untitled-art-miami-beach-2021 Stewart Lee, “Touched by the Hand of Ithell-My fascination with a forgotten surrealist, The Guardian, October 11, 2021 https://www.theguardian.com/culture/2021/oct/11/touched-ithell- colquhoun-forgotten-surrealist-stewart-lee

Zeinab Alhashemi is an Emirati conceptual artist based in Dubai. Since graduating from Zayed University with a BA in arts and science specialising in multimedia design, she has become known for her large-scale contemporary site-specific installations. Alhashemi is fascinated with capturing the transformation of the UAE and examines the contrast and interdependence between the abstract, geometric shapes of urbanism and the organic forms associated with her country's natural landscape. Since the days of Alhashemi's childhood, the familiarity of traditional scenery and nature has largely been disturbed to facilitate the rise of the man-made. In her experimental installations, she searches for a new identity appropriate to the modern condition and deconstructs the viewers' understanding of their surroundings, introducing an alternative point of view, and creating a new perception of that reality. Drawing inspiration from the natural topography of the UAE, Alhashemi experiments with a variety of materials to position the viewer over the intangible boundary between the natural and the artificial. While colour and texture make her work reminiscent of the traditional landscape, such familiarity is disturbed by the striking contrast of industrial materials that remind the viewer of human interference. Alhashemi's work captures the essence of her homeland today, striking a delicate balance between modernism and tradition in an unexpectedly harmonious coexistence. She has participated in numerous art fairs and festivals such as Sikka Art Fair, Dubai Design Week, and Sharjah Biennial 11 and was recently commissioned by the Institute de France and the Department of Culture and Tourism (DCT) Abu Dhabi to showcase her work at the inauguration of the Louvre Abu Dhabi. Currently she is one of the artists in residence for SETI-Institute in San Francisco, and her work was featured in EXPO2020 Dubai at the Sustainable Pavilion. She also participated in Desert X in AlUla, KSA in 2022.

This week on my podcast “Conversations About Art” I spoke with Hoor Al Qasimi, President and Director of Sharjah Art Foundation, a curator who established the Foundation in 2009 as a catalyst and advocate for the arts, not only in Sharjah, UAE, but also in the region and across the world. With a passion for supporting experimentation and innovation in the arts, Al Qasimi has continuously expanded the scope of the Foundation to include major international touring exhibitions; artist and curator residencies in visual art, film and music; commissions and production grants for emerging artists; publications and publication grants; performance and film festivals; architectural research and restoration; and a wide range of educational programming in Sharjah for both children and adults. In 2003, Al Qasimi co-curated Sharjah Biennial 6 and has remained Biennial Director ever since. She is currently curating the upcoming Sharjah Biennial 15: Thinking Historically in the Present (2023). Under her leadership, Sharjah Biennial has become an internationally recognised platform for contemporary artists, curators and cultural producers. Her leadership in the field led to her election as President of the International Biennial Association (IBA) in 2017, an appointment that transferred IBA's headquarters to Sharjah. In addition to her role at the Foundation, Al Qasimi also serves as the President of The Africa Institute and President and Director of the Sharjah Architectural Triennial, which inaugurated its first edition in November 2019. She and I spoke about chance moments, the history of the place, the Africa Institute, “thinking historically in the present”, not rushing, decentralizing, doing less, telling you own history, not pursuing things that don't work, and counting experiences!

Ageing Ruins…: A Listening Session with Otobong Nkanga and a response by Dr. O. Otobong Nkanga, one of the leading artistic voices of her generation, returns to FORUM to present four tracks from her forthcoming vinyl record release, developed from her award-winning installation, ‘Ageing Ruins Dreaming Only to Recall the Hard Chisel from the Past,' at Sharjah Art Foundation, UAE, commissioned as part of Sharjah Biennial 14. Here, audiences are invited to an intimate evocation that explores the use of the artist's voice within her practice, proffering possibilities and questions about the multiple forms of imagination that can be conjured through this form of embodiment. Here, the duo discusses the voice in relation to the body as a site contingency with its natural surroundings — the environment, which is forever transmuting, seeping through our hands, as much as it is responding to the contours of our hands. A discussion with the audience will follow.  https://www.1-54.com/

