Podcasts about steyerl

Nach dem Rücktritt der Findungskommission fordert die Künstlerin Hito Steyerl eine vollständige Neuorientierung der Documenta. Sie müsse alte Paradigmen über Bord werfen und endlich im „Zeitalter der Multikrisen“ ankommen.Steyerl, Hitowww.deutschlandfunkkultur.de, InterviewDirekter Link zur Audiodatei

EPISODE 1827: In this KEEN ON show, Andrew talks to the filmmaker, artist and writer Hito Steyerl about what she calls the "pyramid schemes", "on-boarding" tools and the "mean" creativity of our AI ageHito Steyerl (born 1 January 1966) is a German filmmaker, moving image artist, writer, and innovator of the essay documentary. Her principal topics of interest are media, technology, and the global circulation of images. Steyerl holds a PhD in philosophy from the Academy of Fine Arts Vienna. She is currently a professor of New Media Art at the Berlin University of the Arts, where she co-founded the Research Center for Proxy Politics, together with Vera Tollmann and Boaz Levin.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.

Given the manifold political, climate, and technological crises unfolding just two months into 2023, one wonders if that ominous future our species so fears is much closer than we anticipated. It is a tense and dramatic time, but it does further underscore the importance of the cultural figure Hito Steyerl. The German filmmaker's bold artworks investigate emerging technologies and media, and she often sites these inquiries within society and politics, globalization, and capitalism. Yet despite the complexity of the subject matter and her research-intensive process, Steyerl's works are readily enthralling, often manifesting as highly ambitious, immersive architectural environments. It is no small wonder that her work has reached a global stage. Last year, her largest-ever retrospective, called “I Will Survive,” wrapped its European tour at the Stedelijk Museum in Amsterdam. And just last month, her exhibition called “This is the Future” opened at the Portland Art Museum, where it is on view until mid-June. On this week's episode, European editor Kate Brown spoke to Steyerl to tackle some of the questions about what artificial intelligence, the metaverse, crypto, and an increasingly imperiled natural world might mean for us.

Given the manifold political, climate, and technological crises unfolding just two months into 2023, one wonders if that ominous future our species so fears is much closer than we anticipated. It is a tense and dramatic time, but it does further underscore the importance of the cultural figure Hito Steyerl. The German filmmaker's bold artworks investigate emerging technologies and media, and she often sites these inquiries within society and politics, globalization, and capitalism. Yet despite the complexity of the subject matter and her research-intensive process, Steyerl's works are readily enthralling, often manifesting as highly ambitious, immersive architectural environments. It is no small wonder that her work has reached a global stage. Last year, her largest-ever retrospective, called “I Will Survive,” wrapped its European tour at the Stedelijk Museum in Amsterdam. And just last month, her exhibition called “This is the Future” opened at the Portland Art Museum, where it is on view until mid-June. On this week's episode, European editor Kate Brown spoke to Steyerl to tackle some of the questions about what artificial intelligence, the metaverse, crypto, and an increasingly imperiled natural world might mean for us.

Hito Steyerl's Defense of the Poor ImageHito Steyerl was born in 1966 and quickly became prominent in Germany's filmmaking circles. She's interested in how images and motifs are spread worldwide due to globalization, militarization, and surveillance migration. Steyerl's work defies convention by layering metaphors on top of metaphors and painting satire over serious subjects. One clear thing throughout Steyerl's work is that she wants the audience to think about the topic as much as she did.In this episode, I share Steyerl's concept of a poor image. According to Steyerl, a poor image symbolizes this democratization and is a way to resist image commodification. A bad image is an image that has been degraded through technological reproduction. The degradation is a loss of quality and integrity in the image.Listen to this episode and learn Steyerl's definitions of a poor image, how it can be used to exploit vulnerable communities, market cheap products, the significance of poor image in media, and the value of a poor image.Key Talking Points of the Episode:[02:14] How to transform an image[04:03] High versus low resolution images[08:07] Valid arguments against the poor image [10:12] How poor image can be used to exploit vulnerable communities[12:06] The significance of a poor image[14:01] The value of a poor imageMagical Quotes from the Episode:"A poor image is any image that has been distributed or viewed through digital technology, posted on the Internet or shared on social media.""A high-resolution image is more immersive, visually appealing and of higher quality than a low-resolution image.""A bad image is only created as a result of being viewed, distributed, modified, and circulated in a digital landscape." Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Después de varios años y pandemia mediante, llegó el final del Volumen III. A modo de balance para los oyentes que se sumaron y los que ya estaban ahí, hicimos un repaso de nuestras historias y personajes favoritos. Como es costumbre, también reseñamos (sin spoilers) libros de otros/as autores/as que leímos durante este tiempo y valen la pena compartir. Oyentes constantes, nos reencontraremos en el Volumen IV.

