Podcasts about South London Gallery

This series of conversations with art educators expand on the ideas presented by Visualise: The Runnymede Trust and Freelands Foundation 2024 report on Race & Inclusion in Secondary School Art Education. In this episode 'Visualise the Future' we are joined by Carey Robinson, Deputy Director, Learning and Public Programmes at The Fitzwilliam Museum in Cambridge. She has formerly held strategic, curatorial, and creative producer roles at leading cultural institutions including Tate, the Institute of Contemporary Arts, the South London Gallery, and The Courtauld. Carey and I reflect and expand on the reports recommendations for the future and imagine a new direction for art education in the U.K. Carey's referenced the following resources in our conversation:Anti-Racism Framework for Initial Teacher Training/Educationhttps://indd.adobe.com/view/ffcc4fdd-e948-41fc-bb21-fca9e82b6b91 Centre for Creative Explorations (Dr Clare Stanhope)https://centreforcreativeexplorations.weebly.com/ Dr Claire Stewart-Hall (constructions of race in education)https://www.leedsbeckett.ac.uk/staff/associate-staff/claire-stewart-hall/ Centre for Race, Education and Decoloniality (CRED)https://www.leedsbeckett.ac.uk/research/centre-for-race-education-and-decoloniality/ My Primary School is at the Museumhttps://www.kcl.ac.uk/cultural/resources/reports/161107-primary-at-museum-report-stage-7-visual-interactive.pdf https://paradigmproject.co.uk/Read the report Freelands Foundation Visualise report here. Executive producer and host Lou MensahShade Podcast InstagramShade Podcast WebsiteMusic King Henry IV original composition for Shade Podcast by Brian JacksonEdit & Mix by Tess DavidsonEditorial support Dale Berning SawaPodcast design Joel Antoine-WilkinsonShade Art Review Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Paul Crook is an artist, and also head of Communities and Learning at South London Gallery. We talk about his work with young people in both community art and gallery education settings, and creative strategies to facilitate listening. Paul uses mind maps to think with young people about artworks and programmes; one young person comedically calls him a ‘Democracy Scheduler'.

The pop-up exhibition at the South London Gallery asks designers and artists to reinterpret the traditional birdhouse. Designer and exhibit curator Andu Masebo, along with creative director Ollie Olanipekun, share more about the project. See omnystudio.com/listener for privacy information.

Welcome to Episode 11 of Pattern Portraits! Lauren Godfrey chats with artist and filmmaker Michelle Williams Gamaker about costume as a nonverbal communicator in film, pattern stopping her in her tracks and the double echo of intergenerational clothes swapping. Michelle is an artist known for her ambitious films that enact fictional revenge, placing marginalised voices at the centre of the narrative. Her epic film work ‘Theives' was presented at South London Gallery in 2023, Dundee Contemporary Arts and Bluecoat in Liverpool in 2024. Michelle's work responds to films watched during childhood, unpacked and seen anew over time, which raise important conversations about race, representation, identity and agency. Michelle's work has won many awards including jointly winning the Jarman Award in 2020. Pattern and colour are intrinsic in her world from costumes and sets to the clothes Michelle wears herself. A pair of her striped boots have even been immortalised in the work of another artist, Madeline Pledge who I am also interviewing this season! Michelle has chosen some very special patterns, a polkadot and houndstooth from C&A passed down from her mum, a Kantha quilt kimono and Shalwar kameez adapted for wearing at her exhibition opening, a satin dress thrifted in Amsterdam and my personal favourite, an epic Paisley crossed with tiger print shirt by Pencaldi and B!You can see all of Michelle's patterns and more on instagram @patternportraitspodcastThe PATTERN PORTRAIT print artwork to accompany Michelle's interview and featuring the patterns we discuss is available to buy now at www.laurengodfrey.co.ukhttps://www.instagram.com/m.williams.gamaker/References: Thief of Baghdad 1940 - produced by Alexander Korda and directed by Michael Powell, Ludwig Berger and Tim Whelan, with additional contributions by William Cameron Menzies and Korda brothers Vincent and Zoltán.The Thief of Bagdad 1924 - directed by Raoul Walsh and starring Douglas Fairbanks. Anna May WongSabu Hosted on Acast. See acast.com/privacy for more information.

Contemporary and performance artist Paul Maheke moves between France, Congo, and Canada, exploring the ‘archive of their body' through drawing and dance, via Taboo Durag (2021). To Be Blindly Hopeful emerged from the very last sentence of a journal that Paul Maheke kept between August 2020 and June 2021, capturing the turbulence of the COVID pandemic. Central to Maheke's practice is a delicate dance between the individual and the collective, personal and broader sociopolitical contexts, echoing the sentiment expressed by bell hooks, who reminds us that ‘the space of our lack is also the space of possibility.' Currently based in France, Paul shares works 'staged' in previous exhibitions at South London Gallery, Chisenhale Gallery, and Tate Modern, highlighting how the ‘new' drawings, prints, book illustrations, and paintings on display here have long formed part of his practice. He explains how performance and dance can be both emancipatory and trapping, with respect to queerness, masculinity and gender, and the reality of being ‘brown body looked at my white audience' - drawing on his lifelong admiration for the French-born ice skater, Surya Bonaly. We discuss Paul's popular culture and academic Influences like Grace Jones and Félix González-Torres, Audre Lorde and Édouard Glissant, and Bruce Nauman to Paul B. Preciado - not as icons but real, complex people. Finally, Paul highlights how his work changes in its global travels, from the Baltic Triennale in Estonia, to Johanneburg, South Africa - and, drawing on collaborations with family members and fellow artist Melika Ngombe Kolongo (Nkisi) for the Congo Biennale in 2021, his personal relationship with arts institutions on the continent, as a diasporic artist. ⁠Paul Maheke: To Be Blindly Hopeful⁠ runs at MOSTYN, Wales until 29 June 2024. It includes Taboo Durag (2021), produced as a performance to camera for ⁠Glasgow International⁠ 2021. This episode marks this iteration of Scotland's biennale festival of contemporary art, which continues until 23 June 2024.** Paul has also shown work as part of the ⁠Diaspora Pavilion at the 58th Venice Biennale in 2019⁠, the first to feature an official performance programme co-produced with the Delfina Foundation, and has work in the ⁠Drawing Biennal 2024⁠, which runs at the Drawing Room in London until 3 July 2024. For another of Paul's collaborators, listen to Barby Asante's Declaration of Independence (2023), performed as part of Art on the Underground in London: pod.link/1533637675/episode/aa2803b68933ab974ca584cf6a18479c For another exhibition from MOSTYN, hear artist and curator Taloi Havini on Habitat (2017) and Artes Mundi 10: pod.link/1533637675/episode/e30bd079e3b389a1d7e68f5e2937a797 For more about bell hooks, listen to Professor Paul Gilroy, on The Black Atlantic (1993-Now): pod.link/1533637675/episode/90a9fc4efeef69e879b7b77e79659f3f And for more about Édouard Glissant, listen to Manthia Diawara, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019), part of PEACE FREQUENCIES 2023.: instagram.com/p/C0mAnSuodAZ/?img_index=1 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

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

To coincide with International Women's Day on 8 March, the South London Gallery is opening the exhibition Acts of Resistance: Photography, Feminisms and the Art of Protest. Activism and photography have long gone hand in hand but this collaborative exhibition, organised with the Victoria and Albert Museum (V&A), attempts to capture a new chapter in this distinguished history, with a particular focus on feminism across the world. We talk to Sarah Allen, the head of programme at the South London Gallery, and Fiona Rogers, the V&A's Parasol Foundation curator of women in photography, about the show. The financier, philanthropist, collector and leader of cultural organisations Jacob Rothschild died last week at the age of 87. We talk to Anna Somers Cocks, the founder of The Art Newspaper, who interviewed Lord Rothschild on numerous occasions, about his impact on the visual arts and heritage. And this episode's Work of the Week is Adelphi, made in 1967 by Robert Ryman. It is one of around 50 pieces by Ryman in the exhibition The Act of Looking, which opened this week at the Musée de l'Orangerie in Paris. Guillaume Fabius, the co-curator of the show, joins us to discuss the painting.Acts of Resistance: Photography, Feminisms and the Art of Protest, South London Gallery, London, 8 March-9 June.Robert Ryman: The Act of Looking, Musée de l'Orangerie, Paris, until 1 July.New subscription offer for The Art Newspaper: up to 50% off our annual subscription packages. Subscribe at theartnewspaper.com before 14 March to receive our bumper April issue, with a Venice Biennale Guide, the Art of Luxury magazine, our annual Attendance Figures report and a supplement on the Expo Chicago fair. Hosted on Acast. See acast.com/privacy for more information.

