Podcasts about staatliche akademie

Annemieke Bosman in gesprek met beeldend kunstenaar Henk Visch.  Visch kreeg op zaterdag 30 september de 13e Wilhelminaring, de Nederlandse oeuvreprijs voor beeldhouwers die ouder zijn dan vijftig jaar. De prijs wordt sinds 1998 eens in de twee jaar toegekend aan een in Nederland wonende beeldend kunstenaar. Stichting Wilhelminaring wil met deze prijs aandacht genereren voor de beeldhouwkunst in Nederland, het grote publiek laten kennismaken met kunst in de publieke ruimte en een bijdrage leveren aan het verstevigen van de positie van de beeldend kunstenaar ouder dan vijftig jaar. Eerder winnaars zijn onder anderen Lily van der Stokker (2021), Tirzo Martha (2019), Auke de Vries (2015), John Körmeling (2009), Maria Roosen (2006),en Joep van Lieshout (2000). Henk Visch (Eindhoven, 1950) woont en werkt in Eindhoven en Berlijn. Visch studeerde in 1972 af aan de Academie voor Kunst en Vormgeving in Den Bosch en werkte vervolgens als graficus en tekenaar. Hij was docent aan de Rijksakademie van Beeldende Kunsten in Amsterdam en aan de Jan van Eyck Academie in Maastricht. In Duitsland gaf hij les aan de Staatliche Akademie der Bildende Kunsten in Stuttgart en de Kunstakademie Münster. In 1981 had hij zijn eerste expositie met sculpturen, waarna veel solo- en groepstentoonstellingen volgden in binnen- en buitenland. Hij vertegenwoordigde Nederland op de Biënnale van Venetië (1988) en hij nam deel aan Documenta IX in Kassel (1992). In 2016 richtte hij de stichting HuisHenkVisch op, waar zijn eigen werk en zijn kunstverzameling zijn opgenomen en worden gepresenteerd in de tentoonstellingsruimte Auto Vitesse. Het werk van Henk Visch is opgenomen in belangrijke museale, bedrijfs- en privécollecties. Zijn beelden zijn op veel plekken in de publieke ruimte te bewonderen, ook in Apeldoorn: tegenover Paleis het Loo in Apeldoorn staat van zijn hand het Nationaal Canadees Bevrijdingsmonument (2000). Visch is winnaar van de Kunstpreis Darmstadt (Duitsland, 1991), de Prins Bernhard Cultuurfonds Cultuurprijs Noord-Brabant (2000) en de Jeanne Oosting Prijs (2018).