Faced with waning state support, declining revenue, and forced entrepreneurialism, museums have become a threatened public space. Simultaneously, they have assumed the role of institutional arbiter in issues of social justice and accountability. The canon of Institutional Critique has responded to the social embeddedness of art institutions by looking at the inner workings of such organisations and has found them wanting. In After Institutions, Karen Archey expands the definition of Institutional Critique to develop a broader understanding of contemporary art's sociopolitical entanglements, looking beyond what cultural institutions were to what they are and what they might become. Karen Archey speaks to Pierre d'Alancaisez about the histories and futures of Institutional Critique, the museum's neoliberal catch-22, and about an exhibition that didn't happen. Karen Archey is Curator of Contemporary Art at Stedelijk Museum Amsterdam. Formerly based in Berlin and New York, she worked earlier as an independent curator, editor, and art critic, writing for publications such as Artforum and frieze. Lawrence Weiner, A Square Removal from a Rug in Use, 1969 Mel Bochner, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, 1966 Seth Siegelaub, The Xerox Book, 1968 Hans Haacke, Condenstation Cube, 1963-68 Steyerl, Hito. ‘The Institution of Critique'. In Art and Contemporary Critical Practice: Reinventing Institutional Critique, edited by Gerald Raunig and Gene Ray, 13–20. London: MayFlyBooks, 2009 Mario García Torres, Preliminary Sketches for the Past and the Future (Stedelijk Museum), 2007 Isa Genzken, Ohr (Ear), 1980 Josh Kline Park McArthur, Ramps After Institutions Karen Archey Published by Floating Opera Press, 2022 ISBN 9783981910889

Arend, Ingowww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Vincenzo Trione è l'autore del libro “Artivismo. Arte, politica, impegno” pubblicato da Einaudi. Vincenzo Trione è professore ordinario di Arte e media e di Storia dell'arte contemporanea presso l'Università IULM di Milano, dove è preside della Facoltà di Arti e turismo. È Presidente della Scuola dei beni e delle attività culturali e Direttore dell'Enciclopedia Treccani dell'Arte Contemporanea. In questo libro Vincenzo Trione ci presenta e descrive una nuova forma di arte politica: l'artivismo. Ne sono protagonisti gli artivisti, artisti - intellettuali che realizzano opere che raccontano dei mali del mondo. Si confrontano con temi quali le guerre, la povertà, le migrazioni, l'ambiente, si tuffano nella cronaca e colgono i lati più oscuri del nostro presente. Artisti come Ai Weiwei, Banksy e Steyerl che si impegnano in atti concreti, coraggiosi, visionari per immaginare un altro presente.Seguimi qui:www.periscritto.itwww.utopiaimpresa.it

HITO STEYERL DANK MEME STASH! Hey ya’ll, we’ve got some FEELINGS this episode. Half this episode is venting about some strange/shitty art world jobs we’ve had. We also mention decolonization practice, Walter Benjamin, cultural Marxism, and Imperfect Cinema as a foundation for Steyerl’s In Defense of Poor Image. Accessibility is the key word of this ep. … Continue reading "Episode 6 – A Drunken Intro to Hito Steyerl"

4th Council of Europe: Empowering Democracy through Culture – Digital Tools for Culturally Competent Citizens Lecture/Talk ZKM_Media Theater Fri, 20.10.2017 The Council of Europe's series of conferences dealing with the impact of digitization on culture was continued this year in Karlsruhe as a cooperation event with the ZKM. The aim of this year's conference in Karlsruhe was to focus on the potential of art and science, which has so far been under-utilized, as an effective means of strengthening democracy. The tools of digital culture were discussed. Video Documentary: ZKM | Institute for Visual Media Camera: Hannah Radgen Editing: Hannah Radgen Live Editing: Martina Rotzal /// Ermächtigung der Demokratie durch Kultur – Digitale Werkzeuge für kulturell zuständige Bürger Vortrag/Gespräch ZKM_Medientheater Fr, 20.10.2017 Die Konferenzreihe des Europarates, die sich mit den Auswirkungen der Digitalisierung auf die Kultur befasst, wurde in diesem Jahr als Kooperationsveranstaltung mit dem ZKM ausgerichtet. Das Ziel der diesjährigen Konferenz in Karlsruhe war es, den Fokus auf das bisher noch deutlich zu gering genutzte Potential von Kunst und Wissenschaft als wirkkräftige Mittel zur Stärkung der Demokratie zu richten. Dabei wurden die Werkzeuge der digitalen Kultur diskutiert. Videodokumentation: ZKM | Institut für Bildmedien Kamera: Hannah Radgen Schnitt: Hannah Radgen Liveschnitt: Martina Rotzal

To celebrate the launch of two new commissions, Collective devised a symposium which took place on 30th July 2010 featuring exhibiting artists Hito Steyerl, Kim Coleman and Jenny Hogarth. Other speakers included theorist Alfredo Cramerotti (author of Aesthetic Journalism), Francis McKee (curator and writer), Lisa Panting (Director of Picture This, Bristol) and Collective director Kate Gray. The symposium was chaired by Ian White (LUX, London) and was held at the City Observatory atop Calton Hill.

To celebrate the launch of two new commissions, Collective devised a symposium which took place on 30th July 2010 featuring exhibiting artists Hito Steyerl, Kim Coleman and Jenny Hogarth. Other speakers included theorist Alfredo Cramerotti (author of Aesthetic Journalism), Francis McKee (curator and writer), Lisa Panting (Director of Picture This, Bristol) and Collective director Kate Gray. The symposium was chaired by Ian White (LUX, London) and was held at the City Observatory atop Calton Hill.