We have a cheeky bonus guest episode from Art Assassins, a collective based out of South London Gallery. They've been investigating the role galleries play in public life and they've put their research together in this episode -- enjoy & we will catch u next week! If you want a peep at the transcript, it's available on the white pube website :) A note from Art Assassins >> "Galleries, Get it Together!" is a collaborative podcast created by South London Gallery based art collective “Art Assassins”, Audio Artist Weyland Mckenzie-Witter and Researcher Dr. Patria Roman-Velazquez with the aim of exploring the question: "What does an equitable and community-led Gallery look like and what stories should be told?"Through weekly gatherings over 9 weeks, the group set out to interview: artists, (both independent and institutional) art workers and friends and family both native and new to South London. The result is an amalgamation of conversations and sound bites from all over, sharing different perspectives but also setting out to answer the question with the intention of implementing change within cultural institutions. Despite the range of participants and contributors coming from different backgrounds it is made painfully clear that an immense change is needed across the London art sphere and so the Art Assassins titled their podcast: “Galleries, Get it Together!” Image/graphics credit: Esme Wedderburn

We meet artist Rafał Zajko (b.1988, Białystok, Poland). Zajko's work deals with issues around the industrial past, exploring its environmental impact in relation to working class heritage and queer identities. His sculptural practice incorporates diverse materials and processes including ceramics, ventilation systems, prosthetics and performance as a means to examine folklore, science fiction and queer technoscience, placing an emphasis on the industrial materials and processes that resonate with his heritage. Zajko is currently working on a public commission with Wysing Arts Centre and St. Peters School in Cambridge, performance commission ‘Techno Harvest' for Deptford X festival and a new sculptural commission for Kunsthalle Vienna in autumn 2023. He studied for an an MFA in Fine Art at Goldsmiths, University of London and a BA (Hons) in Fine Art from Chelsea College of Art, London, UK. Recent solo exhibitions include ‘Amber Waves II', Galeria Fran Reus, Palma, Mallorca, SP (2022), ‘Song to the Siren', Cooke Latham Gallery, London, UK (2022), ‘Amber Waves', Public Gallery, London, UK (2021), ‘Resuscitation', Castor Projects, London, UK (2020), ‘We Were Here/My Tu Bylismy', Galeria Im. Slendzinskich, Białystok, PL (2019) and ‘Unputdownable', White Cubicle, London, UK (2018). Selected group exhibitions include ‘Support Structures', Gathering, London (2023), ‘Swiat nie wierzy lzom', Galeria Arsenal, Białystok, Poland (2022), ‘London Open 2022', Whitechapel Gallery, London Uk (2022), ‘New Contemporaries 2021', South London Gallery, London, UK (2021), ‘26 Degrees East', Wiels Annex, Brussels, Belgium (2020), ‘Age of Ephemerality', X Museum, Beijing, CN (2020), 'Clay TM', TJ Boulting, London, UK (2020) and ‘Bold Tendencies 2020', London, UK (2020). In 2020 Zajko was the recipient of the Bow Graduation Studio Award.Visit: RAFAŁ ZAJKO CLOCKING OFF open now and runs until 26th November 2023: https://queercircle.org/rafal/Nearest tube: North Greenwich. Free entry.Follow @Rafal_Zajko and @QueerCircleRafal's website is: https://www.rafal-zajko.com/ Hosted on Acast. See acast.com/privacy for more information.

Curator Folakunle Oshun links Peckham in the UK, and Lagos in Nigeria, with water and two centuries of shared colonial histories. Artist David Sanya captures European statues and lingering stereotypes in West Africa. Plus, Emeka Ogboh projects the sounds of the megacity onto the streets of south east London, and recreates the taste of migration with a brand new beer. Often called ‘Little Lagos', Peckham in south east London is home to one of the largest Nigerian diaspora communities. When the West African country declared independence after a century of British colonial rule in 1960, the flow of migration soon increased, with economic crises and civil unrest in the country. But individuals and families have long moved between both places. As a port city, Lagos became key to the transatlantic slave trade; its name meaning ‘lake', after the Portuguese, the first Europeans in the area. Using water as a channel to connect Lagos and London, a new exhibition at the South London Gallery brings together both Nigerian and British-Nigerian artists like Yinka Shonibare, crossing generations and diasporas. Its curator Folakunle Oshun, founder and director of the Lagos Biennal, describes growing up with CNN, navigating imperial architectures in Berlin and Paris, and why he'd never drive in London. Artist Emeka Ogboh takes us beyond the museum space, using loudspeakers to project the sound of Lagos' Danfo bus drivers onto the streets of Peckham. We sip his ‘bittersweet' beer made in collaboration with local brewery Orbit, a blend of English hops and Nigerian alligator pepper, and discuss how food and art can together capture the ‘multisensorial' experience of migration. Plus, closer to the River Thames, Birmingham-based artist David Sanya traces his travels from Nigeria to the UK, and how he combines the European artistic tradition of the sublime with Lagos' distinctive lake and seascapes, creating contemporary photographs of his own environments. Lagos, Peckham, Repeat: Pilgrimage to the Lakes runs at South London Gallery until 29 October 2023. Reframe: The Residency Exhibition runs at the Southbank Centre until 27 August 2023, part of the Southbank Centre's Planet Summer. For more, you can read my article. For more on A History of City in a Box, hear artist Ndidi Dike on EMPIRE LINES: https://pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 WITH: Folakunle Oshun, artist, curator, and founder and director of the Lagos Biennal. He is the co-curator of Lagos, Peckham, Repeat. Emeka Ogboh, sound and installation artist best known for his soundscapes of life in Lagos. Born in Nigeria and based between Lagos and Berlin, he creates multisensory work that takes the form of audio, installation, sculpture, and food and drink. David Sanya, artist and photographer. Born and raised in Lagos, he migrated to the UK in 2016, and practices between Birmingham and London. His collaborative work, I AM YOUR MOTHER DISMANTLED, is on view as part of Reframe: The Residency. ART: ‘Lagos Soundscapes, Emeka Ogboh (2023)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

We meet leading artist RENE MATIĆ to discuss current solo exhibition ‘A Girl For The Living Room' at Martin Parr Foundation, Bristol. This episode includes a special moment with living legend, and focus of Rene's new show, TRAVIS ALABANZA. We also explore earlier works exhibited at South London Gallery and their solo show at Quench Gallery, Margate. Plus we discuss a series of fifteen photographs that the Tate museum have acquired for their permanent collection - currently on display at Tate Britain's rehang of Modern and Contemporary British Art.Rene Matić (b. 1997, Peterborough, UK) is a London-based artist and writer whose practice spans across photography, film, and sculpture, converging in a meeting place they describe as "rude(ness)" - an evidencing and honouring of the in-between. Matić draws inspiration from dance and music movements such as Northern soul, Ska, and 2-Tone as a tool to delve into the complex relationship between West Indian and white working-class culture in Britain, whilst privileging queer/ing intimacies, partnerships and pleasure as modes of survival. In 2022 Martin Parr Foundation commissioned photographic artist Rene Matić to develop a new body of work in Bristol. Rene has created an intimate portrait of their friend Travis Alabanza, a Bristol born and based writer, performer and theatre maker. This new work comprises a mix of portraits alongside diaristic still lifes that document Rene and Travis's developing relationship as it became “lit by a table lamp instead of a disco ball.”‘We were excited to discover Rene's work and started to think about the idea of Rene shooting a project in Bristol and what this might look like. In 2022 we gave them a carte blanche to pursue any subject of their choice for this commission, so long as there was a Bristol connection. In ‘a girl for the living room' Rene has found a way of capturing and expressing their relationship with Travis Alabanza, a Bristol-born and based artist and performer.' – Martin ParrFollow @Rene.Matic on Instagram and their gallery @ArcadiaMissa, 35 Duke Street, London: https://arcadiamissa.com/rene-matic/A GIRL FOR THE LIVING ROOM BY RENE MATIĆ runs until 17th September 2023 in Bristol.Visit: @MartinParrFdn and https://www.martinparrfoundation.org/exhibitions/a-girl-for-the-living-room/Thanks for listening!!! Hosted on Acast. See acast.com/privacy for more information.

In this podcast, artist Valerie Asiimwe Amani discusses her first live performance To dismantle a house which was jointly commissioned by the Roberts Institute of Art and South London Gallery and presented in June 2022.RIA and South London Gallery invited Valerie to participate in a new five-week performance residency at South London Gallery. The work she developed whilst in residence presented a multisensory installation and performance that explored the intersection of cultures, reflecting Amani's diverse interests. During the conversation, Amani shares her experience of the residency, her feelings about performing live for the first time and reflects on the impact this experience has had on her artistic practice.Have questions, comments or want to see more of what the Roberts Institute of Art does? Reach us via therobertsinstituteofart.com, @therobertsinstituteofart and subscribe to our newsletter!