Anna Orlando"Rubens a Genova"Palazzo Ducale, Genovahttps://palazzoducale.genova.itPalazzo Ducale ospita, fino al 5 febbraio 2023, una straordinaria esposizione per raccontare la grandezza di Peter Paul Rubens e il suo rapporto con la città.La mostra è prodotta dal Comune di Genova con Palazzo Ducale Fondazione per la Cultura ed Electa, e nasce in occasione del quarto centenario della pubblicazione ad Anversa del celebre volume di Pietro Paolo Rubens, Palazzi di Genova (1622).La curatela è di Nils Büttner, docente della Staatliche Akademie der Bildenden Künste Stuttgart nonché Chairman del Centrum Rubenianum di Anversa, e di Anna Orlando, independent scholar genovese, co-curatrice della mostra L'Età di Rubens tenutasi a Palazzo Ducale nel 2004.Rubens soggiornò in diverse occasioni a Genova tra il 1600 e il 1607, visitandola anche al seguito del Duca di Mantova, Vincenzo I Gonzaga, presso cui ricopriva il ruolo di pittore di corte. Ebbe così modo di intrattenere rapporti diretti e in alcuni casi molto stretti con i più ricchi e influenti aristocratici dell'oligarchia cittadina. All'interno della mostra spiccano oltre venti dipinti di Rubens, provenienti da musei e collezioni europee e italiane che, sommati a quelli già presenti in città, raggiungono un numero come non vi era a Genova dalla fine del Settecento; da quando, cioè, la crisi dell'aristocrazia con i contraccolpi della Rivoluzione Francese diede avvio a un'inesorabile diaspora di capolavori verso le collezioni del mondo. A partire dal nucleo rubensiano, il racconto del contesto culturale e artistico della città nell'epoca del suo maggiore splendore viene completato da dipinti degli autori che Rubens per certo vide e studiò (Tintoretto e Luca Cambiaso); che incontrò in Italia e in particolare a Genova durante il suo soggiorno (Frans Pourbus il Giovane, Sofonisba Anguissola, Bernardo Castello e Aurelio Lomi, presente in mostra con un dipinto della Collezione Doria Pamphilj), o con cui collaborò (Jan Wildens e Frans Snyders).Con Rubens, e attraverso ciò che vide e conobbe, viene raccontata la storia della Repubblica di Genova all'apice della sua potenza quando, all'inizio del Seicento, conobbe un periodo di singolare vivacità non soltanto economica e finanziaria, ma anche culturale e artistica.Tra le opere che tornano a Genova, create da Rubens su commissione dei più agiati e potenti tra i genovesi di allora, si possono menzionare: il Ritratto di Violante Maria Spinola Serra del Faringdon Collection Trust, una dama finora senza nome, che grazie agli studi in preparazione della mostra è ora riconoscibile. Il San Sebastiano, proveniente da una collezione privata europea e mai esposto in Italia, che, grazie a un importante ritrovamento documentario, può ora riferirsi alla committenza del celebre condottiero Ambrogio Spinola. È esposto per la prima volta in Italia anche il giovanile Autoritratto, con un Rubens all'incirca ventisettenne, che un collezionista privato ha offerto come prestito a lungo termine alla Rubenshuis di Anversa e che eccezionalmente torna nel Paese dove fu eseguito, intorno al 1604.Rubens a Genova, a cura di Nils Büttner e Anna Orlando, è prodotta dal Comune di Genova con Fondazione Palazzo Ducale per la Cultura e la casa editrice Electa, e grazie al supporto e alla partecipazione dello Sponsor Unico Rimorchiatori Riuniti S.p.A.Sedici le sezioni della mostra dove sono esposti insieme a dipinti anche disegni, arazzi, arredi, accessori preziosi e volumi antichi. Oltre cento opere, tra cui trenta ascrivibili all'universo artistico di Rubens, a dimostrare la grandezza della città ligure visitata da uno dei maggiori artisti di tutti i tempi. Una selezione che conferma quell'appellativo di Superba dato a Genova, dove Rubens ha soggiornato più volte tra il 1600 e il 1607. Una scelta che consente, inoltre, di ripercorrere e in molti casi di ricomporre i rapporti con il patriziato genovese, che si sono protratti anche dopo il ritorno ad Anversa del maestro.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it

#036 »Warten, Raum und Vakuum« Prof. Ricarda Roggan. Professorin an der ABK Stuttgart und Fotokünstlerin. Zitate aus dem Gespräch: »Das Betreiben von Fotografie als Gegenteil von klick und schnell interessiert mich.« »Keine Bilder, die flach gerechnet wurden mit smarten Prozessen.« »Bildsprachen sind unübersichtlicher und ungenauer geworden.« »Der fantastische Moment. Respekt vor dem Objekt.« Ricarda Roggan wurde 1972 in Dresden geboren und lebt in Leipzig. Sie studierte Fotografie an der Hochschule für Grafik und Buchkunst in Leipzig und ist Meisterschülerin von Timm Rautert. 2013 wurde sie als Professorin an die Staatliche Akademie der Bildenden Künste in Stuttgart berufen. https://ricardaroggan.de/ https://eigen-art.com/kuenstlerinnen/ricarda-roggan/arbeiten/arbeiten/ https://www.abk-stuttgart.de/personen/ricarda-roggan.html http://www.klasseroggan.de https://www.horads.de/hochschulradio-stuttgart/page/16/ Geplante Ausstellung 2021: https://www.kunstverein-bremerhaven.de/ausstellungen/vorschau/ Episoden-Cover-Gestaltung: Andy Scholz Episoden-Cover-Foto: Privat Idee, Produktion, Redaktion, Moderation: Andy Scholz http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ Der Podcast ist eine Produktion von STUDIO ANDY SCHOLZ 2021. Der Initiator ist Andy Scholz, Jahrgang 1971, geboren in Varel am Jadebusen. Er studierte Philosophie und Medienwissenschaften in Düsseldorf, Kunst und Fotografie in Essen an der Folkwang Universität der Künste (ehemals Gesamthochschule Duisburg-Essen) u.a. bei Jörg Sasse und Bernhard Prinz. Andy Scholz ist freier Künstler, Autor sowie künstlerischer Leiter und Kurator vom FESTIVAL FOTOGRAFISCHER BILDER, das er gemeinsam mit Martin Rosner 2016 in Regensburg gründete. Seit 2012 hat und hatte er verschiedene Lehraufträge u.a. Universität Regensburg, Fachhochschule Würzburg, North Dakota State University in Fargo (USA), Philipps-Universität Marburg, Ruhr Universität Bochum. Er lebt und arbeitet in Essen. https://festival-fotografischer-bilder.de/ http://fotografieneudenken.de/ https://www.instagram.com/fotografieneudenken/ http://andyscholz.com/ http://photography-now.com/exhibition/147186