Sanna Almajedi talks to Jad and Tarek Atoui about their experimental music duo, Through Rust and Dusk. The conversation is followed by an excerpt of their performance at e-flux on September 26, 2022 that incorporated improvisation, custom made instruments, field recordings, and electronic sounds.  Read more about Tarek Atoui‘s The Whisperers (October 1–December 10, 2022) at Flag Art Foundation here.   Jad Atoui is a Beirut-based sound artist and improviser. He composes and performs electronicand electro-acoustic music and has worked with musicians like John Zorn, Pauline Oliveros, Laurie Anderson, Chuck Bettis, and Anthony Sahyoun. During his formative years in New York, Atoui found interest in the New York avant-garde scene. He began working closely with NYC downtown musicians and learning improvised music techniques, while also working at the Stone and the Guggenheim Museum. In 2015, Atoui spearheaded the “Biosonics” project in collaboration with scientist Ivan Marazzi where they used bio-sonification of behaviors as compositional tools. The project was later published in John Zorn's Arcana Book Vol. XVIII and premiered at National Sawdust as part of The Stone's commissioning series. Atoui has given and co-directed workshops at Marfa Sounding, Ashkal Alwan, and Beirut Synth Center, and has been a resident at The Stone, The National Sawdust, Beirut Art Center, Arab Image Foundation, and Sharjah Art Foundation. Tarek Atoui is an artist and composer born in Beirut. His work stems from performance and looks into how sound can be perceived with sensory organs other than the ear, how sound acts as a catalyst for human interaction, and how it relates to social, historical, and spatial parameters. The point of departure for his works is usually extensive anthropological, ethnological, musicological, or technical research, which results in the realization of instruments, listening rooms, performances, or workshops. Atoui has presented his work internationally at the Sharjah Biennial in the United Arab Emirates (2009 and 2013); dOCUMENTA 13 in Kassel, Germany (2012); the 8th Berlin Biennial (2014); Tate Modern, London (2016); CCA NTU, Singapore (2017); Garage Moscow (2018); the 58th International Art Exhibition of la Biennale di Venezia (2019); the Okayama Art Summit 2019; the Sharjah Art Foundation (2020); The Fridericianum (2020); And Pinault Collection (2021).  He was appointed co-artistic director of STEIM studios in 2007, and of the Bergen Assembly, a triennial for contemporary art in Norway in 2016. He is the recipient of the Suzanne Deal Booth / FLAG Art Foundation Prize 2020. Tarek Atoui currently lives and works in Paris, France. e-flux music is curated by Sanna Almajedi. 

Ben Luke talks to John Akomfrah about his influences—including writers, musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Akomfrah was born in Accra, Ghana, in 1957 but has been based in London since he was a child. From his early years with the Black Audio Film Collective to his recent works as a solo artist, he has explored major issues—including racial injustice, colonialist legacies, diasporic identities, migration and climate change—through a distinctive approach to memory and history. First shown on television and in the cinema, his films are increasingly made for museums and galleries, in the form of ambitious, often epic, multi-screen video installations. He is one of the great film-makers of the last few decades. He discusses discovering Jackson Pollock through Ornette Coleman's Free Jazz album, his early experiences of the Tate Gallery and ongoing love of J.M.W. Turner's paintings, his passion for John Milton's Paradise Lost and Virginia Woolf's The Waves, and his enduring engagement with music from post-punk to John Luther Adams. He also gives us insight into his studio life and answers our usual questions, including the ultimate one: what is art for?John Akomfrah: Purple, Hirshhorn Museum, Washington, D.C., 28 October–summer 2023; The Unfinished Conversation, Tate Britain, London, until the end of 2022. A new work will be shown at the Sharjah Biennial, 7 February-11 June 2023, and The Box, Plymouth, UK, from December 2023. Hosted on Acast. See acast.com/privacy for more information.

