Podcast appearances and mentions of Tania Bruguera

Das kubanische Regime zensiert und übt Repressionen aus. Kulturschaffende wie Miguel Barnet und Leonardo Padura, Maikel Osorbo und Tania Bruguera finden dennoch Wege, um mit künstlerischen Mitteln Widerstand zu leisten - im Exil oder vor Ort. Schumann, Peter B. www.deutschlandfunkkultur.de, Lange Nacht

Lynn Hershman Leeson talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Leeson, born in 1941 in Cleveland, Ohio, US, and now based in San Francisco, is one of the pioneers of media art. Over more than half a century, she has explored how people and society engage with, and are shaped by, technology—from surveillance and control, via scientific progress, to the formation and manipulation of identity. Her work has taken the form of sculptural installation, video, photography, sound, online art, performance, and much more. It moves fluidity across these disciplines and adopts disparate modes, from documentary to historical drama to science-fiction fantasy, in a language awash with art historical and cinematic allusion. At the heart of her practice is a fundamental analysis of how humans can navigate political, social and environmental upheavals, and how technology in contemporary society can liberate and empower as much as oppress and censor. She discusses the epiphany provoked by a photocopier malfunction that prompted her lifelong interest in humans' engagement with technology, how she felt forced to look beyond conventional spaces when a museum rejected her multimedia Breathing Machines, the early influence of Cézannes she encountered in the Cleveland Museum of Art, the conversations with women artists that led to the Women Art Revolution film and archive, her film with the Cuban artist-activist Tania Bruguera, and a transformative encounter with the theatre of Tadeusz Kantor. Plus, she answers our usual questions, including the ultimate: what is art for?Lynn Hershman Leeson: Are Our Eyes Targets?, Julia Stoschek Foundation, Düsseldorf, Germany, until 2 February 2025; Lynn Hershman Leeson: Moving-Image Innovator, Museum of Modern Art, New York, 7-20 June Hosted on Acast. See acast.com/privacy for more information.

An der Spitze des Widerstands gegen das Regime in Kuba steht die Künstlerin Tania Bruguera. Sie setzt sich mit den Strukturen von Machtsystemen auseinander. Ihre Kunst in wichtigen Museen auszustellen, sei wie eine Lebensversicherung, erklärt sie. Schumann, Peter B. www.deutschlandfunk.de, Kulturfragen

Am vergangenen Wochenende musste die Performance der kubanischen Künstlerin Tania Bruguera im Berliner „Hamburger Bahnhof“ abgebrochen werden, nachdem eine Gruppe Aktivist*innen mit Hassreden und pro-palästinensischen Aufrufen die Performance gestört hatten.

As she stages a non-stop reading of Hannah Arendt's The Origins of Totalitarianism for five days at the Hamburger Bahnhof in Berlin, Tania Bruguera reflects on growing concerns about the censorship of artists in Germany in relation to the Israel-Hamas war. She also discusses the comments made by Ai Weiwei this week that censorship in the West was now “exactly the same” as in Mao's China. The Courtauld in London this week opened an exhibition of the monumental charcoal drawings made by Frank Auerbach in the 1950s and early 1960s, and we take a tour of the exhibition with the show's curator Barnaby Wright. And this episode's Work of the Week is Mihrdukht Aims Her Arrow at the Ring, a folio from the Hamzanāma (Story of Hamza). Made in India in around 1570, during the Mughal period, it is one of the works acquired by the British painter Howard Hodgkin in a lifetime of collecting Indian art. The collection is the subject of an exhibition at the Metropolitan Museum of Art in New York, which opened this week. Navina Najat Haidar, one of the co-curators of the show, tells us more.Tania Bruguera: Where Your Ideas Become Civic Actions (100 Hours Reading “The Origins of Totalitarianism”), Hamburger Bahnhof – Nationalgalerie der Gegenwart, Berlin, until 11pm on Sunday, 11 February. You can hear a discussion about Hannah Arendt's legacy and her influence on artists in our episode from 15 January 2021.Frank Auerbach: The Charcoal Heads, The Courtauld, London, until 27 May.Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, Metropolitan Museum of Art, New York, until 9 June. And you can hear my interview with Antony Peattie, Hodgkin's partner for the last few decades of his life, about the artist's final paintings, on the episode from 25 May 2018.Offer: you can still buy The Art Newspaper's magazine The Year Ahead 2024, an authoritative guide to the world's must-see art exhibitions and museum openings—many of which were discussed on our podcast from 12 January. Get a print and digital subscription to The Art Newspaper at theartnewspaper.com before the 15th of this month to receive a copy of The Year Ahead with your next printed issue. Or you can buy the magazine on its own on the website for just £9.99 or $13.69. Hosted on Acast. See acast.com/privacy for more information.

Eine Lesung, die 100 Stunden dauert. Von Mittwoch, 7. Februar um 19 Uhr bis Sonntag, 11. Februar 2024 läuft eine Aufführung von Tania Bruguera im Hamburger Bahnhof in Berlin. Bruguera liest zusammen mit anderen Künstler*innen und auch mit dem Publikum aus dem Buch „Elemente und Ursprünge totaler Herrschaft“ von Hannah Arendt. Wir sprechen mit Sebastian Frenzel, stellvertretender Chefredakteur des Monopol Magazins, über Tania Bruguera, ihre Kunst und die Beweggründe hinter ihrer ungewöhnlichen Aktion. Moderation: Michelle Paulina Kolberg Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

Probst, Carstenwww.deutschlandfunk.de, Kultur heute

In the episode we chat with Cuban artist and activist Tania Bruguera about her 30-year career as a pioneering artist advocating artistic freedom and human rights in Cuba and beyond. We discuss how she uses art as a tool of social change, transforming her audience into “citizens” to bring about real change. She coins the practice Arte Útil - art as a tool.We go on to discuss the systematic oppression she has faced for her work at the hands of the Cuban state, beginning thirty years ago with the publication of a magazine to today where she lives in forced exile. We end with Bruguera discussing her complex relationship with institutions and the controversy surrounding her current exhibition at the Museo de la Solidaridad Salvador Allende in Chile.As always, if you are enjoying the Art Persists podcast please leave a review wherever you listen. Only with your help can these important stories be heard.Learn more: https://www.boslaarts.com/tapp-tania-brugueraFollow Bosla Arts on Instagram: https://www.instagram.com/boslaarts/

Polo Ramírez en Figura y Fondo con César Gábler Además, junto a Francisco Aravena conversaron con ek Dr. Lucas Krüger, investigador del INACH e Instituto Milenio Biodiversidad de Ecosistemas Antárticos y Subantárticos (BASE), que se refirió a la investigación "cómo el cambio climático y la disminución del hielo marino afectan a la reproducción del pingüino emperador". 

Rodrigo Guendelman Claudia Zaldívar, Museo de la Solidaridad sobre la exposición de Tania Bruguera y con Marcela Bocchetto, de Anglo American.

The Bride and the Good Night Cinderella, est le premier volet de la trilogie Cadela Força de l'artiste brésilienne Carolina Bianchi et de son collectif d'artistes. Présentée au Festival d'Avignon et reprise au Festival la Batie à Genève, cette pièce n'est pas passée inaperçu ! Il n'est jamais facile d'aborder sur scène le sujet des violences sexuelles faites aux femmes, mais Carolina Bianchi le fait avec un rare brio. Elle ne donne pas de réponses toutes faites, elle pose de nouvelles questions et engage le public dans une réception active. L'art de la performance rend cela possible. Le présent de la performance annule le quatrième mur et cette fiction de ce que nous pourrions appeler "un espace sûr". Nous devons faire face à la réalité de ce qui est reconstitué sur scène. La violence n'est pas là où nous le pensons. C'est aussi une question de regard et de réception. Cette pièce est en certaine manière une stratégie pour observer de près les conséquences de la violence sexuelle. Mais elle n'a pas la prétention d'effacer ni ne guérir les blessures traumatiques. En ce sens, "fuck catharsis" est le credo de Carolina Bianchi ! Mais en quoi c'est important, de poser dés le début de la pièce les ingrédients dramaturgiques ainsi que le protocole qui constitue la structure même de cette pièce ? Est-ce une manière de prévenir le public ou de le rendre complice ? Est-ce que la création artistique aujourd'hui cherche à être politiquement correct ? Est-ce que l'histoire de la performance est liée à l'histoire des femmes et de leur corps, et vice versa ? Que permet la performance que ne permet pas le théâtre dit classique ? Ce sont là quelques unes des questions que j'ai posé à Carolina Bianchi dans ce 55ème épisode du Beau Bizarre. Je suis très heureuse et émue d'avoir pu parler avec Carolina Bianchi de cette pièce si nécessaire, qu'il est si important de faire connaître et de diffuser ! Un grand merci à Carolina Mendonça pour sa généreuse contribution ! 
 Merci à Joel Curtz et Tania Bruguera pour leur œuvre ! Cet épisode n'aura pas pu exister dans sa version française sans l'aide précieuse de Natela Outtier à la traduction, et les voix sublimes de Quentin Tenaud et Pauline Weiss ! Merci à elleux ! Pour connaitre les dates de tournée du spectacle The Bride and the Good Night Cinderella, consultez les réseaux sociaux du Metro Gestao Cultural. Sachez que la pièce passe au Maillon à Strasbourg du 31 janvier et 2 février 2024; et que j'ai de grands espoirs pour re-voir cette pièce à Paris ou dans d'autres villes françaises, la saison prochaine ! Suivez nous sur les réseaux, abonnez vous sur les plateformes d'écoute ! Facebook Linkedin Instagram