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock’s famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott’s papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels’ books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Reading Laurence Rickels‘ The Psycho Records (Wallflower Press, 2016) gave me the urge to ask random strangers questions like: Are you haunted by Alfred Hitchcock's famous shower scene? How do you feel about Norman Bates and other cinematic killers pathologically attached to their mothers? Does the thought of Anthony Perkins impersonating his dead mother and stabbing Janet Leigh make you uncomfortable and scared? Induce an uncanny sensation? Or does it seem dated, campy, even comical? Rickels is interested precisely in these vicissitudes of the primal shower scene–what he calls the “Psycho Effect”–as it is taken up and therapeutically transformed by subsequent slasher and splatter films. It is not an accident that Hitchcock chose the shower stall as the site for his most famous moment of Schauer, the German cognate meaning “horror.” Traumatized American soldiers returning from World War II, dubbed “psychos,” were transposed into filmic psycho murderers straddling psychosis and psychopathy. Norman was perhaps the first such hero of variegated diagnosis. In the 1970s and 1980s we encountered less exalted figures, like the cannibal Leatherface from Texas Chainsaw Massacre and Freddy Krueger of Nightmare on Elm Street fame. Still less sophisticated mass murderers followed: the zombies revived post-9/11 and, eventually, motive-less serial killers captured with the aid of “objective” forensics. All these characters address the difficulty of separation and mourning, the pull toward fusion with Mother, the trauma of the cut, survival, and industrial killing–the intimate violence of Nazi doctors and the impersonal push-button battles of the Gulf War. Many slasher and splatter films also tell the story of a newly emergent social category, subgenre, and audience member–the teen. Rickels devotes parts of the book to the postwar invention of adolescence, reading closely D. W. Winnicott's papers on antisocial teenagers and juvenile delinquency. We all experience adolescence as a brush with psychopathy, Rickels tells us; for many it is the path not taken. Perhaps this explains the appeal of the psycho, our “near-miss double.” In psychoanalytic terms, “there but for the grace of the good object go I.” [5] Other topics covered in our interview and in The Psycho Records include vampirism, the couple and the crowd, scream memories, laughter, and substitution. As those familiar with Rickels' books might expect, we often touch on one of the great themes of his oeuvre: mourning. Listen in! Laurence A. Rickels, PhD is a psychotherapist and scholar of literature, film, and psychoanalysis. He is Sigmund Freud Professor of Philosophy and Media at the European Graduate School (EGS) and most recently was professor of art and theory at the Staatliche Akademie der Bildenden Kunste in Karlsruhe, Germany. Anna Fishzon, PhD is Senior Research Associate at the University of Bristol, UK. She is a candidate at the Institute for Psychoanalytic Training and Research (IPTAR) and author of Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Sicle Russia (Palgrave Macmillan, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