The monk and poet Dom Sylvester Houédard (1924-92) used his Olivetti Lettera 22 typewriter to fuse art and writing in concrete poetry. Born in 1924 he worked in Army Intelligence in India, Sri Lanka and Singapore during the Second World war and in 1949 he joined the Benedictine Abbey of Prinknash, Gloucestershire. Matthew Sweet looks at his life and art with guests Nicola Simpson, Rey Conquer, Charles Verey and Greg Thomas. Charles Verey is writing a biography of Dom Sylvester Houédard and jointly editing a book of talks given by Dom Sylvester in the context of Beshara, in the last years of his life. Nicola Simpson is editor of The Cosmic Typewriter, The Life and Work of Dom Sylvester Houédard (Occasional Papers, 2012) and curator of The Cosmic Typewriter exhibition and symposium (South London Gallery, 2012) and The Yoga of Concrete (Norwich University of the Arts, 2010). Her research interests focus on the influence of Zen and Vajrayana Buddhism on British Conceptual Art of the 1960s and 1970s. She has also worked on an online exhibition at the Lisson Gallery Greg Thomas is a British Academy Post-Doctoral Fellow at the University of Edinburgh studying concrete poetry. Rey Conquer writes on poetry and religion and lectures in German at the University of Oxford and researches the problem religious belief in art and literature poses to the secular imagination. Producer: Luke Mulhall

In this episode Jared speaks with R.I.P. Germain, an artist whose multidisciplinary practice spans themes of grief, Black music culture in the UK, and complex entanglements of masculinity. Based in Luton, R.I.P. Germain has exhibited at spaces including London's V.O Curations, Peak, South London Gallery and more. He was selected as one of the recipients for ICA London's Image Behaviour commissions, for which he is developing a film exploring African spiritualism in the Caribbean through first hand conversations with practitioners. His forthcoming solo exhibition, 'Jesus Died For Us, We Will Die For Dudus!', opens at London's ICA on February 21, 2023.

Oriana Fox interviews the artist Ann Hirsch whose video and performance art practice entails participant observation within myriad mediated contexts. For her project entitled Scandalishious, Hirsch became a YouTube camwhore with over two million video views and then made an appearance as a contestant on Frank the Entertainer…In a Basement Affair on Vh1.  Much has changed since that pioneering YouTube work, which was made back in 2008 when the platform had only just begun. While it's much more commonplace now for a woman to explore her sexuality online and be taken seriously as a complex human being, the power dynamics at play are still locked and in need of dismantling. The pace of change is both intensely fast and heartbreakingly slow within digital capitalism. Also discussed in this candid interview is Hirsch's recent work as a male alter ego; her musical about academia; and her prophecy that every woman will show her vagina on the internet  This interview was recorded live on Instagram in May 2021 as part of Oriana's digital residency at Mimosa House Gallery. You can watch the original video here.Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show.Ann Hirsch is a video and performance artist whose work has been shown to acclaim at MOCA Los Angeles; Performa, New York; South London Gallery, London; and the New Museum, New York. Credits:Produced, edited and hosted by Oriana FoxIntroductory Voiceover by John Kilduff, aka Mr. Let's PaintOriginal theme song written and performed by Paulette HumanbeingSpecial Thanks to Tom Estes, Lara Perry, Sven Van Damme, Katie Beeson, Janak Patel and Mimosa House Gallery, London***Would you like to see your name in the above credits list? In a couple of short steps, you can make that happen by supporting this podcast via Patreon.***Please rate and review this podcast to help others to find it!How to Rate and Review a Podcast on iTunes:First, Search for the Podcast in the Podcasts App. Note: You'll need to look the show up in the app.From Here, Select the 'Reviews' Tab, Then 'Write a Review'You'll Then Be Asked to Log in to iTunes.Then Tap the Stars to Rate the Podcast and Write Your Headline and Review.How to Rate and Review a Podcast on SpotifyFirst of all, you have to log in to your Spotify account, then follow these steps:Search Podcast pre-installed App on your phone.Hit the “Search” button. Here you will see “Write a Review” in the top right corner.You can also give ratings in the form of stars 1-5 (One star for lowest rating and five stars for highest ratings.)Submit your review.Visit www.theoshow.live for regular updates or follow us on Instagram.

This is a rebroadcast of an episode of This Thing We Call Art, a podcast where the host Kelly Lloyd speaks to people in the arts about their livelihoods. Lloyd originally interviewed artist Nicole Morris on February 25, 2021 and the 44-minute episode featuring portions of the two and a half-hour-long conversation was released on February 24, 2022. The podcast features a conversation that includes discussion of navigating being a solo artist and an art educator, the limitations of the formats of the solo show and the retrospective, motherhood, reproductive labor and care labor, and incidental interruptions in the creative process. Kelly Lloyd is a transdisciplinary artist who focuses on issues of representation and knowledge production and prioritizes public-facing collaborative research. Lloyd has recently held solo exhibitions at the Royal Academy Schools (London), Crybaby (Berlin), Bill's Auto (Chicago), Demo Room (Aarhus), and Dirty House (London) for which she won the Art Licks Workweek Prize. Lloyd was the Starr Fellow at the Royal Academy Schools during the 2018/19 school year and is currently studying at The University of Oxford's Ruskin School of Art and Wadham College for her DPhil in Practice-Led Fine Art with support from an All Souls-AHRC Graduate Scholarship and an Open-Oxford-Cambridge Doctoral Training Programme Studentship. In 2021, Lloyd launched This Thing We Call Art, a podcast and online archive featuring excerpts from 50+ interviews with people in the arts she has conducted since 2017. Nicole Morris is an artist working across gallery, education and community settings both in a solo and collaborative context. Her work uses textiles and film to explore themes of domesticity and labour and how these are performed or re-presented in new contexts. Her work has recently been included in exhibitions and projects at The Foundling Museum, London; Southwark Park Galleries, London; Royal Museums Greenwich, London; The Drawing Room, London; [SPACE], London; Baltic, Gateshead; South London Gallery; Bluecoat, Liverpool; G39, Cardiff; Jerwood, London and The National Gallery, Prague.

In this episode Gary Mansfield speaks to Fandangoe Kid (@fandangoekid)The fandangoe kid is a London based print artist who makes large-scale narrative driven pieces for the public realm. Her work seeks to smash taboos around complex subject matters such as loss, trauma release, mental health and gender constructs.The artist has created work for a wide range of purposes, for example with her ‘Staircase of Dreams' for London Design Festival 2020, working with young people to develop a collective narrative on daily activism.During the first lockdown, The Fandangoe Kid redesigned nurse's scrubs for Marie Curie x NHS London, working with a palliative care nurse via Zoom to develop the uniform, celebrating International Year of the Nurse.The Fandangoe Kid also works in film and screened her first short Into Your Light, directed with Tara Darby, at Tate Modern and on the Manhattan Bridge, looking at dancing as a tool for survival following great personal loss.For summer 2021, Annie launched The Fandangoe Whip, an ice cream van for mental health. The project has been commissioned by Tate, South London Gallery, Design Museum and many other institutions to deliver ice cream and workshops on creativity as catharsis.This summer, Annie will take her project The Fandangoe SKIP-- a touring and sustainable therapy kiosk for mental health-- across London and to New York City, following a commission by BBC World Service to document her work.Much of the artist's work is driven by navigating her own story, following the loss of many individuals in her family back in 2011, her practice being largely underpinned by the will to create a platform for open dialogue around the still taboo subject of grief.For more information on the work of Fandangoe Kid go tohttps://www.fandangoekid.com/To Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

In the first of a 2 part podcast, Professor Ana Laura López de la Torre discusses the history and democratic structures of the Universidad de la República, Uruguay with Sophie Hope. Ana Laura López de la Torre is a Professor in the Facultad de Artes, Universidad de la República, Montevideo, Uruguay and for 2022-23 is an Honorary Research Fellow with the School of Arts, Birkbeck. She has an established participatory arts and research practice established between 2000 and 2012 when she lived and worked in London, with major commissions from the ICA, Whitechapel Gallery, Gasworks, Tate Modern and South London Gallery, La Casa Encendida (Spain), de kunstbank (Belgium) and Demokratische Kunstwochen (Switzerland). She also worked as Associate Lecturer at the University of the Arts, London. Since moving back to Uruguay in 2012 she has been the Director of the Centro Cultural Florencio Sánchez, a public cultural centre in Cerro, a historical neighbourhood in the periphery of Montevideo. She continued to develop her participatory arts practice in the region, developing projects related to community-based organisation, cultural democracy and environmental struggles in Uruguay, Argentina, Chile and Brazil. From 2012 to 2015 she was the Coordinator of the first Uruguayan postgraduate course in Cultural Management, at the Espacio Interdisciplinario of the Universidad de la República, where she still teaches and is part of its Academic Advisory Board. In her current post at the Universidad de la República, she leads a department specialised in community-based art, and within this department she is Coordinator of two interdisciplinary research groups: Naturaleza, Sociedad y Arte (exploring human / more-than-human relationship in urban communities) and ACTO (Art, Organised Communities and Territories). The Universidad de la República is the public university of Uruguay. Founded in 1849, it enrols over 150 thousand students annually. It offers free tuition at undergraduate and postgraduate level in all disciplines and fields of knowledge. With its main infrastructure in Montevideo, over the last 30 years the university has embarked in a decentralisation process, creating 10 university campuses in different cities. Although fully funded by the state, the autonomy of the university's governance was enshrined in a national law in 1958 following 20 years of organised action by students. The governing bodies of all the Faculties and Institutes (and its central authorities) are democratically elected, with representation of teachers, students and graduate bodies, all academic, political and managerial decisions are taken by these bodies. Voting is compulsory and takes place every 4 years. The term ‘university democracy' encompasses this form of self-governance, which over the decades has produced the ethical guides that rule academic life.