The Bride and the Good Night Cinderella is the first part of the Cadela Força trilogy by Brazilian artist Carolina Bianchi and her artist collective. This first part, presented at the Avignon Festival and revived at the Festival de la Batie in Geneva, did not go unnoticed. It's never easy to tackle the subject of sexual violence against women on stage, but Carolina Bianchi does it with rare brilliance. She doesn't give ready-made answers, she asks new questions and engages the spectator in an active reception. Performance art makes this possible. The present of the performance cancels out the 4th wall, and the fiction of what we might call "a safe space". We have to face up to the reality of what has been reconstituted. Violence is not where we think it is. It's also question of gaze and receiving. This piece is a strategy for observing the consequences of sexual violence up close. But the piece won't erase or heal traumatic wounds. In this sense, "fuck catharsis" is Carolina Bianchi's credo! I'm so happy and moved to have been able to talk to Carolina Bianchi about this much-needed play, which is so important to publicize and disseminate! Carolina Bianchi is my guest on the 55th episode of Le Beau Bizarre, despite the distance and recording conditions. Thanks to Carolina Mendonça for her invaluable contribution! With works by Joel Curtz and Tania Bruguera. The Bride and the Good Night Cinderella plays September 21 & 22 at the KVS in Brussels, January 31 to February 2 at Le Maillon in Strasbourg; and I have high hopes of seeing this play in Paris and other French cities next season ! Le Beau Bizarre is a podcast from the independent studio AudioSauti, available on listening platforms. If you like this work, it's now possible to support it. You'll find the Tipee link in the bio. Thanks for your support, and thanks for listening ! Suivez nous sur les réseaux, abonnez vous sur les plateformes d'écoute ! Facebook Linkedin Instagram

C'est le choc du Festival d'Avignon. Une pièce entre théâtre et performance, conférence de recherche et tract féministe... Carolina Bianchi et Cara de Cavalo offrent une œuvre mémorable : « La mariée et bonne nuit Cendrillon », premier opus d'une trilogie.TW : féminicide, drogues, violences sexuellesEnglish translation available upon request.Les références du podcast : L'article sur la réaction à adopter en cas de soumission chimique (Madmoizelle)L'article de Frieze où Tania Bruguera donne sa vision des liens entre performance et politiqueLa recherche de Bruno Péquignot sur la performanceL'enquête du Ministère de l'Intérieur sur les violences sexuellesL'interview complète de Carolina Bianchi au Festival d'AvignonVoir « A noiva e o boa noite Cinderela »:le 19 et 20 août 2023 : Hambourg – Internationales Sommer festival Kampnagelle 2 et 3 septembre 2023 : Genève – La Bâtie - Festival de Genèvele 20 et 21 septembre 2023 : Bruxelles – Koninklijke Vlaamse Schouwburg (KVS)le 28, 29 et 30 septembre 2023 : Amsterdam – Frascati theaterle 14 octobre 2023 : Glasgow - Le tramwayDu 31 janvier au 2 février 2024 : Strasbourg – MaillonRetrouver le spectacle « Tomber dans les arbres » de la Compagnie La Hutte, raconté par Amandine Scotto :Le 18/09 à 21h : Les Déchargeurs (75)Le 19/09 à 21h : Les Déchargeurs (75)Le 23/09 : Festival la Mascarade (02)Le 19/10 à 19h : Théâtre du Garde Chasse (93)En décembre au Festival du Nouveau Théâtre de l'Atalante (75)Un mercredi sur deux, les Dramathis vous feront découvrir une pièce (et à travers elle, une problématique pour mieux comprendre le monde du spectacle vivant). Le premier lundi du mois, les DramaTea reviendront sur une grande question qui traverse le théâtre. Le dernier jour de la semaine ? Je me repose parce que faut pas déconner, merde.Pour plus de recos, retrouvez mes vidéos sur Tik Tok et sur Instagram.Un podcast écrit, incarné, réalisé et mis en musique par Mathis Grosos.Photos de couverture d'Antoine Betillouloux au Théâtre de l'Odéon.Remerciements à Camille Emilie, au Syndicat de la Critique et à l'ensemble des équipes du Festival d'Avignon. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

¿Tienes unos minutos? Te contamos la actualidad de Cuba y del resto del mundo en 'Cuba a diario', el podcast noticioso de Diario De Cuba. CINCO NOTICIAS DEL DÍA: —El PCC acusa a EEUU de ser 'responsable directo' del 11J https://diariodecuba.com/cuba/1689012586_48417.html —Los feminicidios en Cuba llegan a 50 con la verificación de dos nuevos casos https://diariodecuba.com/cuba/1689057548_48425.html —Bruno Rodríguez anticipa problemas para el régimen de Cuba en la Cumbre UE-CELAC https://diariodecuba.com/cuba/1689032142_48423.html —'El Che de los gays' se suma al ataque a Tania Bruguera y Cubadebate se hace eco https://diariodecuba.com/cultura/1689011619_48418.html —Kiev: en los territorios de Ucrania ocupados por Rusia se vive como en Cuba https://diariodecuba.com/cuba/1689008367_48413.html ESCÚCHANOS de lunes a viernes, a las 6:30 AM, hora de #Cuba | 12:30 PM, hora de #Madrid. SUSCRÍBETE a nuestro canal de SoundCloud: @ddc-radio-cuba-a-diario SÍGUENOS: • FB: www.facebook.com/DIARIODECUBA • TW: twitter.com/diariodecuba • IG: www.instagram.com/diariodecuba/ • Telegram: t.me/titularesDDC Sigue leyendo hoy la Cuba de mañana: • https://diariodecuba.com/

Polo Ramírez comentó la actualidad del mundo, además, César Gabler en Figura y Fondo comentó la polémica por la exposición de Tania Bruguera en el Museo de la Solidaridad Salvador Allende y Materia Gris, una exposición con de Nicolás Franco que requiere tiempo y distancia. Y en el último bloque, junto a Francisco Aravena conversaron con la investigadora de la Universidad de la Frontera y del Instituto Milenio de Inmunología e Inmunoterapia, Priscilla Brebi, quien comentó la investigación en que participa donde estudia un tratamiento para el cáncer gástrico a partir de matico.

