Podcast appearances and mentions of shaun gladwell

Im März 2023 konnten Besucher im Rahmen einer Kunstausstellung des Künstlers Shaun Gladwell in Melbourne ausprobieren, wie es sich anfühlen könnte, an einem Herzstillstand zu sterben. Dazu legten sich die Neugierigen auf einen vibrierenden OP-Tisch, bekamen eine Virtual-Reality-Brille aufgesetzt und wurden an einen Herzmonitor angeschlossen. Ein Proband berichtete: »Du kannst dich selbst in der Brille sehen und die Ärzte versuchen, dich wiederzubeleben. Es klappt nicht. Dann schwebst du nach oben ins All und immer weiter.« Als »meditativ und verstörend zugleich« wurde das simulierte Ableben im Programm zur Ausstellung beschrieben.Der Tod ist unheimlich und mysteriös, denn kein normal sterblicher Mensch kann uns Lebenden berichten, wie er sein eigenes Sterben empfunden hat und was danach kommt. Sterben und Tod machen daher vielen Angst. Wer sich dem Sterbe-Simulator aussetzt, versucht vielleicht, sich die eigene Angst vor dem Tod zu nehmen. Denn nicht zu wissen, was auf einen zukommt, kann sehr beunruhigend sein.Aber es gibt einen Menschen, der wirklich gestorben und wieder auferstanden ist: Es ist Jesus Christus. Er verspricht allen, die ihm vertrauen, dass er sie zu sich nehmen wird, damit sie dort sind, wo er ist (vgl. Johannes 14,3). Menschen, die mit Gott versöhnt sind, weil Jesus ihre Schuld am Kreuz bezahlt hat, brauchen deshalb vor dem Tod und auch dem Sterben keine Angst zu haben. Menschen, die Gottes Angebot jedoch ablehnen, haben zu Recht Angst, denn ihnen droht die ewige Gottesferne. Zu wissen, wie sich das Sterben anfühlt, ist nicht so wichtig. Wichtig ist letztlich nur, wo man nach dem Sterben die Ewigkeit verbringen wird.Daniela BernhardDiese und viele weitere Andachten online lesenWeitere Informationen zu »Leben ist mehr« erhalten Sie unter www.lebenistmehr.deAudioaufnahmen: Radio Segenswelle

Curator Sebastian Goldspink and artist Shaun Gladwell discuss his latest moving image work as part of the '2022 Adelaide Biennial of Australian Art: Free/State'

Featuring Sebastian Goldspink, Curator of Free/State, and artists Sera Waters and Shaun Gladwell.

With the lockdowns around Australia during 2020, running has been an increasingly popular way to get exercise and to explore the world. Shaun Gladwell has always shown an interest in movement in his art, and his latest exhibition, Homo Suburbiensis, shows him taking to the streets with the rest of us.

Shaun Gladwell’s practice engages personal experience and a wider speculation of art history to examine the dynamics of contemporary culture. Shaun transposes forms of urban expression such as skateboarding, graffiti, BMX bicycle riding, break-dancing and extreme sports into the multiple mediums of his practice. These performances, videos, paintings, photographs, sculptures and virtual reality works make discursive investigations into forms of creativity and notions of freedom. Hear Shaun speak more about his work in this conversation with Blair French, CEO of Carriageworks. The 'Art of influence' series features pioneering Sydney College of the Arts alumni, as they reflect on their careers, creative practice and the themes that inform their work. For more details, visit our website: https://bit.ly/34NTTba

Plus, Ashley Perry and Samuel Kreusler reimagine Michelangelo's David in First Commissions, and Hannah Reich looks into The Cost of Art.

Plus, Ashley Perry and Samuel Kreusler reimagine Michelangelo's David in First Commissions, and Hannah Reich looks into The Cost of Art.

Plus, Ashley Perry and Samuel Kreusler reimagine Michelangelo's David in First Commissions, and Hannah Reich looks into The Cost of Art.