In this week's episode, we sit down with Huidi Xiang to talk about her work in our current exhibition “Neither Here Nor There” at Lydian Stater in addition to how gaming influences her work, the overlaps between digital gaming assets and NFTs, the ethics of underpaying oneself, the problems of underpaying others, repetition as a metaphor for labor, the tragedy of The Villager's Down Special Move in Super Smash Brothers, the importance of faux material in her sculptures, the impossibility of building the ideal IKEA product, and repetition as a metaphor for labor. Huidi Xiang (b. Chengdu, China) is an artist and researcher currently based in Brooklyn, New York, USA. She holds an MFA in Art from Carnegie Mellon University (2021) and a BA in Architecture and Studio Art from Rice University (2018). In her practice, Huidi makes sculptural objects, installations, and systems to examine the spatial and temporal effects of inhabiting both virtual and physical worlds in late capitalism. By reimagining and reconstructing elements from different contexts, including on- and off-line, she creates works to construct a realm situating in between, intending to articulate the emerging politics and critical issues associated with the ever-expansive merging between the physical and the virtual, the real and the simulated, and the fact and the fiction. Huidi's works have been exhibited internationally, including OCAT Biennale at OCT Art & Design Gallery, Shenzhen, China, LATITUDE Gallery in New York, USA, Contemporary Calgary in Calgary, Canada, Hive Center for Contemporary Art in Beijing, China, Miller ICA in Pittsburgh, PA, USA, Center for Architecture and Design in New Orleans, LA, USA, and South London Gallery in London, UK. Huidi has also completed some artist residencies, including ACRE Residency Program(2021), the Millay Colony for the Arts (2020), and Project Row Houses Summer Studios (2016). Links; see shovel saw NFT elephant slide NFT CHEESE COLUMN 10 yr old Huidi playing the Guzheng

In this episode, Mary Hurrell shares and discusses her eleven-minute piece Avalanche Candy, a sonic choreography which explores the idea of falling. Guided by the vibrational and embodied quality of the work, we discuss audio as a way to communicate emotional and physical knowledge and intelligence. Collaging text, synthesised voice and field recordings, Hurrell explores notions of gravity within a digital realm; the listener is choreographed through a space of organic and artificial sensations, deconstructed movements and digital physicalities, a bubblegum-industrial dance. BioMary Hurrell (b.1982 South Africa) is an artist working across sound production, live performance and sculpture as a form of expanded choreography. She is interested in forms of language and movement in relation to physical and psychological experience. She has exhibited and performed both nationally and internationally, with selected solo performances, projects and exhibitions including: BUOY, Nicoletti Contemporary, London, (2021); Movement Study 6, The Bower, London (2018); 3 (OXIORCAD), Flat Time House, London (2018); 2 (AERIAL), Kunstraum, London (2018); 1 (PITCH), Body Ecologies 1,Centro Botin, Spain (2018); StereoSkin, Herdubreid Biosal, Seydisfjordur, Iceland (2017); EROTIC MECHANICS, Martello Street, London (2016); Call/Coda, Carlos/Ishikawa, London (2012). Selected group performances, exhibitions and festivals include; RADIOPHRENIA, CCA, Glasgow (2022); Cafe OTO, London (2021); Auto-Poem, Nicoletti X London Gallery Weekend, London (2021); UNDEX, Jupiter Rising x Edinburgh Art Festival, Jupiter Artland, Edinburgh (2019); Chou, Yamakiwa Gallery, Japan (2018); Body Echo, Nicoletti Contemporary, Paris (2018); An Evening Of Performances, The Roberts Institute of Art, London (2016); London Open, Whitechapel Gallery, London (2015); My Vocabulary Did This Too Me, South London Gallery (2014)Artist: Mary HurrellHosts: Nina Davies and Niamh SchmidtkeMusic: Joe Moss and John TrevaskisProducer: Flo LinesBroadcast through Radio Thamesmead

See here for full episode: patreon.com/aqnbIn this episode Jared speaks with R.I.P. Germain, an artist whose multidisciplinary practice spans themes of grief, Black music culture in the UK, and complex entanglements of masculinity. Based in Luton, R.I.P. Germain has exhibited at spaces including London's V.O Curations, Peak, South London Gallery and more. He was selected as one of the recipients for ICA London's Image Behaviour commissions, for which he is developing a film exploring African spiritualism in the Caribbean through first hand conversations with practitioners. His latest solo exhibition, Shimmer, is on now at Leicester's Two Queens gallery.

In episode 25 hosts Key (he/they) and Gray (he/him) gleefully dive into the long awaited As it Was song and music video! After giving their first impressions on the video and song (4:37) Key and Gray begin an in-depth lyrical analysis of As it Was. (14:30) Is it about romance? The pandemic? Fame? You decide! Gray and Key wrap up the discussion of the song itself by analyzing its production, instrumentation, and genre (48:45). Listen to hear their glee over the fact that Harry's learned to play the tubular bells, because of course he has. They then move on to a conversation about the music video, starting with a recap of everything that happens in it (59:50) and a brief overview of its directing team. Then, they talk about the music video's location and set, feat. appearances by the Barbican Center, the South London Gallery, and the Berthold Lubetkin Penguin Pool (1:05:35). Following this, they focus on Arturo Obegero's bespoke red and blue jumpsuits (1:18:58) and Yoann Bourgeois' choreography (1:29:16). Can either Key or Gray manage to pronounce “Celui Qui Tombe” correctly? Let's just say neither of them are fluent in French! They round out the discussion with some speculation about what the new single might mean for the Harry's House era and end the show with a chat about some non-Harry things that have brought them joy over the week (1:36:12). Source As it Was source document: https://docs.google.com/document/d/1lDWpjJXlBjdQvexqfKG_eEaPUudbnU8vv-0XJKPVohw/edit?usp=sharing

This week, the Londown was recorded in front a of a live studio audience at the beautiful South London Gallery. Merlin took to the stage with architect and director of Studio Nyali Nana Biamah-Ofosu, and Guardian Opinions Editor Hettie O'Brien to discuss this week in architecture. As COP26 drew to a close this weekend, we look at the response in architecture and the built environment, and spotlight Norman Foster's contentious Tulip tower which was last week vetoed over embodied carbon concerns. We also discuss the enormous £1.4 bn burden appalling housing puts on the NHS each year, the serious racism allegations mounting against London's cultural giant the Barbican, and the dreaded 4 month Northern Line closure on the horizon!The Londown is produced in association with the Architects' Journal. If you enjoyed the show, we recommend you subscribe to the AJ for all the latest news, building studies, expert opinion, cultural analysis, and business intelligence from the UK architecture industry. Listeners can save 15% on a subscription using this link. See acast.com/privacy for privacy and opt-out information.

Lauren Craig (She/her/hers) is a social-media shy, internet-curious cultural futurist based in London. Her practice draws on her experiences as an artist, curator, researcher, birth/death doula and celebrant. She has founded and directed five creative organisations with a background in ethical, social and environmental entrepreneurship and reproductive justice. Her practice moves with slow depth between performance, installation, art writing, moving image and photography. Through archival socialisation, she elevates lived experience as a tool for reframing past and present underexposed narratives. Through collaborative live engagement Craig invites us to presence conditions for ethical cultural memory.Craig's current project Rendering Experience takes a revisionist approach to Maud Sulter's book Passion: Discourses on Blackwomen's Creativity (1990), investigating the art historical legacy, impact and potential curatorial futures inspired by this formative yet overlooked text. Passion has featured in previously co-curated exhibitions The Rita Keegan Archive (Project) (RKAP) at South London Gallery, (2020) Show and Tell, The Women's art Library (2015). Forthcoming works, publications and events include collaborations with Feminist Review, Photofusion, Eastside Projects, The Womens' Art Library and Arts Catalyst. She is a member of RKAP, a social history and curatorial collective whose activities include the publication Mirror Reflecting Darkly, MIT Press and Goldsmiths May 2021 and exhibition Between There and Here at South London Gallery in September 2021 and.She has an MA in Enterprise and Management for Creative Arts from the University of the Arts London. Craig will continue her practice-based research as part of Syllabus VI 2020/21 and the Royal College of Art 2021/22.Edits:1) Lauren mentions the British Art Network initially (around the 13:17min mark and again at 19:07min), but then referred to them ongoing as British Artwork, rather than the complete title British Art Network. 2)  At 13:07 and 13:36 when Lauren mentions "Women's Work Project", she meant to say "Group Work in the Women's Art Library"

SHADE 'BEST ARTS & CULTURE' PODCAST - BRITISH PODCAST AWARDS 2021Special edition from Shade at South London Gallery ‘Making Sense' - a new digital resource that assembles people around ideas for structural change through creative practice.In this episode Lou Mensah speaks to Dr. Aminul Hoque about inclusive education and how our local community can support educators in achieving it.Dr. Aminul Hoque is a lecturer in the Educational Studies Department at Goldsmiths College London.Aminul's work focuses on issues of multicultural Britain, identity, social justice, youth policy, religion, race relations and Islamic feminism. With over 24 years of experience in the youth, community and voluntary sector, Aminul is a recognised expert in young people and cultural identity.Shade Podcast is produced and hosted by Lou MensahEditing and sound design by CA DavisMusic by Brian JacksonEpisode supported by South London GalleryDr. Aminul Hoque TwitterAuthor of British-Islamic Identity: Third generation Bangladeshis from East LondonPresenter: A Very British History: British Bangladeshis, BBC4, Feb 2020 https://www.youtube.com/watch?v=RosoCezTQ_oPresenter: Searching for Secrets: London, Smithsonian Channel, June 2021 Support this show http://supporter.acast.com/shadepodcast. See acast.com/privacy for privacy and opt-out information.