Carolina Bianchi estreia-se no Festival de Avignon, de 6 a 10 de Julho, com “A Noiva e o Boa Noite Cinderela”. A peça fala de feminicídios e cria “uma antecâmara do inferno já com um pé no inferno”, explorando as possibilidades do teatro e da performance para denunciar violações quando as palavras não bastam. “Para que essas histórias sejam ouvidas”, a artista quer “re-significar imagens da dor” e um “rasgo do real” irrompe no palco. “Um exercício de política e de sobrevivência”. A brasileira Carolina Bianchi é encenadora, dramaturga, performer e actriz, directora do colectivo Cara de Cavalo e símbolo de um teatro radical. É movida por uma busca constante de novas linguagens que fazem pontes entre o real e o encenado, o visível e o misterioso, o consciente e o inconsciente... No seu trabalho fala sobre feminicídios, violência sexual e psicológica, sobre História, passado, tempo, memória, desejo... A sua encenação vai buscar referências da literatura, cinema e pintura, com o cinema a invadir o palco, e os seus textos esboçam tensões permanentes em narrativas não-lineares.Carolina Bianchi apresenta o seu trabalho pela primeira vez no Festival de Avignon com “A Noiva e o Boa Noite Cinderela”, Capitulo 1 da Trilogia Cadela Força, de 6 a 10 de Julho. A peça começa como uma conferência sobre os feminicídios e arrasta o espectador para o universo infernal das violações e dos limites da arte e do teatro. Perante a violência do que é dito e pensado, caem as fronteiras entre actor-espectador e as fronteiras entre jogo de actor e realidade. RFI: “A Noiva e o Boa Noite Cinderela” é a antecâmara do inferno? Consegue fazer-nos um resumo da peça?Carolina Bianchi, Encenadora de “A Noiva e o Boa Noite Cinderela”: Eu acho que ela é uma antecâmara do inferno já com um pé no inferno. Acho que essa ideia de antecâmara é um pouco a ideia da peça de que quando você vai trazer questões de violência sexual, é muito difícil você chegar ao ponto. Qual é o ponto? Acho que a gente está sempre a rodear as questões, a gente está sempre quase lá, a gente está sempre porque as perspectivas nesses casos são confusas porque envolvem memória. No caso do Boa Noite Cinderela é uma violência sexual que tem a ver com essa perda da consciência, com essa perda da memória, é tudo borrado, a dificuldade de se conversar sobre esses assuntos… Eu acho que tudo isso, para mim, me leva a entender que fazer uma peça sobre isso é estar ao redor desse buraco, é se acercar da coisa, é levantar essas hipóteses, é levantar essas camadas e essas poeiras.Quando se pensa que se está dentro do inferno, ainda se pode ir mais longe no inferno….Eu acho que neste caso sim. É formular uma sequência numa sequência dessa entrada no inferno e como esse inferno se vai transformando dentro dele, vai adquirindo diferentes formas. A peça também tem essa ideia de que a gente está buscando as palavras, a gente está buscando esse vocabulário que é incerto quando você vai falar sobre violência sexual. É difícil você defender algo, é difícil você ter a concretude, a certeza. É tudo muito borrado, a linha do tempo desses episódios é muito complexa, tudo é muito complexo. Então, a peça busca trazer essa violência, mas também deixando que ela se manifeste na sua complexidade sem tentar resolver nada. A peça começa com um retrato da artista Pippa Bacca e a apresentação da sua obra “Brides on Tour”. Durante a performance dela, vestida de noiva, ela foi violada e assassinada. Porquê começar com ela e até que ponto a arte é um risco para as mulheres, incluindo para si? Eu fiquei obcecada pela história da Pippa Bacca. Eu começo com a ideia de que é preciso olhar para a sua vida, olhar para o seu trabalho e não só para a questão da morte. Então eu começo pensando qual é o trabalho dessa artista, quem foi ela, o quanto eu consigo me aproximar dela para começar a trazer esse inferno dessas histórias, o quanto a gente se parece, o quanto a gente completamente se difere nos nossos contextos, nas nossas histórias. A história da Pippa Bacca intriga-me e o que eu faço com o público é compartilhar esse espanto que essa história me causa porque é uma história muito complexa, com muitas camadas que eu compartilho na peça. Eu sinto que começar por essa história é de alguma maneira também começar me inserindo nesse risco também. É preciso fazer uma performance que me põe em risco para conseguir me aproximar dessa história, para falar sobre ela.Esse risco acontece quando você toma a droga das violações que, no Brasil, se chama “Boa noite Cinderela”. É legal fazê-lo em França? E é um gesto em que voluntariamente você perde o controlo, entra em imersão e incorpora de facto um novo estado. O que é que este novo estado traz ao teatro?O que eu posso dizer é que o Boa noite Cinderela que eu tomo neste trabalho é uma combinação de remédios que são vendidos e que a maioria das pessoas que a gente conhece tomam. Essa é a questão do Boa noite Cinderela ou do “rape drink”, não existe só uma droga que faz isso ser uma “rape drink”, mas uma combinação de coisas. Essas coisas são encontradas com muita facilidade. É uma combinação que é permitida, que as pessoas têm acesso e para mim é encarar isso como uma performance. Isso não é um gesto que leva a nenhum outro lugar a não ser algo do qual eu me preparei para fazer e que precisa estar dentro desse contexto para que essas coisas sejam discutidas. *Na peça, ouvimo-la dizer que o público não deveria ser protegido e que o artista deveria sabotar as expectativas que criou com o seu trabalho. Porquê? E não há limites na forma como se representa? Ou tudo é representável, nomeadamente, a violência? Essa frase é não é minha, é uma frase da Tania Bruguera quando ela faz uma acção durante a Bienal de Veneza, onde ela justamente explicita, através da performance dela, o que é esse espaço que não é possível ser seguro dentro da arte naquele momento. Para mim é um texto super importante e que faz tremendo sentido para mim. A questão da auto-sabotagem que ela propõe também tem a ver com rever qual é essa noção de artista, como a gente discute essas questões e acho que para mim essa escolha da performance é muito isso. Se discutir essa violência é uma das questões deste trabalho - porque são muitas - é aproximar-se dessa questão da violência sexual, eu sinto que há algo aqui que eu preciso colocar em risco da minha presença aqui como performer, como directora, como autora disso que se instabiliza. Eu acho que a questão da protecção vira um limite que é externo às obras. Eu entendo que a questão da representação, ou como a gente representa as coisas, cabe muito bem e lindamente em determinados trabalhos. Eu, por exemplo, falo muito sobre a mecânica do próprio teatro dentro da obra.E critica o teatro dentro da obra, não?Eu acho que sou uma grande enamorada do teatro. Eu tenho uma relação muito amorosa com o teatro. Na verdade, eu não sei se critico o teatro dentro da obra. Eu acho que estou trazendo questões sobre muitas coisas. A minha grande questão é esta: o teatro é um possível espaço que pode sustentar esse tipo de discussão. Acho que é mais isso para mim. Então, claro que eu vou trazer questões da representação, eu vou trazer questões da autoria, eu vou trazer questões desse borrar os limites do que é que é seguro, do que não é. Acho que tudo isso faz parte do contexto dessa peça. A grande questão é essa para mim. O próprio título da peça, essa questão da força, para mim o teatro é um campo de força. Sem querer desvendar demasiado a peça, ela mostra a violência de uma forma muito crua. A recepção é tao intensa que cai a barreira entre a observação passiva e a compreensão activa, com o espectador a tornar-se parte dessa mesma violência. Qual é o efeito que espera produzir no espectador?Vou ser muito honesta. Eu não sei o efeito que será produzido, mas sei que o meu interesse é propor um trabalho ao espectador. Uma vez que estamos ali expondo todas as questões. Qual é o trabalho do espectador? Ele não é um espectador passivo e ele não pode ser. Então eu vou chamar de angústia isso que você está trazendo. Acho que essa angústia que produz é o que acontece quando você se depara com duas horas e meia desse assunto, claro, mergulhado também em questões imagéticas. A poesia está ali o tempo todo presente também. Eu amo desenvolver as cenas de uma maneira poética. Para mim, tem uma coisa que é: qual é o trabalho que esse espectador tem. Eu acho, por exemplo, que tem um trabalho de literatura muito forte nessa peça e que demanda uma grande leitura. Há muito texto. Acho isso importante, acho que para mim é isso: qual é o trabalho do espectador? O espectador está sendo convidado a fazer qual trabalho dentro do teatro?A sua peça revira tripas. É um manifesto? Um manifesto feminista? É uma forma de rebentar com os limites do próprio teatro? É uma performance política? O que é? Eu diria que é teatro. É muito teatro porque eu acho que todas essas coisas que você levanta fazem parte do que constitui o teatro na minha visão. Para mim, ela não é um manifesto porque também tão pouco ela pretende defender qualquer coisa. Ela está sempre desestabilizando as defesas. Ela é um exercício de política, ela é um exercício de sobrevivência, ela é um exercício de escuta, ela é um exercício de escrita, ela é um exercício de suportar como é que a gente cria estruturas para que essas histórias sejam ouvidas. Ela é super teatro para mim.O formato da peça é um género que também rebenta fronteiras. Estamos perante um teatro-palestra, teatro-conferência, teatro-performance? Já sei que me vai responder que é simplesmente teatro, mas é um teatro que não representa apenas a acção, ele é a própria acção. Ou seja, a representação torna-se ela própria a realidade… é um teatro revolucionário?Eu sinto que é uma peça de teatro, que dentro dela ela tem uma performance, que o que a gente fica ali vivendo também são os resquícios desse rasgo do real dentro da peça. Porque há um rasgo ali que acontece. O efeito desse real dentro da peça é muito forte. O que acontece não é uma representação exactamente como a gente estava falando antes. E quais são os efeitos que essa não representação produz dentro desse lugar mais sensorial que o teatro também tem. E que é muito forte. Eu acho que se a gente pensar, são diferentes formas de a gente se aproximar do que a gente pode chamar de realidade. A segunda parte é uma aproximação da realidade, mas ela é uma aproximação sensorial. Ela é uma aproximação de uma outra natureza. Ela parte de um outro ponto dessa conversa. E a primeira parte é mais directa. Ela tem essa coisa de palestra que está sendo colocada como uma performance e, ao mesmo tempo, ela é muito directa. “Eu vou compartilhar aqui os estudos que eu fiz para isso, pá pá pá, essas são as pessoas que eu juntei, essa é a pesquisa da peça”… O pacto está muito claro. Ao mesmo tempo tem uma enorme teatralidade. As ferramentas do teatro estão ali também o tempo todo.Mas dá a ideia que, a dada altura ou quando se passa para a segunda parte, o pacto é rompido porque a violência torna-se mais real. Fala de feminicídios nesta peça, fala de violações, temas que atravessam o seu trabalho. É preciso mostrar a violência de forma real para que as pessoas se apercebam da violência contra as mulheres?Da minha parte, enquanto artista, eu acredito que é preciso criar linguagem para se falar, inventar linguagem para se falar da violência porque, para mim, o discurso, o depoimento no palco… Se eu fosse ao palco e dissesse que isto aconteceu comigo, tá tá tá… Eu preciso criar linguagem para isso porque para mim o nível do depoimento não é suficiente. Tudo isso para mim é uma tentativa de se construir uma linguagem e esse é o resultado dessa linguagem. Qual é essa linguagem? Como essa linguagem pode ser no teatro? Eu pergunto isso dentro da peça. O que é que o teatro tem que parecer? Para mim é a tentativa de linguagem, de pesquisa de linguagem. Por isso tem essas duas partes que são tão distintas, mas ao mesmo tempo tão borradas, que se encostam. Onde esse cenário também precisa trocar, as coisas vão-se transformando, vão-se abrindo, o delírio vai ficando mais profundo.O público não poderá sentir, no final, que é obsceno aplaudir? Aplaudir no sentido de aplaudir a violência?Não, não se está aplaudindo a violência, está-se aplaudindo uma peça de teatro. Estamos ali a fazer teatro. Ensaiamos essa peça, há todo um trabalho. É interessante como essa violência vem, mas ela está amparada e acho que ao longo de todo o espetáculo, principalmente na segunda parte, fica evidente que essas camadas também se misturam com o maravilhamento dessa capacidade de se criar imagens para aquilo que é brutal, essa capacidade de se inventar, de se re-significar as imagens. O teatro abre essa possibilidade. A gente inventa para re-significar aquilo, a barbárie, a dor. Eu estou dizendo isso porque eu realmente acredito… A minha peça não vai mudar o mundo, eu não tenho esse lugar assim, acho que até sou bem pessimista nesse ponto. Mas eu acho que o teatro pressupõe algum nível de transformação quando as coisas são colocadas ali. Quando essa fantasmagoria do teatro abre esse espaço para que certas coisas sejam revistas. Elas vão ser revistas através do filtro da poesia, da alegoria.A Carolina Bianchi e a sua equipa estão no Festival de Avignon pela primeira vez. Já trabalhou com Tiago Rodrigues, o novo director. O que significa estar aqui e numa programação em que tantas peças são manifestos poéticos mas também políticos?Primeiro de tudo, para mim, estar aqui - e é a primeira vez que um trabalho meu se estreia num país que não é o Brasil - para mim é muito emocionante poder estar aqui e estar com a minha companhia com quem eu tenho trabalhado há quase dez anos. Estrear um trabalho com todas estas pessoas nesta colaboração, estrear esse trabalho no primeiro ano da direcção do Tiago Rodrigues no festival, que é um artista que eu admiro, com quem compartilho uma visão política, artística, geral, é muito emocionante. Eu acredito muito em como este festival mobiliza a cidade, em como as coisas acontecem aqui, parece fazer muito sentido com a maneira como a gente também opera dentro do nosso grupo. *[NDR] A produção da peça tem uma médica especialista em psiquiatria que acompanha Carolina Bianchi e que fez um prognóstico e uma dosagem para ela poder usar no espectáculo. Além disso, o festival colocou, como suporte, um médico para dar assistência em caso de necessidade.