Dr Barbara Polla presents on Australian artist Shaun Gladwell and the 2015 SCAF/UNSW Galleries collaboration. Dr Polla is an academic, a medical doctor and researcher, a curator and gallerist, writer, a former Swiss MP and a teacher. Recorded at Sherman Contemporary Art Foundation (SCAF), 23 July 2014, in association with SCAF Project 24, Shaun Gladwell: The Lacrima Chair, and SCAF Project 25, Collection+: Shaun Gladwell.

A discussion between Dr Kit Messham-Muir and Shaun Gladwell, moderated by Gene Sherman, about Gladwell’s time in Afghanistan in 2009 as an official Australian war artist. The discussion is followed by the official launch of Dr Kit Messham-Muir's publication, Double War: Visual Culture and the Wars in Afghanistan and Iraq, by Simon Mordant AM. Recorded at Sherman Contemporary Art Foundation (SCAF), 23 April 2015, in association with Shaun Gladwell: The Lacrima Chair, SCAF Project 24, and Collection+: Shaun Gladwell, SCAF Project 25.

Angus Trumble, Director, National Portrait Gallery, Canberra, and Gene Sherman, examine how Shaun Gladwell works to establish new perspectives within the field of contemporary portraiture. Recorded at Sherman Contemporary Art Foundation (SCAF) on 28 March, 2015, in association with SCAF Project 24, Shaun Gladwell: The Lacrima Chair, and SCAF Project 25, Collection+: Shaun Gladwell.

Sherman Contemporary Art Foundation (SCAF) presents two Shaun Gladwell projects: a major new commission at SCAF, The Lacrima Chair (SCAF Project 24), and Collection+: Shaun Gladwell (SCAF Project 25) at UNSW Galleries. In this film, Gene Sherman, Executive Director of SCAF; Barbara Polla, co-curator of Collection+: Shaun Gladwell; and Shaun Gladwell discuss the projects. Shaun Gladwell: The Lacrima Chair, SCAF Project 24, was presented at SCAF and Collection+: Shaun Gladwell, SCAF Project 25, was presented at UNSW Galleries, from 6 March – 25 April 2015.

Shaun Gladwell in conversation with Collection+: Shaun Gladwell curators Dr Barbara Polla and Prof. Paul Ardenne, moderated by Dr Gene Sherman AM. Recorded at Sherman Contemporary Art Foundation (SCAF), 5 March 2015, in association with SCAF Project 24, Shaun Gladwell: The Lacrima Chair, and SCAF Project 25, Collection+: Shaun Gladwell.

PF: I came upon a Shaun painting at a Helen Lempriere Scholarship exhibition, in a sea of what was then termed ‘Grunge’, and here was this beautifully painted double figure; two historical figures. And I immediately recognised an extraordinary talent in this young painter; found him out and became quite engaged with his work, and immediately asked him to do a piece of work, for a very small amount of money, and to get him to do something that he had not explored before. After a couple of months Shaun rang me to say that the work was finished, and that it was a video. I thought ‘Oh, dear oh dear’ My heart sank. But I thought ‘No, this is good. I’ve got to support this, and I’ve got to be interested’, and he had arranged a studio at the Art School. He was still in the final year of his masters, I think, and he showed me this most extraordinary video piece of his skateboarding. I didn’t even know he was a skateboarder. I was just transfixed by the beauty of this image of this skater pirouetting in slow motion, with the huge drama of the sea; the seascape behind him this incredible storm at sea. All these were elements of luck; the storm and so forth. And then with the rain falling on the lens of the camera transforming what was a video piece it becomes almost a pointillist, almost an impressionist painting, as the blurring, still with this figure eternally circling almost like an angel or some celestial body ready to return to another void; to another planet; to another world. And taking its leave in this last gyration, which just goes on, and on, and on. It’s quite mesmeric, quite simple in its dynamic, and yet the poetry and the intensity, and the sense of drama that is captured. I think it is an extraordinary video. This to me contained all the elements that I just think that great video art holds, and I just feel that in this young artist there is an extraordinary talent.