This September, Bryn Mawr College Performing Arts Series will present the first career retrospective of theater artist Annie Dorsen titled Algorithmic Theater. The retrospective is part of a residency advancing Dorsen's work and examining the consequences of digital communications through theater. Algorithmic Theater brings Dorsen's work to Philadelphia audiences for the first time and features four of her past projects, including Hello Hi There (2010), Spokaoke (2012), A Piece of Work (2013), and Yesterday Tomorrow (2015). Together, these works tell a story about advancing technology, encroaching artificial intelligence, and post-anthropocentric art-making that attempt to reckon with the last decade of history.Dorsen is a New York-based theater director and artist who works at the intersection of algorithmic art and live performance. Since 2010, she has built a body of work in what she's referred to as “algorithmic theater,” creating custom algorithms that perform in lieu of or alongside human performers. The pieces position the digital world's influence on our everyday lives in dialogue with classical dramatic forms to confront the consequences of our increasing entanglement with information technologies.Algorithmic Theater will begin with a presentation of A Piece of Work on September 9 at 8 p.m. at McPherson Auditorium. Mixing live performance with algorithms and interfaces, A Piece of Work flips the switch between man and machine in a digital version of Hamlet for a post-humanist age. The spectators are absorbed in a swirl of connections amongst memory, language, and technology, implicating both the past and future of theater itself. New scenes, songs, scores, and visuals emerge from an intricate and ingeniously programmed web of technology that uses Shakespeare's original text as data.The next piece, Spokaoke, will be hosted on September 10 at 10 p.m. at the Marie Salant Neuberger Centennial Campus Center. Spokaoke is a participatory event that invites people to perform speeches as they would ordinarily perform songs in a karaoke bar. Speeches are, after all, songs of persuasion, argument, consolidation, or motivation. Over 90 speech videos are loaded into a karaoke system and arranged in a catalog for audience members to peruse. Participants will read various forms of public addresses, including political speeches, award acceptance speeches, press conferences, theatrical monologues, eulogies, and trial testimony. An additional presentation of Spokaoke will take place at FringeArts on September 16 at 10 p.m. as a part of this year's Fringe Festival, featuring a special guest host.The third piece, Hello Hi There, will be presented on September 10 & 11 at 8 p.m. at Hepburn Teaching Theater. Dorsen uses the famous television debate between philosopher Michel Foucault and linguist/activist Noam Chomsky from the 1970s as inspiration for a dialogue between two custom-designed chatbots. Material from the debate, along with additional text culled from YouTube, the Bible, Shakespeare, and western philosophy, is inputted into computer programs designed to mimic human conversation to create a new, “improvised” dialogue at each performance.Finally, Algorithmic Theater will conclude with Yesterday Tomorrow at McPherson Auditorium on September 15 at 8 p.m., September 16 at 6 p.m., and September 17 at 8 p.m. In Yesterday Tomorrow, three singers receive computer-generated music and lyrics both aurally and visually. The algorithmically-produced score begins with the Beatles' hit song “Yesterday” and slowly transforms into “Tomorrow” from the musical Annie. Inspired by an artificial intelligence known as evolutionary computation, Yesterday Tomorrow gives a unique experience of the complexity and unpredictability of the present tense contrasted with the known past and the imagined future. Each night, the spatial and musical path from the past to the future is different; neither the singers, creative team, nor the audience knows the route the performance will take them.Free tickets will be available to students from the Tri-College Consortium (Bryn Mawr, Haverford, and Swarthmore) and can be reserved by calling 610-526-5300, or emailing reservations@brynmawr.edu.General admission tickets for Algorithmic Theater performances will be available online for $20, $18 for seniors (65+), $10 for students (not from the Tri-College Consortium), and $5 for children under five.In addition to presenting performances, Bryn Mawr College Performing Arts Series will release an accompanying publication titled Algorithmic Theater: Essays and Interviews, 2012-2022. The publication highlights the last decade of Dorsen's work, and a limited number of copies will be available to the public for free. Edited by writer and theater critic Tom Sellar, the book features essays by Dorsen as well as illuminating conversations with her collaborators. It also includes a collection of essays previously published in journals, monographs, and anthologies by Miriam Felton-Dansky, Jacob Gallagher-Ross, Sarah Bay-Cheng, W.B. Worthen, and Johannes Birgfeld.ABOUT ANNIE DORSEN:Annie Dorsen is a director and writer whose works explore the intersection of algorithms and live performance. Her most recent project, Infinite Sun (2019), is an algorithmic sound installation commissioned by the Sharjah Biennial 14. Previous performance projects, including The Slow Room (2018), The Great Outdoors (2017), Yesterday Tomorrow (2015), A Piece of Work (2013), Spokaoke (2012), and Hello Hi There (2010), have been widely presented in the US and internationally.FOR MORE INFORMATION: https://anniedorsen.digital.brynmawr.edu and https://anniedorsen.com/

“I'm scared. I'm fragile, weak, and scared.” Roy Dib smokes, checks Instagram, and looks out onto the Mediterranean while delivering a pensive monologue on love, sex, nationhood, and migration. Between drags, Dib pries apart the norms that ostensibly unite societies (marriage, the nation-state, the pursuit of happiness), forging a critique embedded in his own entanglements and complicities. “Artists-in-Presidents” is initiated by Constance Hockaday, curated by Christine Shaw, and commissioned by The Blackwood (University of Toronto Mississauga). Podcast production by Vocal Fry. Transmissions are released every Friday from August 6–December 17, 2021. To view the portrait gallery, access ASL videos and transcripts, and for additional information about the project, visit www.artistsinpresidents.com and www.blackwoodgallery.ca. Roy Dib (born in 1983) is an artist and filmmaker based in Beirut. On both formal and conceptual levels, Roy Dib challenges common notions of space and boundary, weaving together archival material, scripted text and hypothetical circumstances to chronicle the political narratives of our day. His work has been presented at Studio la Città (2021), Loop Barcelona (2020), Galerie Tanit (2018), MAXXI Museum (2017), Sharjah Biennial 13 (2017), ALFILM (2017), JCC (2016), Forum Expanded – 64th and 65th Berlinale, Exposure 2015 – Beirut Art Center, Uppsala International Short Film Festival (2014), Queer Lisboa (2014), Images Festival (2016) - Toronto, Contemporary Art Festival SESC_Videobrasil (2013, 2015 and 2017), Ashkal Alwan (2014), and Video Works (2011–2014). Song credit: Cesária Évora, "Sodade," 1992. Photo: Aly Saab