Polo Ramírez en Figura y Fondo junto a César Gabler comentaron la visita de la artista Tania Bruguera, el libro "Mural En El Fin Del Mundo" y . la exposición Nuestro Último Retrato. Además, junto a Francisco Aravena conversaron con Rubén Rojas, director Ejecutivo Fractal EDM sobre Modelo discovery, el método que revolucionará la forma de tratar a pacientes con enfermedades cardiovasculares.

Le KunstenFestivalDesArts est l'un des rares festivals en Belgique, si ce n'est le seul, à être porté par les deux communautés officielles du pays : la communauté flamande et la communauté wallonne francophone. La question de la langue traverse ce festival qui communique en permanence dans ces deux langues officielles, en plus de l'anglais qui lui confère une dimension internationale confirmée. Une question de langue qui traverse naturellement les projets artistiques qui s'expérimentent à chaque édition, et qui s'abritent dans les différentes institutions culturelles bruxelloises, partenaires du festival. Mais Bruxelles est une ville où 180 nationalités cohabitent et 108 langues sont quotidiennement parlées. Comment alors questionner l'invisibilisation de tous ces savoirs ? Peut-on marginaliser notre manière de penser pour pouvoir rencontrer d'autres manières de penser? La langue définit elle une manière de penser ? La langue définit elle l'identité d'une personne ? Quelle identité et quelle pensée adviennent lorsque la personne est traversé quotidiennement par plusieurs langues ? Qu'est-ce que l'on transmet lorsque l'on transmet une langue ? Qu'est ce que l'on transmet lorsque l'on transmet pas une langue ? Comment aussi, une langue secrète, inventée, peut-elle devenir un espace sécurisé pour communiquer au sein d'une communauté menacée ? Une langue, sa langue est forcement maternelle ? Apprendre une nouvelle langue peut-il passer par des méthodes moins académiques, moins officielles, plus ludiques ? Qui a l'autorité pour transmettre une langue ? Qui pour reconnaitre des savoirs transmis mais non reconnus ? Et quels affects une telle transmission peut-elle mobilisée ? Ce sont là des questions qui traversent plusieurs projets présents dans cette 28ème édition du KunstenFestivalDesArts, à travers notamment le programme Free School, pensé par les deux directeurs artistiques du festival Dries Douibi et Daniel Blanga Gubbay qui ont associé à la conception de cette édition, l'artiste et activiste cubaine Tania Bruguera. Dont on a pu voir un récent travail à la dernière Documenta à Kassel à l'été 2022. Daniel Blanga Gubbay et Tania Bruguera sont mes invité.e.s, dans ce 44ème épisode du Beau Bizarre ! Avec les apports de Salim Djaferi, de Gerald Kurdian et de Mirene Arsanios. Site du festival : https://kfda.be/ Suivez nous sur les réseaux, abonnez vous sur les plateformes d'écoute ! Facebook Linkedin Instagram

Shortlisted for the Independent Podcast Awards 2023. This episode considers recent legal changes to protest laws in the UK and the continuing importance of freedom of expression through the work of the Chinese artist Ai Weiwei, Cuban performance artist Tania Bruguera and the Russian artist collective Pussy Riot.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.To see the images and watch the videos discussed in the podcast visit www.thegallerycompanion.com. This is where you can subscribe to The Gallery Companion email list, which goes out every fortnight to accompany each new podcast episode, and is packed full of links to more info. That's where you can share your thoughts and join the conversation too. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thegallerycompanion.com/subscribe

Buenos días desde La Habana, soy Yoani Sánchez y en el "cafecito informativo" de este miércoles 3 de mayo de 2023 tocaré estos temas: - Tercera semana consecutiva de una visita rusa de alto nivel a Cuba - Ola de robos en las iglesias cubanas - Forzada al exilio, la artista Tania Bruguera avisa que volverá a Cuba - Día de la libertad de prensa Gracias por compartir este "cafecito informativo" y te espero para el programa de mañana. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Los enlaces de hoy: Derroche de buenas intenciones de Rusia hacia Cuba en la visita del asesor económico de Putin https://enterate.link/cuba/Derroche-intenciones-Rusia-Cuba-Putin_0_3525247443.html Forzada al exilio, la artista Tania Bruguera avisa que volverá a Cuba en agosto https://enterate.link/cultura/Forzada-artista-Tania-Bruguera-Cuba_0_3525247444.html Rusia acusa a Kiev de atacar con drones el Kremlin e intentar matar a Putin https://enterate.link/internacional/Rusia-Kiev-Kremlin-intentar-Putin_0_3525247447.html Para matar al Castro que llevamos dentro https://enterate.link/opinion/matar-Castro-llevamos-dentro_0_3524647512.html Las reformas fallidas complican a la izquierda latinoamericana https://enterate.link/internacional/reformas-fallidas-complican-izquierda-latinoamericana_0_3525247441.html Crece la preocupación de los católicos cubanos ante la ola de robos en las iglesias https://enterate.link/cuba/Crece-preocupacion-catolicos-cubanos-iglesias_0_3524647510.html EE UU mantiene a Cuba en la lista de países terroristas pese a dialogar con el régimen de la Isla https://enterate.link/internacional/EE-UU-Cuba-terroristas-Isla_0_3524647513.html Detienen a un cubano con orden de deportación al acudir a su cita migratoria en EE UU https://enterate.link/internacional/Detienen-cubano-orden-deportacion-migratoria-EE_UU_0_3524647514.html Presentación de 'El sueño inconcluso: Historia del DRE, Cuba 1959-1966', de Javier Figueroa https://enterate.link/eventos_culturales/libros/Presentacion-Historia-DRE-Javier-Figueroa_13_3522977668.html

We're joined by special guest host Stella Toonen as we explore a topic with many synonyms: public programming, outreach, adult learning, and so many more! We get enthused about ideas for events that conservation can get in on, and talk about the many pitfalls – and benefits – of co-creation in museums. 01:06 What's this episode about? 03:52 Stella's outreach journey 05:50 Kloe's experiences facilitating events 09:39 Jenny's experiences working with the public 13:27 Growing audiences and different offers 19:40 Examples of events for grown-ups 25:44 Saddling an artist with the work of museums 28:53 Stella's research around co-creation 35:09 Involve conservators early! 38:02 Inspo for learning events 46:03 Comments, questions, and corrections 53:49 Patreon appeal and shout out Show Notes: - Follow Stella here: https://twitter.com/StellaToonen - Stella's website: https://stellatoonencom.wordpress.com/ - S11E03 Working with Learning: https://thecword.show/2022/04/20/s11e03-working-with-learning/ - Heritage Open Days: https://www.heritageopendays.org.uk/ - S05E06 Touchy Feely: https://thecword.show/2019/05/29/s05e06-touchy-feely/ - Ladder of Participation explained: https://organizingengagement.org/models/ladder-of-citizen-participation/ - Tania Bruguera at the Tate: https://www.tate.org.uk/art/artists/tania-bruguera-11982 - Tate: https://www.tate.org.uk/ - The Whitworth: https://www.whitworth.manchester.ac.uk/ - Queens Museum: https://queensmuseum.org/ - Awards, grants and scholarships mentioned for students: https://www.artsscholars.org/awards-grants-scholarships Support us on Patreon! http://www.patreon.com/thecword Hosted by Jenny Mathiasson, Kloe Rumsey, and Stella Toonen. Intro and outro music by DDmyzik, used under a Creative Commons Attribution license. Made available under a Creative Commons Attribution-NonCommercial 4.0 International license. A Wooden Dice production, 2023.