David Chipperfield si è laureato all'Architectural Association School of Architecture di Londra, ha cominciato lavorando negli studi di Richard Rogers e Norman Foster. Nel 1984 ha fondato lo studio David Chipperfield Architects che attualmente ha sedi a Londra, Berlino, Milano e Shanghai. Ha vinto numerosi premi internazionali e menzioni per l'eccellenza nel design, tra cui il RIBA Stirling Prize nel 2007 e il premio dell'Unione Europea per l'Architettura contemporanea -- Premio Mies van der Rohe nel 2011. Ha insegnato e tenuto conferenze in tutto il mondo, come docente di Architettura presso la Staatliche Akademie der Bildenden Künste di Stoccarda dal 1995 al 2001 e come visiting professor presso le scuole di architettura in Austria, Italia, Svizzera, Regno Unito e Stati Uniti. Attualmente è R. Norman Foster Visiting Professor di Progettazione Architettonica all'Università di Yale. È Honorary Fellow dell'American Institute of Architects, membro onorario del Bund Deutscher Architekten ed è stato vincitore della Medaglia d'oro Heinrich Tessenow, del Wolf Foundation Prize in Arts e del Premio Gran DAI (Verband Deutscher Architekten-und Ingenieurvereine). Nel 2004 è stato nominato Commander of the Order of the British Empire per l'architettura, nel 2006 Royal Designer for Industry e nel 2008 è stato eletto alla Royal Academy. Nel 2009 è stato insignito dell'Ordine al Merito della Repubblica Federale di Germania -- il più alto tributo a persone fisiche al servizio della nazione -- e nel 2010 è stato nominato cavaliere per l'architettura nel Regno Unito e in Germania. Nel 2011ha ricevuto la Medaglia d'Oro del RIBA come riconoscimento alla carriera. Tra i suoi numerosi progetti ci sono il Museo privato Gotoh a Tokyo, la sede centrale della Matsumoto Corporation a Okayama, l'imponente opera di restauro e ampliamento dell'Isola dei Musei di Berlino, il River & Rowing Museum a Henley, il Cornerhouse Arts Center a Manchester, la Des Moines Public Library e il Campus Audiovisual a Barcellona. A Milano ha progettato il Museo delle Culture, un nuovo edificio in via di completamento, che si trova in Zona Tortona, al centro dell'area dell'Ex-Ansaldo, per la quale ha vinto il concorso internazionale di riqualificazione.

In her lecture Eyecatcher Marijke van Warmerdam talks about her films, photographs and sculptures since the early 1990s. In her work she focuses on the seemingly insignificant and allows these occurrences to widen and deepen into poetic studies. During fall 2011 Magasin 3 presented a selection of van Warmerdam’s films. Marijke van Warmerdam was born in 1959 in Nieuwer Amstel in the Netherlands. She has had numerous solo exhibitions, including the Venice Biennale and institutions such as Wiener Secession, Museum Ludwig in Cologne, ICA in Boston, and the Van Abbemuseum in Eindhoven. Her collected works can be seen in a large traveling retrospective starting at the Museum Boijmans Van Beuningen in Rotterdam this fall. Van Warmerdam lives and works in Amsterdam and has a professorship in Karlsruhe at Staatliche Akademie der Bildenden Künste. Recorded on September 23, 2011 at the Royal Institute of Art, Stockholm Language: English

In her lecture Eyecatcher Marijke van Warmerdam talks about her films, photographs and sculptures since the early 1990s. In her work she focuses on the seemingly insignificant and allows these occurrences to widen and deepen into poetic studies. During fall 2011 Magasin 3 presented a selection of van Warmerdam’s films. Marijke van Warmerdam was born in 1959 in Nieuwer Amstel in the Netherlands. She has had numerous solo exhibitions, including the Venice Biennale and institutions such as Wiener Secession, Museum Ludwig in Cologne, ICA in Boston, and the Van Abbemuseum in Eindhoven. Her collected works can be seen in a large traveling retrospective starting at the Museum Boijmans Van Beuningen in Rotterdam this fall. Van Warmerdam lives and works in Amsterdam and has a professorship in Karlsruhe at Staatliche Akademie der Bildenden Künste. Recorded on September 23, 2011 at the Royal Institute of Art, Stockholm Language: English