Internationally recognized artist Amir H. Fallah is known for his vibrant figurative work that draws from western painting vocabulary and turns the history of portraiture on its head. The work explores how one reconstructs identity and asks the question, how do you describe someone without showing their physical likeness? It's incredibly powerful work that is also personal. In this interview, Amir talks about his background, how he began creating his current work, and his recent public pieces that were unveiled in California.    Amir H. Fallah received his BFA in Fine Art & Painting at the Maryland Institute College of Art and his MFA in painting at the University of California, Los Angeles. He has exhibited extensively in solo and group exhibitions across the United States and abroad. Selected solo exhibitions include the Museum of Contemporary Art in Tucson; South Dakota Art Museum, Brookings SD; Schneider Museum of Art, Ashland OR; San Diego Art Institute; and the Nerman Museum of Contemporary Art, Overland KS.   In 2009, the artist was chosen to participate in the 9th Sharjah Biennial. In 2015, Fallah received the Joan Mitchell Foundation Painters and Sculptors Grant. In 2019, Fallah's painting Calling On The Past received the Northern Trust Purchase Prize at EXPO Chicago. In 2020, Fallah was awarded the COLA Individual Artist Fellowship and the Artadia grant. In addition, the artist had a solo exhibition at the Museum of Contemporary Art, Tucson, accompanied by a catalogue, and a year long installation at the ICA San Jose.   The artist is in the permanent collection of the Jorge M. Pérez Collection, Miami; McEvoy Foundation For The Arts, San Francisco; Nerman Museum, Kansas City; SMART Museum of Art at the University of Chicago; Davis Museum, Massachusetts; The Microsoft Collection, Washington; Plattsburgh State Art Museum, NY; Cerritos College Public Art Collection, CA; and Salsali Private Museum, Dubai, UAE.    Amir H. Fallah creates paintings, murals, and installations that explore systems of representation embedded in the history of Western art. His ornate environments combine visual vocabularies of painting and collage to deconstruct traditional notions of identity formation, while simultaneously defying expectations of the genre for portraiture by removing or obscuring the central figure. In Fallah's works, the absence of the sitter's likeness is substituted with a wider representation of their personhood—one that spans time and cultures and is articulated through a network of symbols and imagery. Fallah's paintings question not only the historical role of portraiture, but the cultural systems that are used to identify one person from another.    When autobiographical, Fallah's paintings employ a lexicon of symbols that amalgamate personal narratives with historical and contemporary parables. The paintings serve as a diary of lessons, warnings, and ideals providing coded insight into the formation of an identity, while investigating cultural values often passed between generations. When non-autobiographical, portraits of veiled subjects capitalize on ambiguity to skillfully weave fact and fiction, while questioning how to create a portrait without representing the physicality of the sitter. Although the stories that surround his subjects are deeply personal and are told through the intimate possessions they hold most dear, this work addresses generational immigrant experiences of movement, trauma, and celebration.    Fallah wryly incorporates Western art historical references into paintings formally rooted in the pattern-based visual language of art historical works from the Middle East. In doing so, his paintings possess a hybridity that reflects his own background as an Iranian-American immigrant straddling cultures. As seen in the artist's tondos—circular paintings originally used in Renaissance portraiture—Fallah reinterprets classical floral paintings that entangle references to Dutch still lives and Persian miniatures. These botanicals depict flora that don't “naturally” occur in the same ecosystem; this serves as a metaphor for immigrants that attempt to thrive in their new country, creating a new space that spans the limits of geography and disrupts the fallacy of borders.    Neither of this world or the next, Fallah's works reside in the liminal space of being ‘othered'. The paintings utilize personal history as an entry point to discuss race, representation, and the memories of cultures and countries left behind. Through this process, the artist's works employ nuanced and emotive narratives that evoke an inquiry about identity, the immigrant experience, and the history of portraiture.      SHOUT OUTS:    Matt Phillips Asad Faulwell Matt Bollinger Wendell Gladstone   GALLERIES: Shulamit Nazarian, Los Angeles Denny Dimin Gallery, New York The Third Line, Dubai, UAE Dio Horia, Athen/Mykonos, Greece   SPONSORS: The Empowered Artist Workshop-Bridgette Mayer Sunlight Tax Free Masterclass “The Key to More Tax Deductions"   LINKS:  http://www.amirhfallah.com/ https://www.instagram.com/amirhfallah/   I Like Your Work Links: Submit Your Work Check out our Catalogs! Exhibitions Studio Visit Artist Interviews I Like Your Work Podcast Say “hi” on Instagram  

Amir H. Fallah received his BFA in Fine Art & Painting at the Maryland Institute College of Art and his MFA in painting at the University of California, Los Angeles. He has exhibited extensively in solo and group exhibitions across the United States and abroad. Selected solo exhibitions include the Museum of Contemporary Art in Tucson; San Diego Art Museum, Brookings SD; Schneider Museum of Art, Ashland OR; San Diego Art Institute; and the Nerman Museum of Contemporary Art, Overland KS. He’s in the permanent collection of the Pérez Art Museum Miami (PAMM), Miami; McEvoy Foundation For The Arts, San Francisco; Nerman Museum, Kansas City; SMART Museum of Art at the University of Chicago; Davis Museum, Massachusetts; The Microsoft Collection, Washington; Plattsburg State Art Museum, NY; Cerritos College Public Art Collection, CA; and Salsali Private Museum, Dubai, UAE. Public art commission awards include the Los Angeles Arts Comission; the Baik Art Mural Project, Los Angeles; Pow Wow Antelope Valley, Museum of Art and History, Lancaster, CA; the MOCA Mural Program, Museum of Contemporary Art, Tucson; and the Cerritos College Public Commission, Lancaster, CA. In 2009, he was chosen to participate in the 9th Sharjah Biennial. In 2015, Amir received the Joan Mitchell Foundation Painters and Sculptors Grant. In 2019, his painting Calling On The Past received the Northern Trust Purchase Prize at EXPO Chicago. In 2020, he was awarded the COLA Individual Artist Fellowship and the Artadia grant. He has a current show at Shulamit Nazarian, Los Angeles that’s up through October.