Renowned curator, and a trailblazer of “usefulness” in art, Alistair Hudson is the forthcoming Artistic & Scientific Chairman of ZKM (Center for Art & Media in Karlsruhe.Alistair Hudson grabbed everybody's attention when - with Adam Sutherland - he turned Grizedale Arts, an art institution in Northwest England's Lake District, into a hotspot of artistic discussion and production between 2004 and 2015. A directorship followed, at the Middlesbrough Institute of Modern Art. There he developed the idea of the useful museum, opening up questions on how the museum ‘can be used' otherwise; simultaneously reflecting on a wide collection as well as new commissions and projects. In collaboration with the artist Tania Bruguera the Van Abbemuseum and Queens Museum, he got involved in the exhibition "Museum of Arte Util", later undertaking the role of co-directorship of the Association de Arte Útil that resulted from the exhibition. This project has become a repository of artistic activities that propose new uses for art, work on a 1:1 scale, and embrace artistic thinking to respond to urgencies, in short, all things dear to Ahali Conversations so far. This Episode includes additional questions by Betül Aksu, Ceminay Kara, Sarp Özer, and Alessandra Saviotti.Over the last two decades, Grizedale Arts has become an acclaimed and influential model for a new kind of art institution, one that works beyond the established structures of the contemporary art world.Liam Gillick works across diverse forms, whose wider body of work includes published essays and collaborative projects, all of which inform (and are informed by) his art practice.The British Home Office (the UK ministry responsible for immigration, security, and law and order) building was designed by Terry Farrell and has multiple integrated artworks by Gillick.Terminal Convention was a contemporary exhibition and symposium housed in the decommissioned terminal building of Cork International Airport in the Republic of Ireland. https://rhizome.org/editorial/2011/apr/07/terminal-convention/Arte Útil roughly translates into English as 'useful art' but it goes further suggesting art as a tool or device.https://www.arte-util.orgTania Bruguera is a politically motivated performance artist, who explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power. https://art21.org/artist/tania-bruguera/The Van Abbemuseum in Eindhoven is one of the leading museums for contemporary art in Europe. https://vanabbemuseum.nl/enCharles Esche is a museum director, who has been directing the Van Abbemuseum since 2004.John Ruskin was an English writer, philosopher, art critic, and polymath of the Victorian era. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany, and political economy. WikipediaThe ZKM (Center for Art and Media) in Karlsruhe “is a house of all media and genres, a house of both spatial arts such as painting, photography and sculpture and time-based arts such as film, video, media art, music, dance, theater, and performance. ZKM was founded in 1989 with the mission of continuing the classical arts into the digital age. This is why it is sometimes called the digital Bauhaus”. https://zkm.de/enPeter Weibel was a post-conceptual artist, curator, and new media theoretician. He was at the helm of ZKM since 1999. Weibel passed away in March 2023, shortly after the recording of this episode. Arts Council is UK's national development agency for creativity and culture. They invest public money from Government and The National Lottery into cultural institutions and projects. https://artscouncil.org.ukRainer Rochlitz (1946-2022) was a philospher, art historian focusing on aesthetics theory, and a translator who played a key role in publicizing the writings of German authors such as Benjamin and Habermas.Jürgen Habermas is one of the key theorists of the 20th century, with his widely read and influential works on communicative action, discourse, and perhaps most importantly on the “public sphere”. Erwin Panofsky was an influential art historian. https://en.wikipedia.org/wiki/Erwin_PanofskyJean-Luc Godard (1930-2022) probably needs no introduction, he was a filmmaker who pushed the medium to its limits while remaining relevant and influential, throughout his whole time on this earth. Onur Yıldız is a political theorist who also was the Senior Public Programmer at SALT, Istanbul.For more on Meriç Öner, head over to our conversation with her: https://www.ahali.space/episodes/episode-17-meric-onerStephen Wright defines “usology” as “a sweeping field of extradisciplinary enquiry, spanning everything from the history of the ways and means of using to usership's conditions of possibility as put forward in various theories of practice”.https://museumarteutil.net/wp-content/uploads/2013/12/Toward-a-lexicon-of-usership.pdf Alessandra Saviotti, a frequent contributor in our Ahali Live Sessions, co-authored this article on the usological turn: https://www.mdpi.com/2076-0752/11/1/22This season of Ahali Conversations is supported by the Graham Foundation for Advanced Studies in the Fine Arts. The Graham provides project-based grants to foster the development and exchange of diverse and challenging ideas about architecture and its role in the arts, culture, and society. This episode was also supported by a Moon & Stars Project Grant from the American Turkish Society.This episode was recorded on Zoom on December 15th, 2022. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

Auf der Documenta 15 gibt es - jenseits des Skandals - auch Kubas berühmteste Gegenwartskünstlerin, Tania Bruguera zu entdecken. Ihr Kollektiv INSTAR zeigt zensierte Künstler:innen und vermischt die Grenzen zwischen Kunst und Aktivismus. // Von Peter B. Schumann/ WDR 2022/ www. radiofeature.wdr.de Von Peter B. Schumann.

Auf der Documenta 15 gibt es - jenseits des Skandals - auch Kubas berühmteste Gegenwartskünstlerin, Tania Bruguera zu entdecken. Ihr Kollektiv INSTAR zeigt zensierte Künstler:innen und vermischt die Grenzen zwischen Kunst und Aktivismus. // Von Peter B. Schumann/ WDR 2022/ www. radiofeature.wdr.de Von Peter B. Schumann.

Tania Bruguera founded Cuba's Hannah Arendt Artivism Institute to throw light on the 100s deemed non-artists in her homeland. (3/3)

When activist movements gain momentum, even win elections after many years of struggle and work on the ground, there is a lot of enthusiasm – but also larger-than-life expectations. A diverse electorate with often very different expectations demands immediate and fundamental shifts of politics. The parties once in power just wait for any opportunity to attack. The former establishment uses its long-knit networks to slow down any transition. And former allies accuse the elected representatives of their compromises. So, what does it actually mean to govern, to change structures, work with a large administration, include the political base, and accomplish concrete change? Inspired by the impressive development of the Croatian movement “Možemo!” with its landslide victory in the Zagreb city elections in May 2021, in this edition of The Art of Assembly cultural worker and activist Teodor Celakoski describes the strategies used to achieve “Možemo!'s” success and talks about the difficulties to implement new policy. Artist, activist and former member of the Spanish parliament Marcelo Expósito gives insides in the struggles, achievements, and failures of Podemos and other citizens' electoral organizations in Spain. Drawing on the trajectory of SYRIZA after winning the general election in Greece in 2015, philosopher Athena Athanasiou reflects on the general conditions activist movements are confronted with when coming to power.

Sie gilt als die wichtigste Künstler:in auf der documenta fifteen. Tania Bruguera aus Kuba, international gefragt und erfolgreich. Sie präsentiert ein Programm mit hohem Anspruch, das alle zehn Tage wechselt, und das viel Raum für Workshops und Diskussionen bietet.

Ever since the audience light in most Western theatres has been turned off in the 19th century artists have tried to push spectators out of their comfort zone again. The 14th episode of The Art of Assembly looks at radical approaches to audiences, turning them from spectators into participants, witnesses, collaborators, and enemies. Art theorist Claire Bishop reviews how the relationship between art and audience has changed in the decade that has passed since the first edition of her influential book Artificial Hells. Artist and activist Tania Bruguera has always challenged her audience to become active participants not only in her performances but also in society. The stage personas of theatre maker Ann Liv Young tend to come too close – physically as well as psychologically – attacking her audience and making herself attackable at the same time.