This episode, we are delighted to be joined by the multi-disciplinary artist and dear friend Paul Maheke. Based in London but originally from France, Paul's practice focused on dance but encompasses a collaborative body of work comprising performance, installation, sound and video. His work considers the potential of the body as an archive in order to examine how memory and identity is formed and constituted. Recent solo exhibitions include “A fire circle for a public hearing” at the Chisenhale gallery in London (2018) and Vleeshal Middelburg (2019), and “I Lost Track of the Swarm” at the South London Gallery (2016). Paul has also performed his work at major events across the world, including at the 2019 Venice Biennale (which was curated by another guest, Aaron Cezar), the 2019 Performa Biennal in New York, and the 2018 Baltic Triennial in Estonia (which is where I actually had the true pleasure of getting to meet Paul). He completed an MA Art Practice from École nationale supérieure d'arts de Cergy (2011) and was an Associate of Open School East's Programme of study. He is represented by Galerie Sultana and Goodman Gallery. His most recent work, Taboo Durag, is a new solo performance touching on personal trauma and healing and is part of the Glasgow International 2021. It is viewable every Saturday from 19 June – 31 July, midnight – midnight BST as part of the Digital Programming for the Glasgow International. In June it was announced that he had been commissioned by Artangel to produce a sound art and installations at Orford Ness, a barren shingle spit on England's Suffolk Coast, exploring the history of 'the island of secrets.' Some artists discussed in this episode: Surya Bonaly (ice skater) Michael Jackson Audre Lorde Felix Gonzalez-Torres Édouard Glissant (writer) Paul B. Preciado (writer) Grace Jones Lauren Hill Beyonce Björk Hannah Black Fred Moten Wu Tsang Bruce Nauman For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

Oriana speaks with the artist Harold Offeh whose practice engages with identity politics via an ambivalent and humorous self-casting within the pop-cultural material he admires (and in some cases, finds problematic).  He pre-empts his own type-casting by pointedly living within certain racialised stereotypes including the Mammy, an Afro-Brazilian manual labourer and a toilet attendant. The discussion touches upon a range of topics such as cultural appropriation; national identity and belonging; decolonising the curriculum; and the undervaluing of the formal qualities of feminist and anti-racist art. Dr Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show .Harold Offeh is an artist working in a range of media including performance, video, photography, learning and social arts practice. Offeh is interested in the space created by the inhabiting or embodying of histories. He employs humour as a means to confront the viewer with historical narratives and contemporary culture. He has exhibited widely in the UK and internationally including Tate Britain and Tate Modern, South London Gallery, Turf Projects, London, Kettle's Yard, Cambridge, Wysing Art Centre, Studio Museum Harlem, New York, MAC VAL, France. He lives in Cambridge and works in London and Leeds, UK where he is currently a Reader in Fine Art at Leeds Beckett University.Additional Artists Mentioned: Hattie McDaniel, Adrian Piper, Marlon Riggs, Sondra Perry, David Hammons, VALIE EXPORT, Mierle Laderman UkelesCredits:Hosted, edited and produced by Oriana FoxPost-production mixing by Stacey HarveyThemesong written and performed by Paulette HumanbeingSpecial thanks to Katie Beeson, Janak Patel, Sven Olivier Van Damme and the Foxes and Hayeses.

Welcome to the third episode of the new four-part series of in-conversations exploring anti-racism and the arts, co-curated by Shade and Convergence at the South London Gallery Season Butler is a writer, performance artist and teacher. Season's debut novel 'Cynet' was published in 2019 by Dialogue Books in the UK and Harper Collins in the U.S. Season & Lou discuss Race, Character and The Racial Empathy Gap in storytellingProduced and hosted by Lou Mensah, Shade Podcast See acast.com/privacy for privacy and opt-out information.

Art futures & BLMin conversation with The White Pube The White Pube is the collaborative identity of art critics Gabrielle de la Puente and Zarina Muhammad. They return as guests to talk about the positive changes they saw and those they hope for in the Arts, as a result of the BLM uprisings. @tate_united @riotgames @mark.leckey @swarzymacaly @thewagaduchronicles @theresnosignal@creativedebuts @cubitt_gallery @languidhandsI also share my thoughts on the season and our shared Shade communityShade is produced and hosted by Lou MensahPlease support this work by becoming a Shade PatronFull season music is composed by Brian JacksonMixing & sound design CA DavisThank you Kloris for supporting Shade Podcast Season FourSign up to Shade Patreon (for as little as £1 monthly) to receive your Kloris giftNew and existing patrons, simply message Shade privately on social media, along with your address, to claim your giftSupport for this episode comes from Convergence at the South London Gallery See acast.com/privacy for privacy and opt-out information.

In this episode Rosa Torr talks with Antonia Showering about the universal potential of telling personal stories through art, artistic process, special Swiss mountains and good music. Antonia Showering is known for her richly layered depictions of family members in landscape settings, deployed in warm, velvety washes of red, orange and green. Antonia is interested in how paint has the ability to manipulate or alter past experiences. Her works capture the ephemeral nature of memory, using canvas or paper as a portal into these private moments. Similar to the act of story-telling some parts are exaggerated, forgotten and other parts totally invented. ​Antonia has been featured in dozens of group exhibitions at the Stephen Friedman Gallery, South London Gallery, Hauser & Wirth, Timothy Taylor and more. She continues to make waves as one of Britain's most exciting artists and last year Antonia's first solo show at White Cube GALLERY was a major success. Antonia has generously donated 2 artworks to our Art on a Postcard Auction for International Women's Day. View lots 227 & 228: http://bit.ly/2ZHNkmI The Art on a Postcard Auction for International Women's Day is raising money for The Women's Prison Team at The Hepatitis C Trust to support their important work. The artists who have donated their work have used 'i am' as inspiration for the artwork. Artists include such luminaries as Claudette Johnson known for her large scale paintings of black women; ‘Punjabi, Liverpudlian' Dr. Chila Kumari Burman whose joyous work has been adorning the Tate Britain since Diwali; Japanese born, Brooklyn based artist Yui Kugimiya whose work is unique in its use of traditional painting techniques to create quirky stop-motion animations and Antonia Showering whose lockdown year included a White Cube show. Bidding starts at £50 25 Feb – 11 March 2021 View the auction - bit.ly/2XWXmiN

In this episode I take you through the origins and manifestations of the raised fist salute, which has more recently been associated with the BLM movement. We move on to my conversation with Nicola Green, the artist behind the work ‘In Seven Days’ - a series created from her unprecedented artistic access to Barack Obama’s 2008 Presidential campaign trial.Nicola Green is renowned for gaining access to iconic personalities from the worlds of politics, religion, and culture, including collaborations with Pope Francis and the Dalai Lama. In 2008 Nicola Green gained artistic access to Obama’s Presidential campaign. She had a front row seat to historic events: from Obama’s DNC nomination speech to Inauguration, Nicola was behind-the-scenes taking photographs, making sketches, and having conversations with press, staff and citizens. I spoke with Nicola about the process of creating this series, and she shares how her own multi race and faith family influences her work.Inspired by her own mixed-heritage and multi-faith family, she creates and preserves religious, social, and cultural heritage for future generations. Recording these events as they happen, and investing thousands of hours of academic and artistic research, she builds and curates substantial archives. In Seven Days is in the permanent collections of the National Portrait Gallery - The Smithsonian Institution in Washington D.C; The Metropolitan Museum of Art, New York; The Library of Congress, Washington D.C; and in both the International Slavery Museum and The Walker Art Gallery, in LiverpoolShade is produced and hosted by Lou MensahPlease support this work by becoming a Shade PatronFull season music is composed by Brian JacksonMixing & sound design CA DavisThank you Kloris for supporting Shade Podcast Season FourSign up to Shade Patreon (for as little as £1 monthly) to receive your Kloris giftNew and existing patrons, simply message Shade privately on social media, along with your address, to claim your gift!Support for this episode comes from Convergence at the South London Gallery See acast.com/privacy for privacy and opt-out information.