Solange Oliveira Farkas nasceu em Feira de Santana, Bahia, Brasil, em 1955. É curadora e diretora da Associação Cultural Videobrasil. Criou o Festival de Arte Contemporânea Sesc_Videobrasil em 1983 e foi diretora e curadora-chefe do Museu de Arte Moderna da Bahia entre 2007 e 2010. Participou como curadora convidada da 10ª Bienal de Charjah (2011), 16ª Bienal de Cerveira (2011), 5ª Videozone (2010), FUSO (2011-2014 e 2017), 6º Festival Internacional de Vídeo de Jacarta (2013) e da Dak'Art - Biennial of Contemporary African Art (2016). Em 2017, foi contemplada com o Montblanc Arts Patronage Award. [Solange Oliveira Farkas was born in Feira de Santana, Bahia, Brazil, in 1955. She's the curator and director of the Cultural Association Videobrasil. She created the Contemporary Art Festival Sesc_Videobrasil in 1983 and was the director and chief curator of the Modern Art Museum of Bahia from 2007 to 2010. She participated as invited curator of the 10th Sharjah Biennial (2011), 16th Cerveira Biennial (2011), 5th Videozone (2010), FUSO (2011-2014 and 2017), 6th Jakarta International Video Festival (2013) and Dak'Art - Biennial of Contemporary African Art (2016). In 2017, she received the Montblanc Arts Patronage Award] ///imagens selecionadas|selected images: exposição do acervo de arte contemporânea do MAM Bahia, 2007 + "Asura", Köken Ergun, 2017 + "Amanhã vai ficar tudo bem", Akram Zaatari, 2017|exhibition of the contemporary collection of the Modern Art Museum of Bahia + "Asura", Köken Ergun, 2017 + "Tomorrow everything will be alright", Akram Zaatari, 2017/// [entrevista realizada em 27 de julho|interview recorded on july 27th] [link para YouTube: https://www.youtube.com/watch?v=rLLt7HRo0u0]

Two Dimensional Biographies by Amir H. Fallah   Los Angeles based painter Amir H. Fallah renders two-dimensional biographies of his subjects using alternative imagery to create a visual language that helps us understand who a person is. Though surrounded by intimate belongings, the faces and bodies of Fallah’s subjects are covered in highly ornate fabric, turning everything we know about portraiture upside-down.   Brainard Carey wrote, in Praxis Interviewmagazine: “Portraits of the artist’s veiled subjects employ ambiguity to skillfully weave fact and fiction like the textiles that cover them. While the stories that surround his muses are deeply personal, as told through the intimate possessions the subjects are encompassed by, they universalize generational experiences of movement, trauma, and celebration. With their Pop Art hues and investment in domestic life, Fallah’s paintings wryly incorporate contemporary American tropes into paintings more formally rooted in Islamic Art, including the organization and arabesque embellishment of Persian miniatures. In doing so, his work possesses a hybridity that reflects his own background as an Iranian- American immigrant straddling cultures.”   In 2017, Judson Studios translated two of Fallah’s paintings into stained glass. Embracing the World, the artist’s stained and fused glass self-portrait, alludes to Renaissance paintings of mother and child. An homage to his son, the piece was sold before the opening of Fallah’s solo show at Shulamit Nazarian Gallery in LA. A second Judson collaboration, entitled Offering, features Fallah’s portrait of an Iranian artist who came to America to pursue her art career the day after The Supreme Court upheld Trump’s Muslim ban.     Fallah received his BFA in Fine Art and Painting at the Maryland Institute College of Art in 2001 and his MFA in Painting at the University of California, Los Angeles in 2005. He has exhibited extensively in solo and group exhibitions across the United States and abroad, including solo presentations at the Schneider Museum, Ashland, Oregon (2017); the San Diego Art Institute (2017); the Nerman Museum of Contemporary Art, Overland, Kansas, (2015); and The Third Line, Dubai (2017, 2013, 2009, 2007, 2005).  The recipient of the 2017 California Community Foundation Grant and 2015 Joan Mitchell Foundation Painters and Sculptors Grant, the artist was chosen to participate in the 9th Sharjah Biennial. This event enriches the cultural landscape of the Gulf by commissioning, producing, and presenting innovative and challenging art experiences for the United Arab Emirates community while offering an internationally recognized platform for artists from the region.   As his work attracts new collectors in painting and glass, Fallah will participate in three solo exhibitions in 2019-2020: the first in August 2019, at Dio Horia gallery in Greece; then in January 2020 at MOCA Tucson; followed by April 2020 at Shulamit Nazarian Gallery in Los Angeles. The artist is currently working with Judson Studios on a large public stained glass project for LA City to be unveiled in 2021.