- Per celebrare i 275 anni dalla nascita di Francisco de Goya..la Fontation Beyeler gli dedica una delle più importanti mostre mai..realizzate finora. Dedichiamo uno spazio speciale alla mostra e a Basilea, ottima meta in questo periodo per un week end o un viaggio culturale..E chi resta a Milano non ha che l'imbarazzo della scelta:..-Divertente e graffiante TV BOY uno degli street artist più amati al MUDEC..-L'ennesima mostra di Banksy alla Stazione Centrale..-Tania Bruguera artista e attivista cubana al PAC..-E dopo l'assenza dello scorso anno dovuta alla pandemia tornano i capolavori a Palazzo Marino: Milano rende omaggio al Rinascimento di Bergamo e Brescia

- Per celebrare i 275 anni dalla nascita di Francisco de Goya..la Fontation Beyeler gli dedica una delle più importanti mostre mai..realizzate finora. Dedichiamo uno spazio speciale alla mostra e a Basilea, ottima meta in questo periodo per un week end o un viaggio culturale..E chi resta a Milano non ha che l'imbarazzo della scelta:..-Divertente e graffiante TV BOY uno degli street artist più amati al MUDEC..-L'ennesima mostra di Banksy alla Stazione Centrale..-Tania Bruguera artista e attivista cubana al PAC..-E dopo l'assenza dello scorso anno dovuta alla pandemia tornano i capolavori a Palazzo Marino: Milano rende omaggio al Rinascimento di Bergamo e Brescia

Nato Thompson is a curator and the founder of the Alternative Art School. Before setting up this experimental education project, Nato was the artistic director of Philadelphia Contemporary and a key figure at Creative Time, New York's influential organization focusing on art in public space.You will listen to Nato reflecting on that shift, from working within institutions to setting up one's own. His insights on the inner workings of the art industry are totally thought-provoking. And it's the first time we are talking about NFT's at Ahali! This conversation really shows the many blind spots, or things we tend to overlook about the status quo.EPISODE NOTES & LINKSNato Thompson is an author, curator, and self-proclaimed “cultural infrastructure builder”. www.natothompson.com/aboutThe Alternative Art School (TAAS) is an affordable learning program run by a stellar faculty offering intimate class sizes. TAAS emphasizes group work, community building, and dynamic modes of socializing and art-making. www.thealternativeartschool.net/how-it-works-1Philadelphia Contemporary is an independent and free-standing venue that celebrates the abundance of genre-bending, multidisciplinary practices that make up the field of contemporary art. www.philadelphiacontemporary.orgOperating since 1974, Creative Time is an influential public arts organization in New York. creativetime.org/about/Growing out of a major exhibition that had occurred in Creative Time, Living as Form contains commissioned essays from noted critics and theorists who look at Socially Engaged Art practiced between the years of 1991-2011. mitpress.mit.edu/books/living-formMASS MoCA is a contemporary art museum located in North Adams, Massachusetts. massmoca.org/about/Seeing Power: Art and Activism in the 21st Century (2015) www.penguinrandomhouse.com/books/214258/seeing-power-by-nato-thompson/9781612190440/Culture as Weapon: The Art of Influence in Everyday Life. www.penguinrandomhouse.com/books/545444/culture-as-weapon-by-nato-thompson/Part of the TAAS faculty, Paul Chan is an artist, writer, and publisher. en.wikipedia.org/wiki/Paul_Chan_(artist)Trevor Paglen is an artist, geographer, and author whose work critically deals with mass surveillance and data collection. en.wikipedia.org/wiki/Trevor_PaglenA fierce political figure of our time that operates within (but not limited to) the field of contemporary art, Tania Bruguera's work pivots around issues of power and control, and several of her works interrogate and re-present events in Cuban history. en.wikipedia.org/wiki/Tania_BrugueraSimone Leigh is an artist who reflects on the black female subjectivity through her practice. en.wikipedia.org/wiki/Simone_LeighBlack Lives Matter (BLM) is a decentralized political and social movement protesting against incidents of police brutality and all racially motivated violence against black people. en.wikipedia.org/wiki/Black_Lives_MatterStar Trek is a science fiction media franchise created by Gene Roddenberry. en.wikipedia.org/wiki/Star_TrekJanine Antoni is an artist who focuses on process and the transitions between the making and finished product, often portraying feminist ideals. en.wikipedia.org/wiki/Janine_AntoniMiguel López is an artist, researcher, and writer. www.bakonline.org/person/miguel-a-lopez/Yael Bartana is an artist whose work focuses on political or feminist themes. en.wikipedia.org/wiki/Yael_BartanaMotivated largely by political, cultural, and social circumstances, Mel Chin is an artist. en.wikipedia.org/wiki/Mel_ChinHito Steyerl is an artist, theoretician, and educator. en.wikipedia.org/wiki/Hito_SteyerlMarinella Senatore is an artist. en.wikipedia.org/wiki/Marinella_SenatoreMia Yu is an independent researcher, curator, and educator. portal.cca.edu/events-calendar/curatorial-practice-lecture-mia-yu/Mario Ybarra Jr. employs his multi-layered artistic practice to e various components of Mexican-American identity. www.otis.edu/faculty/mario-ybarra-jrKathrin Böhm is an artist whose practice focuses on the collective re-production of public space; on the economy as a public realm; and every day as a starting point for culture. Check out Ahali Conversations Episode 13 to get inspired by Kathrin's way to build diverse economies within, out of, and around the field of culture. www.ahali.space/episodes/episode-13-kathrinbohmJ.K Gibson-Graham is the pen-name of Katherine Gibson and the late Julie Graham. As feminist political economists and economic geographers, they have extensively written about diverse economies, urbanism, alternative communities, and regional economic development.en.wikipedia.org/wiki/J._K._Gibson-GrahamSmashcut is an online learning platform built for real-time, media-based education. www.smashcut.com/aboutPedagogy of the Oppressed is considered one of the foundational texts of critical pedagogy and proposes a pedagogy with a new relationship between teacher, student, and society by Paolo Freire. en.wikipedia.org/wiki/Pedagogy_of_the_OppressedBlack Mountain College was an experimental college founded in 1933.John Cage (1912 – 1992) was a composer, music theorist, artist, and philosopher who was a teacher at BMC."Merce" Cunningham (1919 – 2009) was a dancer and choreographer who was a teacher at BMC.Gezi Park Protests occurred in Turkey in 2013 to contest the urban development plan for Istanbul's Taksim Gezi Park. en.wikipedia.org/wiki/Gezi_Park_protestsThe Arab Spring was a series of anti-government protests, uprisings, and armed rebellions that spread across much of the Arab world in the early 2010s. en.wikipedia.org/wiki/Arab_SpringOccupy Wall Street (OWS) was a protest movement against economic inequality and the influence of money in politics that began in New York City's Wall Street financial district, in 2011. It gave rise to the wider Occupy movement in the United States and other countries. en.wikipedia.org/wiki/Occupy_Wall_StreetSotheby's is a multinational corporation headquartered in New York City. It is one of the world's largest brokers of fine and decorative art, jewelry, and collectibles. www.sothebys.com/en/Christie's is an auction house like Sotheby's known for its involvement in high-profile private transactions. www.christies.com/enSAHA is an association that seeks to support contemporary art from Turkey. www.saha.org.trProtocinema is a cross-cultural art organization that commissions and presents works and exhibitions of contemporary art. www.protocinema.org/aboutFırat Engin is an artist based in İstanbul and Ankara. firatengin.com/cvVahap Avşar is an artist based in New York and İstanbul. vahapavsar.com/bio/DC hardcore, sometimes referred to in writing as harDCore, is the hardcore punk scene of Washington, D.C. Emerging in late 1979, it is considered one of the first and most influential punk scenes in the United States. en.wikipedia.org/wiki/Washington,_D.C._hardcoreBad Brains are a rock band formed in Washington, D.C. in 1977. en.wikipedia.org/wiki/Bad_BrainsMinor Threat was a hardcore punk band, formed in 1980 in Washington, D.C. en.wikipedia.org/wiki/Minor_ThreatFugazi is a post-hardcore band that formed in Washington, D.C. in 1986. en.wikipedia.org/wiki/FugaziThe Nation of Ulysses was a punk rock band from Washington, D.C., formed in spring 1988. en.wikipedia.org/wiki/The_Nation_of_UlyssesMinecraft is an influential sandbox video game with a major impact on popular internet culture. en.wikipedia.org/wiki/MinecraftRed Dead Redemption is a Western-themed action-adventure game. en.wikipedia.org/wiki/Red_Dead_RedemptionGrand Theft Auto (GTA) is a series of action-adventure games. en.wikipedia.org/wiki/Grand_Theft_AutoThe Sandinista National Liberation Front is a socialist political party in Nicaragua. en.wikipedia.org/wiki/Sandinista_National_Liberation_FrontJust google Google. g.co/kgs/2CdUks