Welcome to the second episode of the new four-part series of in-conversations exploring anti-racism and the arts, co-curated by Shade and Convergence. This episode is part of the South London Gallery's Convergence Community Film Festival on Saturday 20th February 2021. Our guest today is Courttia Newland.Courttia wrote the screenplays for Steve McQueen's BBC Small Axe 'Lover's Rock' & 'Red, White & Blue' films. Courttia grew up in west London and published his first novel, The Scholar: A West-Side Story, aged 23, earning critical praise for his portrayal of a teenager’s life in the inner city. Since then he’s written seven more books and eight plays, winning numerous awards for his work. In 2000, he co-edited The Penguin Book of New Black Writing in Britain. In 2021 Courttia's novel A River Called Time was published by Canongate See acast.com/privacy for privacy and opt-out information.

With Guest Photographer Andre D WagnerGordon Parks’ work was shared widely during the 2020 BLM protests, perhaps to share comfort, solace and act as a collective creative marker acknowledging that our civil justice work continues. My guest Andre shares the impact of Parks’ work on his own photography, his experiences of the protests, plus his working practice & life as a street photographer It's such a beautiful episode. Thank you Andre for the conversationAndre D. Wagner is a photographer living and working in Brooklyn, New York. He explores and chronicles the poetic and lyrical nuances of daily life, using city streets, neighborhoods, parades, public transportation and the youth of the twenty first century as his visual language. His work and practice fits into the lineage of street photography that investigates the American social landscape, often focusing his lens on themes of race, class, cultural identity and community. He develops his own black and white negatives and makes silver gelatin prints in his personal darkroom. His photographs have been commissioned by The New Yorker, The New York Times, The Cut, The Wall Street Journal, The Washington Post, WSJ, Time Magazine and Vogue, among other publications. For the movie Queen & Slim Andre photographed the key art and the campaigns leading images. His photographs have appeared in a number of solo exhibitions and group shows in Los Angeles, New York and North Carolina. His first monograph, Here For the Ride, was published by Creative Future in 2017. He is currently editing a 7-year-old body of work titled New City, Old Blues, to be published soonAndre InstagramShade is produced and hosted by Lou MensahPlease support this work by becoming a Shade PatronFull season music is composed by Brian JacksonMixing & sound design CA DavisThank you Kloris for supporting Shade Podcast Season FourSign up to Shade Patreon (for as little as £1 monthly) to receive your Kloris giftNew and existing patrons, simply message Shade privately on social media, along with your address, to claim your gift!Support for this episode comes from Convergence at the South London Gallery See acast.com/privacy for privacy and opt-out information.

Shenece Oretha takes an experimental approach to the podcast format for Somerset House Studios’ Hyper Functional, Ultra Healthy series.   The multidisciplinary artist choreographs a DJ lecture mix that explores the theme of the body, using sonic forms that range from instruments and speech, to musicians, conductors, and listeners.  Oretha journeys through improvisational musical practices, audience culture, Black literature and emotional responses, layering music, speech and sound.  Listen as Oretha composes this sonic terrain, and bear witness to sound’s ability to move us emotionally, physically and socially, connecting us even when we are apart.   ABOUT THE ARTIST Shenece Oretha is a London based artist who interrogates the emotional, physical and relational sonic material of Blackness. In sharp contrast to the stark technological hardware often present in her installations, her work builds on the mobilising effects of Black oral traditions, celebrating the exchange and participation of intimate action, testimonials and emotional responses to generate expressions of collective imagination.   She has exhibited and performed her work both nationally and internationally. Recently her work ‘ Called to Respond’ was shown at Cell project space in 2020. Her first solo exhibition, TESTING GROUNDS, curated by Taylor Le Melle, was presented with Not/Nowhere at Cafe Oto, London (2019). Group exhibitions include 'Cinders, Sinuous and Supple', curated by Deborah Joyce Holman, Lausanne Les Urbaines, Switzerland (2019); 'PRAISE N PAY IT/ PULL UP, COME INTO THE RISE', South London Gallery, London; and 'BBZBLKBK: Alternative Grad Show', Copeland (both 2018). Presentations of performance work include 'Towards a black testimony', Stroom Den Haag curated by Languid Hands (2019); Wysing Polyphonic Festival, Wysing Art Centre, Cambridge (2018);'Congregation', ICA, London, (2017). 

This bonus series of four co-curated conversations between Shade and Convergence - the South London Gallery’s platform for critical conversations, screenings and written commissions - explores anti-racism and the arts.This first episode features Kevin Morosky, filmmaker, advertising creative director and co-founder of We are Pocc (the creative network accelerating equality and equity, for culturally and ethnically diverse people in the creative industries) who speaks to Lou Mensah about the role that advertising plays in challenging racism, in our everyday lives. Future Convergence + Shade co curated conversations will be released through Feb, March & April, and they will explore the role that film, literature and sound play in challenging racism.Produced and hosted by Lou Mensah of Shade Podcast See acast.com/privacy for privacy and opt-out information.

Fashion & the BLM uprisingsImage Focus: British Vogue Cover, The September Issue 2020American Vogue Covers, The September Issue 2020GuestsOsman Ahmed, Fashion Features Editor i-D Magazine Mariel Tyler, Photographer(Former Photo Editor of ELLE.COM & Getty)Shade is produced and hosted by Lou MensahPlease support this work by becoming a Shade Patron Full season music is composed by Brian JacksonEpisode Two additional music by Luke CageMixing & sound design CA DavisThank you Kloris for supporting Shade Podcast Season FourSign up to Shade Patreon (for as little as £1 monthly) to receive your Kloris gift!New and existing patrons, simply message Shade via Patreon messenger, and write KLORIS in the subject header, along with your address, to claim your giftShade Podcast and CONVERGENCE at The South London Gallery have co-curated a four part conversation series asking ’Does the media have the potential to challenge racism?’SLG’s convergence platform hosts critical conversations, screenings and written commissions, freely available to everyone on their website. For our first talk, on January 23rd 2021, Shade Podcast will be in conversation with Kevin Morosky, filmmaker, senior advertising creative and co founder of POCC - the network accelerating equality and equity, for culturally and ethnically diverse people in the creative industries. The talk will be available from January 23rd, on the South London Gallery website and also on your podcast app as bonus Shade content….enjoy! See acast.com/privacy for privacy and opt-out information.

本集主題：「This is 達利」介紹 訪問編輯：莊琬華 內容簡介： 「每天早上起床，我都因身為薩爾瓦多．達利感到至高無上的喜悅。我不禁訝異自問，今天，薩爾瓦多．達利會做出什麼驚人創舉呢？」 薩爾瓦多．達利是世界上極受歡迎的藝術家，以奢華的生活方式、抗地心引力的翹鬍子及風格奇特的藝術聞名。 達利自詡為文藝復興大師，自認是名偉大的油畫家，純藝術恪守嚴格規範，他卻力求掙脫窠臼，大放異彩，風靡了眾生。達利的商業作品拓展了藝術疆界，當時卻飽受藝壇人士抨擊，但他不在乎。他嗜財如命，達利風潮也讓他大賺數百萬美元。 這世界上，再也無第二人，張狂如達利，天才如達利。 達利超現實主義的精髓，是將平凡化為不凡。但卻往往使觀看者一頭霧水。達利的超現實作品果真如此難懂？藝術史家與插畫家聯手，在這本僅八十頁的小書中，讓你輕鬆掌握達利、理解達利！ 作者介紹：凱薩琳．英葛蘭（Catherine Ingram） 凱薩琳是自由藝術史學家，畢業於格拉斯哥大學，取得一級榮譽學位，就學期間也是哈尼曼（Honeyman）獎學金得主。她專研十九世紀藝術，取得科陶德藝術學院（Courtauld Institute of Art）藝術碩士學位後，進入牛津大學三一學院（Trinity College）攻讀博士學位，畢業後在牛津大學莫德林學院（Magdalen College）擔任特聘研究員。凱薩琳曾在佳士得美術學院（Christie's）教授碩士課程，並曾於倫敦帝國學院（Imperial College）開課，教大學生藝術史。她也曾在泰德現代美術館開課，並在南倫敦藝廊（South London Gallery）擔任過私人助理一職。她現和家人同住倫敦。