Sally Mousa talks to Roger Fisk, the political marketing and media strategist for Barack Obama’s presidential campaign, about the importance of listening and the Sharjah Biennial, plus why conventional wisdom could be wrong and how it was relevant to the success of Obama’s presidential campaign. #Pulse95Live from your favourite events from across the UAE. Tune in to #Pulse95Radio by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

Big Hass & Ana Schofield sit down with Dr. Omar Kholeif who is a writer, curator, editor and broadcaster. He is co-curating Sharjah Biennial 14 which features Major New Commissions, Installations, Performances, and Works by Over 80 Artists from Around the World. They talk Art Passion, Sharjah and his love for music. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

As George Michael's collection of contemporary art, dominated by Young British Artists, goes under the hammer in London, we speak to Paola Saracino Fendi from Christie's about the collection and then report on the sale immediately after the final fall of the gavel. What does it tell us about the YBA market and the pull of celebrity auctions?Plus, we speak to the artist Shezad Dawood about Encroachments, his new installation for the Sharjah Biennial, featuring a virtual reality work. See acast.com/privacy for privacy and opt-out information.

The Sharjah Biennial 14 is returning March 7 and Judith Greer, Director of International Programmes for Sharjah Art Foundation, a place for the whole family to explore how art is driving new explorations and conversations, with over 80 international artists creating works across the Emirate over 3 months! Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

Mary Walling Blackburn discusses her text, "Sticky Notes, 1-3," published in e-flux journal #92—"on feminisms" (Summer 2018), with editor-in-chief Kaye Cain-Nielsen. "The video editing suite sat directly across from 1607 Broadway. My mother’s boyfriend was editing a sequence of two figures fighting with long sticks. They were aiming for one another’s heads. Each man, in turn, carefully swung his fragile skull away from a baton, and then a baton toward another fragile skull swinging away. To the right of the screen was a window. From a certain low angle, at a standing vantage point several feet from the sill, the video sequence and a spectacular outside the glass read as an operative split screen." Excerpt from "Sticky Notes, 1-3" *Note from Mary: I should be very clear that when referring to dignity I am speaking about "white dignity"; I am trying to communicate that white dignity is bunk and wealthy dignity is bunk. Moreover, when I state that I don't know why 'anyone gets to keep their things with our status'...anyone, again means myself (who qualifies as the privileged poor) and those who operate in wealth within this amplified structure of riches.   Mary Walling Blackburn was born in Orange, California. Walling Blackburn's artistic work engages a wide spectrum of materials that probe and intensify the historic, ecological, and class-born brutalities of North American life. Recent publications include Quaestiones Perversas (Pioneer Works, Brooklyn, 2017), co-written with Beatriz E. Balanta; "Gina and the Stars," published by Tamawuj, an off-site publishing platform for the Sharjah Biennial 13; and "Slowness," a performance text in the sound-based web publication Ear│ Wave│Event. 

Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) on the occasion of the launch of their book The Empire Remains Shop at e-flux. In conversation with e-flux journal Art Director and artist Mariana Silva. "Empire shops" were first developed in London in the 1920s to teach the British to consume foodstuffs from the colonies and overseas territories. Although none of the stores ever opened, they were intended to make previously unfamiliar produce and products—sultanas from Australia, oranges from Palestine, cloves from Zanzibar, and rum from Jamaica—available in the British Isles. The Empire Remains Shop speculates on the possibility and implications of selling the remains of the British Empire in London today. Cooking Sections (Daniel Fernández Pascual and Alon Schwabe) is a duo of spatial practitioners based out of London. It was born to explore the systems that organize the WORLD through FOOD. Using installation, performance, mapping, and video, their research-based practice explores the overlapping boundaries between visual arts, architecture, and geopolitics. Cooking Sections was part of the exhibition at the U.S. Pavilion, 2014 Venice Architecture Biennale. Their work has also been exhibited at Performa17; 13th Sharjah Biennial; Neue Nationalgalerie Berlin; Storefront for Art & Architecture New York; dOCUMENTA(13); CA2M, Madrid; The New Institute, Rotterdam; UTS, Sydney; HKW Berlin; Akademie der Künste, Berlin; among others, and have been residents in The Politics of Food at Delfina Foundation, London, and Headlands Center for the Arts. The duo were part of the 2016 Oslo Architecture Triennale and 2016 Brussels ParckDesign. Their work has been featured in a number of international publications (Lars Müller, Sternberg Press, Volume, and Frieze Magazine). The Empire Remains Shop is published by Columbia Books on Architecture and the City–Columbia University Press. They currently lead a studio unit at the RCA, London.