Buenos días desde La Habana, soy Yoani Sánchez y en el "cafecito informativo" de este miércoles 1 de diciembre de 2021 comentaré estos temas: - Maquillaje de la situación económica para captar inversionistas extranjeros - Opulencia y desmemoria se unen en el centro dedicado a Fidel Castro - Parlamentarios sudafricanos piden información sobre la golpiza a estudiantes en Cuba – Exposición de Tania Bruguera en Milán Gracias por compartir este “cafecito informativo” y te espero temprano para el programa de mañana. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Enlaces recomendados: - "Si te comes a la hembra antes de sacarle crías, acabas con la producción de cerdo" https://noticuba.tech/cuba/hembra-ponerla-sacarles-crias-termina_0_3213878587.html - El Gobierno tapa el desastre económico para captar capital extranjero https://noticuba.tech/economia/Gobierno-descalabro-economia-intento-extranjero_0_3213878586.html - Tras una licencia extrapenal por motivos de salud, Silverio Portal vuelve a la cárcel https://noticuba.tech/cuba/opositor-Silverio-Portal-licencia-extrapenal_0_3214478521.html - Parlamentarios piden información sobre la golpiza a estudiantes en Cuba https://noticuba.tech/internacional/Parlamentarios-sudafricanos-informacion-estudiantes-Cuba_0_3214478524.html - American Airlines reanuda su conexión diaria entre Miami y la capital cubana https://noticuba.tech/internacional/AmericanAirlines-reanuda-conexion-Miami-Cuba_0_3213878590.html - Más de 70 personas con diarrea por la contaminación del agua potable en Santiago de Cuba https://noticuba.tech/cuba/personas-diarrea-contaminacion-Santiago-Cuba_0_3213878588.html - Un recorrido irreverente por el templo dedicado al dios de la Revolución cubana https://noticuba.tech/cuba/recorrido-irreverente-dedicado-Revolucion-cubana_0_3214478526.html - Exposición de Tania Bruguera 'Let Truth Be, Though the World Perish' https://noticuba.tech/eventos_culturales/arte/Exposicion-Tania-Bruguera-verdad-perezca_13_3207409229.html

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics: Art, Crisis and Neoliberalism (Bloomsbury, 2021) traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76 Pierre d'Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

Sociopolitical Aesthetics Art, Crisis and Neoliberalism Kim Charnley Published by Bloomsbury, 2021 ISBN 9781350008748 Since the turn of the millennium, protests, meetings, schoolrooms, reading groups and many other social forms have been proposed as artworks or, more ambiguously, as interventions that are somewhere between art and politics. Kim Charnley's Sociopolitical Aesthetics traces key currents of theory and practice, mapping them against the dominant experience of the last decade: crisis. Drawing upon leading artists and theorists within this field – including Hito Steyerl, Marina Vishmidt, Art & Language, Gregory Sholette, John Roberts and Dave Beech – Sociopolitical Aesthetics argues for a new interpretation of the relationship between socially-engaged art and neoliberalism. Kim Charnley explores the possibility that neoliberalism has destabilized the art system so that it is no longer able to absorb and neutralize dissent. As a result, the relationship between aesthetics and politics is experienced with fresh urgency and militancy. Kim Charnley speaks to Pierre d'Alancaisez about the political punditry of Artist Taxi Driver and the political sloganeering of Tim Etchells, the limits of institutional sociality in the work of Tania Bruguera, the various guises of institutional critique, and what these developments owe to the conceptual art practices of the 1970s. Dr Kim Charnley is an art historian and theorist at the Open University. The works we discuss: Chunky Mark / Artist Taxi Driver on YouTube, Twitter Tim Etchells, Revolution Tania Bruguera, 10,148,451 at Tate Modern Mark Storor's work with The Heart of Glass Andrea Fraser on institutionnel critique Hito Steyerl, November, 2014, Is the Museum a Battlefield, 2013 Art & Language, The Fox, 1975-76

Im Juli 2021 fanden auf Cuba bisher nie erlebte Massenproteste gegen die unerträglichen Lebensverhältnisse auf der Insel statt. Treibende Kraft dieses Volksaufstands gegen die Regierung sind die Kulturschaffenden. Warum gerade sie? // Von Peter B. Schumann / WDR 2021 / www.radiofeature.wdr.de Von Peter B. Schumann.

Im Juli 2021 fanden auf Cuba bisher nie erlebte Massenproteste gegen die unerträglichen Lebensverhältnisse auf der Insel statt. Treibende Kraft dieses Volksaufstands gegen die Regierung sind die Kulturschaffenden. Warum gerade sie? // Von Peter B. Schumann / WDR 2021 / www.radiofeature.wdr.de Von Peter B. Schumann.

Buenos días desde La Habana, soy Yoani Sánchez y en el "cafecito informativo" de este viernes 5 de noviembre de 2021 comentaré estos temas: - Vivir bajo un techo "en peligro de derrumbe" - El Estado suspende los pagos a cientos de recicladores de latas y botellas - 22 empresas estatales de Ciego de Ávila tienen pérdidas por 438 millones de pesos – Tania Bruguera, un premio y la ojeriza oficial Gracias por compartir este “cafecito informativo” y te espero temprano para el programa del lunes. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Enlaces recomendados: - "No duermo casi nada del temor que me vaya a caer un pedazo de techo" https://noticuba.tech/sociedad/duermo-temor-vaya-pedazo-techo_0_3198280146.html - 22 empresas estatales de Ciego de Ávila tienen pérdidas por 438 millones https://noticuba.tech/economia/Perdidas-millones-empresas-estatales-Ciego-Avila-Cuba_0_3198280152.html - Zapatos rotos para las familias cubanas que no reciben remesas https://noticuba.tech/cuba/Zapatos-Penon-familias-reciben-remesas_0_3198280148.html - Cuba busca captar 12.000 millones de dólares en inversión extranjera https://noticuba.tech/economia/Cuba-millones-dolares-inversion-extranjera_0_3198880081.html - El Estado suspende los pagos a cientos de recicladores de latas y botellas https://noticuba.tech/cuba/Estado-cubano-suspende-pagos-cientos-recicladores-botellas_0_3198280151.html - La artista cubana Tania Bruguera gana el Premio Velázquez 2021 https://noticuba.tech/cultura/artista-Tania-Bruguera-Premio-Velazquez_0_3198280147.html

Meriç Öner is the current Director of Research and Programs at SALT, a cultural, or rather as Meriç elaborates a research institution in Istanbul. I think Meriç's proposal boils down to imagining the next art institution as a kind of academy, not only as a site of education, but also as a provider of exchange, a social platform where knowledge intermingles with and through the people.Episode Notes & LinksMeriç Öner is a trained architect and the Director of Research and Programs at SALT since 2017.https://news.artnet.com/art-world/meric-oner-announced-director-turkey-salt-802586SALT is Turkey's spearheading cultural institution. With a special focus on art, architecture, and social life, It holds a vast archive of the material and visual culture of Turkey. The institution is active with a variety of cultural programs that include exhibitions. www.saltonline.orgİstanbul Technical University is the world's third-oldest technical university dedicated to engineering sciences. https://www.itu.edu.tr/enEstablished in 1996, Bilgi Üniversitesi is a private university located in Istanbul. https://www.bilgi.edu.tr/en/university/about/Pelin Derviş is an architect, researcher, writer, and editor. Her work focuses mainly on 20th-century architecture and design in Turkey. https://www.pelindervis.com/en/aboutThe United Nations Development Programme is a United Nations organization tasked with helping countries eliminate poverty and achieve sustainable economic growth and human development. https://en.wikipedia.org/wiki/United_Nations_Development_ProgrammeThe International Union of Architects (UIA) was founded in 1948 to unite the architects of the world through a federation of their national organizations. They hold an international congress once every three years. https://www.uia-architectes.org/webApi/en/aboutHans Hollein (30 March 1934 – 24 April 2014) was an Austrian architect and designer and key figure of postmodern architecture. https://en.wikipedia.org/wiki/Hans_HolleinSibel Bozdoǧan is an architect and academic whose research/teaching covers trans-national histories of modern architecture and urbanism across the globe, with a specialization on Turkey, the Mediterranean, and the Middle East. https://www.bu.edu/haa/profile/sibel-bozdogan/Murat Güvenç is a scholar specializing in urban studies and regional planning.İhsan Bilgin is an architect and academic. https://readingoffice.com/ihsan-bilgin/The contemporary art institution Platform Garanti Contemporary Art Center opened in 2001 and was located on the pedestrian Istiklal Avenue in Istanbul, Turkey. It ended its activities under this name in 2010 upon the foundation of SALT. https://en.wikipedia.org/wiki/Platform_Garanti_Contemporary_Art_CenterGaranti Gallery (GG) was a cultural institution based in Istanbul, Turkey, specializing in design, architecture, and urbanism. https://en.wikipedia.org/wiki/Garanti_GalleryFounded in March 1997 by the Ottoman Bank in collaboration with the History Foundation (Turkish: Tarih Vakfi), the Ottoman Bank Archives and Research Centre (OBARC) operated in the former Head Office of the Ottoman Bank in Istanbul, Turkey from 1999 to 2010 till SALT's foundation. https://en.wikipedia.org/wiki/Ottoman_Bank_Archives_and_Research_CentreVasıf Kortun is a curator, teacher, and writer. He was the guest of Ahali's sixth episode: https://www.ahali.space/episodes/episode-6-vasif-kortunArte Útil seeks to collect case studies to show how initiatives focusing on social practice are not isolated incidents, but part of a larger historical trajectory. https://www.arte-util.org/about/colophon/Alastair Hudson is the co-director of the Asociación de Arte Útil with Tania Bruguera. https://www.internationaleonline.org/people/alistair_hudson/Aslıhan Demirtaş is an architect. https://aslihan-demirtas.com/aboutHan Tümertekin is an architect http://www.mimarlar.com/en-US/Architect/han-tumertekin/1Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980 is an exhibition that has taken place at MoMa in 2018. https://www.moma.org/calendar/exhibitions/3931?locale=enThomas Krens is the former director and Senior Advisor for International Affairs of the Solomon R. Guggenheim Foundation in New York City. https://en.wikipedia.org/wiki/Thomas_Krens

After spending time in a maximum security prison in Havana, artist and activist Hamlet Lavastida has been exiled to Poland by Cuba's government. Tania Bruguera, a senior lecturer in media and performance at Harvard University, joined The World's host Marco Werman to discuss the plight of Cuban artists.