本集主題：「This is 安迪．沃荷」介紹 訪問編輯：莊琬華 內容簡介： 「若你想全盤了解安迪．沃荷，只需瞧瞧我的畫作、我的影片和我本人即可。那就是我，如你表面所見，再無其他。」──安迪．沃荷 安迪．沃荷，二十世紀普普藝術大師！他說，在未來，每個人都可以成名十五分鐘，而他自己卻成名一世紀！ 他留下了瑪麗蓮．夢露的性感紅唇、他遭受槍擊卻死而復生、他將毛澤東普普化……他把自己打造成虛無、迷人、極具獨特魅力的公眾人物。 他的風格與眾不同，非比尋常……從一開始就獨創一格。 然而，沃荷就像一面鏡子，鉅細靡遺映照出現代社會的空虛；而且，冷酷無情，迫使人面對人性真實醜陋的一面。 《This is 安迪．沃荷》讓讀者認識真正的安迪．沃荷，並深入其概念看似簡單，卻意涵深厚的豐沛創作世界！輔以鮮明生動的插畫，展現他精彩非凡的生平，以及他的傳奇工作室「銀色工廠」。 作者介紹：凱薩琳．英葛蘭（Catherine Ingram） 凱薩琳是自由藝術史學家，畢業於格拉斯哥大學，取得一級榮譽學位，就學期間也是哈尼曼（Honeyman）獎學金得主。她專研十九世紀藝術，取得科陶德藝術學院（Courtauld Institute of Art）藝術碩士學位後，進入牛津大學三一學院（Trinity College）攻讀博士學位，畢業後在牛津大學莫德林學院（Magdalen College）擔任特聘研究員。凱薩琳曾在佳士得美術學院（Christie's）教授碩士課程，並曾於倫敦帝國學院（Imperial College）開課，教大學生藝術史。她也曾在泰德現代美術館開課，並在南倫敦藝廊（South London Gallery）擔任過私人助理一職。她現和家人同住倫敦。

Podcast: Intelligence Squared (LS 60 · TOP 0.5% what is this?)Episode: Danh Vo: Traces of History and The End of EmpirePub date: 2020-11-06In this week's podcast Design Museum director Tim Marlow, South London Gallery director Margot Heller, academic and critic Shahidha Bari and botanist Roy Vickery discuss the White Cube Gallery exhibition 'Danh Vo: 'Chicxulub'. Incorporating imperial narratives, plant folklore, Catholicism and Coca-Cola, this podcast in partnership with White Cube is a fascinating exploration of an exhibition steeped in history and nature.To find out more about the exhibition and see photos of the works discussed click here: https://whitecube.com/exhibitions/exhibition/danh_vo_bermondsey_2020To watch the video version of this talk, please visit our YouTube channel: https://www.youtube.com/iqsquared Support this show http://supporter.acast.com/intelligencesquared. See acast.com/privacy for privacy and opt-out information.The podcast and artwork embedded on this page are from Intelligence Squared, which is the property of its owner and not affiliated with or endorsed by Listen Notes, Inc.

In this week's podcast Design Museum director Tim Marlow, South London Gallery director Margot Heller, academic and critic Shahidha Bari and botanist Roy Vickery discuss the White Cube Gallery exhibition 'Danh Vo: 'Chicxulub'. Incorporating imperial narratives, plant folklore, Catholicism and Coca-Cola, this podcast in partnership with White Cube is a fascinating exploration of an exhibition steeped in history and nature.To find out more about the exhibition and see photos of the works discussed click here: https://whitecube.com/exhibitions/exhibition/danh_vo_bermondsey_2020To watch the video version of this talk, please visit our YouTube channel: https://www.youtube.com/iqsquared Support this show http://supporter.acast.com/intelligencesquared. See acast.com/privacy for privacy and opt-out information.

Anaïs Mitchell took the myth of Orpheus and Eurydice and turned it into Hadestown, which became an immensely successful musical at the National Theatre and on Broadway. Now she has written Working on a Song, a book that gets down to the nitty-gritty of writing for musical theatre, tracing the development of the songs of Hadestown from the spark of an idea to performance by a big ensemble and a full band on a huge stage. Northern Ireland’s foremost cultural event – Belfast International Arts Festival – is in full swing. As the city is introducing strict coronavirus restrictions, its mainly online content is proving a welcome distraction. But it's also a chance for everybody around the UK to watch the highlights from their front rooms as tickets are largely free. Marie Louise Muir gives her picks of the festival from a Macbeth reboot to an operatic version of the Good Friday agreement. Every day this week we’re hearing from one of the five winners of the 2020 Art Fund Museum of the Year. Today it’s the turn of the South London Gallery, who in the past year have doubled the size of their exhibition space by acquiring the fire station across the road. The gallery’s Director Margot Heller takes Samira on a tour. The photographer Chris Killip produced a series of black and white photographs of the North East of England in the 70s and 80s as it de-industrialised, called In Flagrante. Images such as a boy hunched on a wall and a ship towering beside children in the street have become iconic. Fellow photographer Martin Parr joins Front Row to mark the death of someone he calls one of the key players in post-war British photography. Presenter: Samira Ahmed Producer: Simon Richardson Main Image: Anais Mitchell. Credit: Shervin Lainez

Shepherd Manyika is based in South East London and his work ranges from video to sculpture to performance and everything in-between. He has also worked in arts education for a long time and his projects tend to have a big emphasis on community. We talk about Shepherd's progression as an artist and how music and art were something he kept separate, but are now part of the same practice. We talk about his Sound Opus series, which feature a sound system he built using and old supermarket trolley and also his collaborations with the 22A Records camp. We also touch on our time working together at the South London Gallery and how lockdown may begin to erode the exclusivity of the gallery industry.

Yulia Iosilzon is a painter who was born in Moscow and spent her formative years in Tel Aviv and currently lives and works in London. She earned an MA in Painting from the Royal College of Art in London, and a BA in Fine Art from Slade School of Fine Art in London. Recent exhibitions include Carvalho Park Gallery in Brooklyn, Bloomberg New Contemporaries, Leeds Art Gallery in Leeds and South London Gallery in London, Wolves by the Road at Assembly House in Leeds, Something Else at Triumph Gallery in  Moscow, The Origin of Who at Kvatdrat 16 Gallery in Copenhagen, and Varieties of Disturbance at Shelf Gallery in London. Written press about her work has appeared in Harper’s Bazaar Russia, Afterview Art Review, AucArt, a Renli Su collaborative project, and Young Space. She is the recipient of the Bloomberg New Contemporaries Prize and the Audrey Wykeham Prize, and has been shortlisted for the Hix Award. Sound & Vision is sponsored by Frederix Canvas and Golden Paints.

In the wake of the coronavirus epidemic and shutting down of much of the UK's cultural life, we have decided to bring you a series of interviews with contemporary artists, writers, filmmakers and other cultural figures, conducted via Skype (so apologies for the diminished audio quality), about their practices, the political issues that inspire them and the socio-economic conditions that have shaped their work. In the ninth of these Sessions, Juliet talks to Abbas Zahedi – a London-based artist whose work combines social practice, performance, installation, moving image, institution-building and writing. Working with migrant and marginalised communities in the UK, he explores the concept of neo-diaspora, looking at how personal and collective histories interweave. Here, they discuss Zahedi’s solo exhibition at the South London Gallery – currently suspended due to the Covid-19 crisis – as well as his contribution to the Diaspora Pavilion at the Venice Biennale in 2017. They also talk about art as a means of dealing with trauma and loss; art as a way of exploring cultural heritage; the role of food, drink and community spaces in Zahedi’s work; the nature of the art school; the impact of the War on Terror on his career; and how the art world may indicate what the post-crisis phase of neoliberalism looks like, as well as the implications of art moving online. A full list of references for the programme, with links, can be found via our Patreon at www.patreon.com/suite212, and are available to $3 subscribers.

On this first official episode of the podcast, I’m joined with Nuvoyo and Aisha, exploring the works of Danh Vo showing at the South London Gallery. Danh Vo is a Danish artist Danh Vo (b.1975, Bà Ria, Vietnam). Vo has engaged numerous collaborators to co-create the works with him, from his father, friends, lover and professor, through to gallery technicians and a group of local children visiting his Berlin farm. He has also incorporated works by other artists and designers into his own work which thereby becomes an expanding and diversifying series of experiments, questioning what happens if he brings one set of elements together, then another, and another. From the SLG website. https://www.southlondongallery.org/exhibitions/danh-vo/