In this episode we have Nawar Al Qasimi, the Development Manager at Sharjah Art Foundation. She shares with us the history and role of the foundation, how it is funded and its different initiatives over the years. Located in Sharjah’s historic Art and Heritage Areas, Sharjah Art Foundation's activities and events take place throughout the year and include exhibitions featuring Arab and international artists, performances, music, film screenings and artist talks, plus art education programmes for children, adults and families. The Foundation hosts the annual March Meeting and every two years presents the Sharjah Biennial. Latest exhibitions can be found here: http://sharjahart.org/sharjah-art-foundation/exhibitions Latest events can be found here: http://sharjahart.org/sharjah-art-foundation/events http://sharjahart.org https://twitter.com/SharjahArt https://www.facebook.com/SharjahArt https://www.instagram.com/sharjahart You can find images on our Instagram instagram.com/p/Bh_VTuIHySO/?taken-by=teawithculture

In this episode, Hind Mezaina and Wael Hattar discuss Sharjah Biennial 13 (http://sharjahart.org/biennial-13), its themes, events and activities happening during the biennial, the off-site projects in Dakar, Istanbul, Ramallah and Beirut, the online publication https://tamawuj.org, plus a list of favourite works. [Disclosure: Hind Mezaina is one of the artists participating in this year's biennial] The Sharjah Biennial is split across the following areas/venues in Sharjah: Al Mureijah Square Calligraphy Square and Calligraphy Museum Arts Square and Bait Al Serkal The Flying Saucer Old Sharjah Planetarium Beej Roundabout Al Hamriyah Studios Works discussed in this episode: Allora & Calzadilla - The Great Silence http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-01/allora-calzadilla/ Metahaven - Information Skies http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-01/metahaven/ Ro Dib - Here and There http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-03/roy-dib/ Hind Mezaina - Dubai Gardens http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-02/hind-mezaina/ Lawrence Abu Hamdan - Saadnaya (the missing 19dcb) http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-04/lawrence-abu-hamdan/ Ali Jabri http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-05/ali-jabri/ Nesrine Khodr - Extended Sea http://u-in-u.com/en/sharjah-biennial/2017/sharjah/visual-tour-08/nesrine-khodr/

Our top picks of exhibitions and museums to see between January and March 2017. This episode includes: Performances/Music: 1. Jurassic Park and Raiders of the Lost Ark Cinema Concert at Dubai Opera 2. Shakespeare Under the Stars - Macbeth in Abu Dhabi, Dubai, Ajman 3. Performances at NYU Abu Dhabi Art Center www.nyuad-artscenter.org/en_US/events/ Exhibitions in Dubai: 4. Basel Abbas and Ruanne Abou-Rahme - And Yet My Mask is Powerful I at Art Jameel Project Space 5. Samia Halaby - Illuminated Space/Documentary Drawings of the Kafr Qasem Massacre at Ayyam Gallery 6. Joshua Watts - Emergent Momenta at FN Design 7. Vikram Divecha - Minor Work at IVDE 8. Lala Rukh - sagar at Grey Noise 9. Artist Run New York: The Seventies at Jean Paul Najjar 10. Fouad Elkhoury - Suite Egyptienne at The Thirdline 11. Image of Self at Total Arts in The Courtyard 12. Fari Bradley - STITCHES TO SAVE 9 WITH at The Mine 13. Abdolreza Aminlari - remnants, Aidan Salakhova’s - (In) Stability, Ammar Al Attar - The Medium is the Message at Cuadro 14. Adel El Siwi - The Face and Beyond at Artspace 15. Abbas Kiarostami - The Everlasting Roots at The Farjam Foundation Exhibitions in Abu Dhabi: 17. But We Cannot See Them: Tracing the UAE Art Community 1988-2008 at NYUAD Art Gallery 18. Bayn - The In-Between and Lest We Forget Emirati Adornment: Tangible & Intangible at Warehouse 421 19. Art of Nature by ADMAF in Umm Al Emarat Park Exhibitions in Sharjah: 20. Sadik Kwaish Alfraji - Once Upon A Time: Hadiqat Al Umma at Maraya 21. Design House 2017: Change, Coordinates + Someone Else at 1971 - Design Space 22. Sharjah Biennial 13 - Tamawuj

Our top picks of exhibitions and museums to see between January and March 2017. This episode includes: Mohammed Kazem - Receiving and Collecting at Gallery IVDE, Dubai (9 JAN - 23 FEB) http://www.ivde.net/exhibitions/50/works/ Kamal Boullata - Addolcendo at Meem Gallery, Dubai (16 JAN- 20 FEB) http://www.meemartgallery.com/exhibitions.php Etihad Museum, Dubai http://etihadmuseum.dubaiculture.ae/en/pages/default.aspx Women's Museum, Dubai http://womenmuseumuae.com/eng/ Lest We Forget - Emirati Adornment: Tangible & Intangible at Warehouse 421 , Abu Dhabi(4 FEB - 23 AUG) http://www.warehouse421.ae/en/exhibitions/ Bayn - The In-between at Warehouse 421, Abu Dhabi http://fact-magazine.com/index.php/tag/uae-unlimited/ Is Old Gold? at DUCTAC, Dubai (Weekly talks from 24 JAN, Exhibition 21 FEB - 7 APR) http://www.easteasteast.org/is-old-gold/ Performances at NYU Abu Dhabi Art Center http://www.nyuad-artscenter.org/en_US/events/ Hera Büyüktaşçıyan - Write Injuries on Sand and Kindness in Marble at Green Art Gallery, Dubai (15 FEB –6 APR) http://www.gagallery.com/artists/hera-buyuktasciyan Sophia Al Maria - Everything Must Go at The Third Line, Dubai (22 FEB - 25 MAR) http://www.thethirdline.com Rana Begum - The Abraaj Group Art Prize 2017 (15 - 18 MAR) http://www.artdubai.ae/mediagallery/rana-begum-winning-artist-of-the-abraaj-group-art-prize-2017/ Sharjah Biennial 13 (10 MAR - 12 JUN) http://sharjahart.org/biennial-13 But We Cannot See Them: Tracing a UAE Underground, 1988-2008 at NYU Abu Dhabi Art Gallery (2 MAR - 25 MAY) http://www.nyuad-artgallery.org/en_US/exhibitions/but-we-cannot-see-them/ Pop for the People: Roy Lichtenstein in L.A. at Skriball Culture Centre http://www.skirball.org/exhibitions/pop-for-people-roy-lichtenstein-la Desert X, Palm Springs, California (25 FEB - 30 APR) Antarctic Biennale http://www.antarcticbiennale.com Bela Tarr, Martin Scorcese and Apichatpong Weerasethakul at EYE, Amsterdam https://www.eyefilm.nl/en/exhibition/béla-tarr-–-till-the-end-of-the-world

Michael Rakowitz is a Chicago based artist whos works have appeared in venues worldwide including dOCUMENTA (13), P.S.1, MoMA, MassMOCA, Castello di Rivoli, the 16th Biennale of Sydney, the 10th Istanbul Biennial, Sharjah Biennial 8, Tirana Biennale, National Design Triennial at the Cooper-Hewitt, and Transmediale 05. He has had solo exhibitions at Tate Modern in London, Lombard Freid Gallery in New York, Alberto Peola Arte Contemporanea in Torino, and Kunstraum Innsbruck. The works find their roots across history, architecture, and cultural exchange. They ask us to play remote witness to atrocity and triumph as we are made complicit in the challenges and trials of a globalized world. Check out his current exhibitions at the Graham Foundation and Rhona Hoffman Gallery.    

A look back at our favourite art exhibitions and cultural events in 2015 and a quick look at upcoming highlights in 2016. Episode breakdown: 00.00-00.30 - Intro 00.30-08.50 - Nathaniel Rackowe's Radiant Trajectory at Lawrie Shabibi - Sadiq Al Fraji's Driven by Storms (Ali’s Boat) at Ayyam Gallery - Anahita Razmi at Carbon 12 - Gil Heitor Cortesão at Carbon 12 - Exhibitions at The Mine - Surveillance .02 at East Wing - Khaldoun Chichakli's Damascenes at Green Art Gallery - Zsolt Bodoni's The Shining Path at Green Art Gallery 08.50 - 10.50 - Juma AI-Majid Center for Culture and Heritage 10.50 - 13.40 - Raphael Lozano Hemmer's Pulse Corniche, interactive installation - Performances at NYUAD Art Center - Slavs and Tatars' Mirrors for Princes at NYUAD Art Gallery - Jill Magi at NYUAD Project Space 13.40 - 14.35 - Sharjah Biennial 12 - Light Show at Sharjah Art Foundation 14.35 - 26.03 2016 highlights: - Wael Hattar's Sold Out at Rotanda Gallery in AUD - Independent initiatives: Cinema Akil, The Flip Side, The Other Side, Yadawi - Not for profit organisations: Jean-Paul Najar Foundation - March Meetings at Sharjah Art Foundation - do it بالعربي at Sharjah Art Foundations's Bait al Shamsi - Farideh Lashai / Simone Fattal / Joana Hadjithomas and Khalil Joreige at SAF Art Spaces - 1980-Today: Exhibitions in the United Arab Emirates at Flying Saucer - Louvre Abu Dhabi - Warehouse 421 in Abu Dhabi including Lest we Forget exhibition - NYUAD Art Center - Alserkal Avenue expansion - Monir Shahroudy Farmanfarmaian/ Youssef Nabil / Hassan Hajaj at The Third Line - Larissa Sansour's In the Future They Ate From The Finest Porcelain at Lawrie Shabibi You can also read more here: http://www.theculturist.com/home/my-top-15-exhibitions-of-2015.html http://www.theculturist.com/home/my-cultural-highlights-of-2015.html

Hind Mezaina and Wael Hattar share thoughts on Sharjah Biennial 12 and review some of the work. Sharjah Biennial 12, 5th March - 5th June 2015 http://www.sharjahart.org/biennial/sharjah-biennial-12

The emirate’s contemporary arts event considers some thorny regional issues in a deceptively laid-back way, says the FT’s arts writer See acast.com/privacy for privacy and opt-out information.

Audio recording of a past Tate modern conference panel discussion about Sharjah Biennial 11.

Audio recording of a past Tate modern conference panel discussion about Sharjah Biennial 11.