Rafael Pérez Evans is a Spanish – Welsh artist and lecturer living between London and Spain. Prior to returning to study an MFA at Goldsmiths College in London, he spent various years living and working in Mexico and Brazil, where he setup Alto Residency in the jungle of Alto Paraiso (Brazil). Pérez Evans installations can function as tools for exploring questions around knowledge systems, ethnographies and ideas around progress. Being the son of a farmer and growing up in the Spanish countryside he has, since an early stage been engaging with various aspects of a Southern condition that tries to resist modernity. Through an inventive use of readymades, live materials and audience participation, the artist plays with the language of magic to conjure, redigest and expel stories back into news circulation, where the anecdotal found in local news is seen as a form of historical appeasement. Historical chains of production and consumption are often exposed in his works, often occupying a territory where poetic materic disorientations can bifurcate and reflect back ideas around the rural, the leftovers of coloniality and the forces of alterity. He received a BA in Fine Art from Goldsmiths College. His work has been exhibited internationally with recent solo-exhibitions at Nogueras Blanchard (Barcelona), Queens Collective (Marrakesh) & Abierto Theredoom Gallery (Madrid), two person exhibitions at Despina (Rio de Janeiro) and Yusto Giner Gallery (Spain), group exhibitions at Museum of Contemporary Art Taipei (Taiwan), South London Gallery (UK), Leeds Art Gallery (UK), C3A (Spain), Museum of Modern Art Karlsruhe (Germany) & Matadero (Madrid). He is recipient of New Contemporaries 2019 (UK) and ‘A Secas Program’ from C.A.A.C Museum (Seville), as well as being nominated for the DKV prize 2018 (Barcelona) and the Miquel Casablancas Award (2017 & 2018). He has completed residencies in C3A (Córdoba), Hangar (Barcelona), Matadero (Madrid), Red Studios (São Paulo) & Sassafrass (USA). Rafael also has an interest in expanded pedagogies where formal and informal platforms for knowledge exchange are created and disseminated, he created Alto Residency in the jungle of Alto Paraiso (Brazil), was co-founder of Art Lab Romita 26 (Mexico City) and is part of the Gazua Project (Rio de Janeiro). He has been a visiting lecturer at Central Saint Martins (UK), Nottingham Trent University (UK), University of Rochester (UK) and is currently an associate lecturer at London College of Fashion (UK). Thief, Invigilate. C3A Museum. Spain. 2019 Car, cardboard, oranges. 6 x 3.5 x 1.70 m Wheels, Pluriyuca. South London Gallery. 2019 Yams(Mandioques/Yucas), mirrors, cardboard, metal trolleys, plastic – cellophane. 146cm x 98cm

Welcome to Talk Art! Actor Russell Tovey and gallerist Robert Diament discuss how they first became friends a decade ago, plus more recent adventures at Frieze Art Fair, the Turner Prize, South London Gallery and other exhibition highlights in London, as well as Robert's gallery relocating to the seaside town of Margate, Kent. See acast.com/privacy for privacy and opt-out information.

Stephanie Macdonald of 6A Architects discusses her work on the new wing of South London Gallery, we hear from musician Richard Reed Parry of Arcade Fire to learn about his new solo album ‘Quiet River of Dust Vol. 1’, and meet photographer Harley Weir whose show ‘Homes’ is part of the Brighton Photo Biennial.

This episode of Lisson...ON AIR focuses on the life and work Dom Sylvester Houédard, with contributions from Nicola Simpson, Charles Very, Nicholas Logsdail and Matt O’Dell. Widely recognised as one of the leading theorists and outstanding international practitioners of concrete poetry, Dom Sylvester Houédard (1924–1992) is firmly rooted in Lisson Gallery’s early history, with his first solo exhibition held at the gallery during its inaugural year in 1967. A practicing Benedictine priest and noted theologian, Houédard, also known by his initials ‘dsh’ or ‘the Dom,’ wrote extensively on new approaches to art, spirituality and philosophy, and collaborated with artists such as Gustav Metzger, Yoko Ono and John Cage. Nicola Simpson is a curator and researcher at Norwich University of the Arts, researching ‘right mind-minding: the transmission and practice of zen and vajrayana buddhist method practices in the poemobjects of dsh 1963–75’. Recent curatorial projects on Dom Sylvester Houédard include: ‘Performing No Thingness, dsh, Ken Cox and Li Yuan-chia’, East Gallery, NUA, (2016), ‘The Cosmic Typewriter, The Life & Work of Dom Sylvester Houédard’, at The South London Gallery, (2012), ‘The Yoga of Concrete’, The Gallery, NUA,(2010). She is editor of Notes from the Cosmic Typewriter: The Life and Work of Dom Sylvester Houédard (Occasional Papers, 2012), Dom Sylvester Houédard (Ridinghouse, 2017). Charles Verey has been working on a biography of Dom Sylvester Houédard since 2005. Between 1966–69 Verey organised exhibitions with Dom Sylvester, John Furnival and Ken Cox at Arlington Mill in Gloucestershire. He has contributed to Notes from the Cosmic Typewriter (ed., Nicola Simpson, 2012) Dom Sylvester Houédard (ed., Andrew Hunt & Nicola Simpson, Ridinghouse, 2017) and co-editor of ‘The Kiss’: ten talks by Dom Sylvester to Beshara students, 1986– 1991 (ed., Jane Clark and Charles Verey, Beshara Publications, Autumn 2018) including a full biographical preface. Nicholas Logsdail is the founder of Lisson Gallery, one of the most influential international contemporary art galleries in the world. The gallery celebrated its 50th anniversary in 2017 with a major group exhibition, ‘Everything at Once’, staged at Store Studios in partnership with The Vinyl Factory, as well as with a comprehensive book, entitled ARTIST | WORK | LISSON, documenting more than 500 exhibitions since 1967, the year in which the gallery also staged its first shows of Dom Sylvester Houédard. Matt O’dell is Lisson Gallery’s archivist and an artist. Lisson...ON AIR is written and presented by Hana Noorali. Image © Clay Perry, England & Co

The artist Tom Phillips talks to Philip Dodd about his career as he marks his 80th birthday. His works range from sculptures, like a tennis ball with his own hair, to commissions for the Imperial War Museum and Peckham, and portraits of subjects including Sir Harrison Birtwistle and the Monty Python team. His interest in literature is seen in his version of Dante's Inferno and art made from reworking the text of a Victorian novel, in addition to his post card collection, photographic diaries and his role as a Royal Academician. Plus, as scientists and policymakers gather at Kew to take stock of the world's plant diversity, Philip is joined by botanist Pippa Greenwood, conservationist Murphy Westwood, and the 'Plant Messiah' Carlos Magdalena to consider the lilies. The Plant Messiah: Adventures in Search of the World's Rarest Species by Carlos Magdalena is published on the 1st of June. Connected Works by Tom Phillips runs at the Flowers Gallery, Kingsland Road, London from May 26th to July 1st. The South London Gallery hosts the world premiere performance and an audio-visual installation of his opera Irma on the 16 and 17 September 2017, drawn from his Victorian novel artwork A Humument. Producer: Craig Templeton Smith

This week: A BAS bureau twofer! First Patricia talks to Mika Tajima. This week, Patricia Maloney chats with artist Mika Tajima at the San Francisco Museum of Modern Art just before the opening of the exhibition Stage Presence, where her collaborative film, performance, and sculptural project, Today is Not a Dress Rehearsal, is currently on view through October 8, 2012 . Mika Tajima, was born in Los Angeles, and lives and works in Brooklyn. She earned a BA from Bryn Mawr College in 1997, an MFA from Columbia University in 2003, and attended The Fabric Workshop and Museum Apprentice Training Program in 2003. Her work has been included in the exhibitions The Pedestrians, South London Gallery, London (2011); Transaction Abstraite, New Galerie, Paris (2011); The Double, Bass Museum, Miami (2010); Knight’s Move, Sculpture Center, Long Island City (2010); Today is Not a Dress Rehearsal, San Francisco Museum of Modern Art (2009); The Extras, X Initiative, New York (2009); Learn to Communicate Like a Fucking Normal Person, Art Production Fund, New York (2009); Deal or No Deal, Kevin Bruk Gallery, Miami (2008); 2008 Whitney Biennial, Whitney Museum of American Art, New York (2008); Mika Tajima: Broken Plaid/Holding Your Breath (taking the long way), RISD Museum, Providence (2008); The Double, The Kitchen, New York (2008); Sympathy for the Devil, Museum of Contemporary Art, Chicago (2007); Music Is a Better Noise, PS.1 Contemporary Art Center, Long Island City (2006); Grass Grows Forever in Every Possible Direction, Walker Art Center, Minneapolis (2005); Echoplex, Swiss Institute Contemporary Art, New York (2005); and Uncertain States of America, Astrup Fearnley Museum, Oslo, Norway (2005). She is part of the music-based performance group New Humans. The following is part of the ongoing collaboration between Bad at Sports and Art Practical. You can read an abridged version of the interview here. Next: New India correspondant Tanya Gill goes to the India Art Fair! Tanya Gill, a Chicago artist living in New Delhi, wanders through the India Art Fair of 2012. Over the course of four days she spoke to Gallery owners and artists, and found a surprising number of Chicago connects. Recorded here are her conversations with Kiran Chandra, Renuka Sawhney of The Guild, artist Vibha Galhotra, artist Ram Rahman from The SAHMAT Collective, Laura Williams of Art 18/21, artists Joan Livingston and Katarina Weslien from the School of the Art Institute of Chicago, Ritika Baheti of the Autonomous Public Laboratory Project, and four living works of art by Preeti Chandrakant.

In the latest instalment of his audio series, our art critic guides you around the 'knockout' new space – a historic gallery that has been completely overhauled, and filled with specially commissioned works by artists including Fiona Banner and Paul Morrison

The latest instalment of Adrian Searle's weekly audio series on major contemporary artworks. This week: Nils Norman's Educational Facility No2, 2008, at the South London Gallery

Alfredo Jaar is an artist, architect and filmmaker based in New York. He presents his work in the context of his current exhibition at the South London Gallery, which focuses on his long-standing engagement with the socio-political realities of African co