Autor: Schumann, Peter B. Sendung: Information und Musik Hören bis: 19.01.2038 04:14

The protests in Cuba on 11 and 12 July, which the media consider unprecedented, are the largest in Cuba since 1994. Lucia Argüellová interviewed Tania Bruguera, a Cuban performance artist detained by the Cuban government for her protest activities on several occasions in the last years. In this #Forum2000online Chat, Bruguera assesses the role of the pandemic, social media, and Cuba's socio-economic development during the protests. In this interview, you will learn that: Protests were sparked by political and social demands in combination with grave shortages. Cuba took its own path in developing the vaccine for covid. Social media play an increasingly important role in Cuban protests.  The government responded with repressions and strict internet regulations.  Cubans are not allowed to bring medicine from abroad. Protesters were shocked by the brutality of the dictatorship even towards minors. For more information about our activities follow our web and social media: Web: https://www.forum2000.cz Facebook: https://www.facebook.com/forum.2000 Twitter: https://twitter.com/Forum_2000 LinkedIn: https://www.linkedin.com/company/2148376

Associate Curator Xiaoyu Weng and Public Programs Director Jennifer Yee discuss Tania Bruguera's The Francis Effect and other works that demonstrate how globalism intersects with and is reflected in art. Read the transcript and learn more at Guggenheim.org or on the Bloomberg Connects app.

Buenos días desde La Habana, soy Yoani Sánchez y en la ‘Ventana 14’ del miércoles 21 de julio de 2021 comentaré estos temas: - Claves para entender el #11JCuba – Nos decían "los locos de los telefonitos" ¿Y ahora? - La censura en las telecomunicaciones encarecen la vida – "Todo por ti", un tema de Pavel Urkiza y Daymé Arocena Gracias por compartir este “cafecito informativo” y te espero temprano para el programa de mañana. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Enlaces recomendados: - La policía cubana acusa a Tania Bruguera de querer "derrocar al Gobierno" https://noticuba.tech/cuba/Tania_Bruguera-Hamlet_Lavastida-represion-27N_0_3134686505.html - En huelga de hambre el ajedrecista Arián González, preso tras las protestas https://noticuba.tech/cuba/Arian_Gonzalez-ajedrez-detenidos-represion-11JCuba-11J-11_de_julio_0_3134686501.html - La angustia de los familiares de los jóvenes detenidos el 11 de julio en Cuba https://noticuba.tech/cuba/Angustia-familiares-jovenes-detenidos-11julio-Cuba_0_3134086570.html - Lo que llevó al régimen cubano a la explosiva crisis actual https://noticuba.tech/opinion/regimen-cubano-explosiva-crisis-actual-Ariel-Hidalgo_0_3134086573.html - La generación de la escasez ha tomado las calles de Cuba https://noticuba.tech/cuba/Santiago_de_Cuba-protestas-manifestaciones-escasez-11JCuba-11J-11_de_julio_0_3134086561.html

L'arte può essere un linguaggio universale, capace di mettere in contatto culture diverse e lontane tra loro, ma può anche servire a rivendicare un'identità cancellata e rimossa. Ed è per questo che spesso l'arte ha dato voce a chi è stato costretto a lasciare il proprio Paese per potersi guadagnare da vivere o per veder rispettati i propri diritti di essere umano. Dalle sanguigne performance di Tania Bruguera all'elegante visione del postcolonialismo offerta da Yinka Shonibare, fino alle commoventi intuizioni di Emily Jacir, l'arte ha raccontato in diversi modi l'esperienza della migrazione, ma Costantino e Francesco riescono a portare un po' di leggerezza anche su un tema duro come questo, parlando del profondo legame tra Kader Attia e i formaggini e offrendo un punto di vista molto originale sulle trovate di Ai Weiwei.In questa puntata si parla di CAMP, Tania Bruguera, Yinka Shonibare, Massimo Bottura, William Hogart, Robert Louis Stevenson, Oscar Wilde, Okwui Enwezor, Kader Attia, Emmanuel Macron, Georges Adéagbo, Régine Cuzin, André Magnin, Harald Szeemann, Mona Hatoum, Hillary Clinton, Emily Jacir, Malala Andrialavidrazana, Danh Vo, Ai Weiwei, Charles-Maurice de Talleyrand-Périgord, Victor Burgin e Art & Language.

Cubans are protesting in the streets over food shortages, high prices and the handling of the coronavirus crisis. Guest host Mark Kelley talks to Tania Bruguera, an artist and dissident in Havana; Karen Dubinsky, a professor in the global development and history departments at Queen's University in Kingston, Ont.; and Mark Entwistle, Canada's former ambassador to Cuba.

Buenos días desde La Habana, soy Yoani Sánchez y en la ‘Ventana 14’ del miércoles 9 de junio de 2021 comentaré estos temas: - Los ministros de “corcho”: ni se disculpan ni dimiten – Una nueva regulación busca controlar más los servicios para turistas – ¿Por qué a ningún alto cargo se le ha visto inyectarse un candidato vacunal? - Guanabacoa, en el centro de una semana de homenajes Gracias por compartir este “cafecito informativo” y te espero temprano para el programa de mañana. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Enlaces del programa de hoy: - Menos del 1,5% de la población cubana ha recibido la vacuna completa https://www.14ymedio.com/cuba/vacunas_cubanas-covid-19-coronavirus_0_3108889089.html - Tania Bruguera burló la censura del Gobierno en la Cumbre de Ginebra https://www.14ymedio.com/cuba/Tania_Bruguera-represion_Cuba-Cumbre_de_Ginebra_0_3108889088.html - Los guardacostas repatrían a 82 cubanos interceptados en los Cayos de Florida https://www.14ymedio.com/cuba/guardacostas-repatrian-interceptados-Cayos-Florida_0_3109489021.html

Buenos días desde La Habana, soy Yoani Sánchez y en la ‘Ventana 14’ del martes 30 de marzo de 2021 comentaré estos temas: - La desconexión con la realidad: una bandera de 10 metros de hormigón en un país sin cemento – El fertilizante será en dólares - Televisión Cubana sube el tono contra el 27N y el Movimiento San Isidro – Instar y Tania Bruguera premiados por Documenta Gracias por compartir este “cafecito informativo” y te espero temprano para el programa de mañana. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com Enlaces del programa de hoy: - El cemento reaparece en forma de bandera de hormigón frente a la Embajada de EE UU https://www.14ymedio.com/cuba/bandera-hormigon-Embajada-EEUU-Habana_0_3066293347.html - Televisión Cubana sube el tono contra el 27N y el Movimiento San Isidro https://www.14ymedio.com/cuba/Television-Cubana-sube-tono_0_3066893284.html - Arnold‐Bode‐Preis 2021 geht an INSTAR – Tania Bruguera https://www.kassel.de/buerger/rathaus_und_politik/rund-ums-rathaus/ehrungen-und-preise/preise-der-stadt/arnold-bode-preis.php

Aliza Nisenbaum was born in 1977 in Mexico City, Mexico, and lives and works in Harlem, New York. Her early work consists of small, intensely painted still-lifes of flowers and large, delicate, yet colorful abstractions. In 2012, Nisenbaum began working as an art and English teacher at Tania Bruguera’s project, a community center called Immigrant Movement International (IMI); there, she painted intimate portraits of the Mexican and Central American immigrants who frequented the space. Patricia Treib was born in Saginaw, MI, and lives and works in Brooklyn. Solo exhibitions have been held at Kate MacGarry, London (2019); Galerie Nordenhake, Stockholm (2018); Bureau, New York (2017); Galería Marta Cervera, Madrid (2016). Recent group exhibitions include Le realtà ordinarie, curated by Davide Ferri, at the Palazzo de Toschi, Bologna (2020), and The Samovar, Overduin & Co., Los Angeles (2019). She has participated in residencies at the American Academy in Rome (2017), the Dora Maar House (2014), MacDowell (2013), and was a recipient of the 2017 Artadia Award and a 2020 Guggenheim Fellowship.

Buenos días desde La Habana, soy Yoani Sánchez y en la ‘Ventana 14’ del viernes 15 de enero de 2021 comentaré estos temas: - Boniato: de comida de pobres a lujo - Tania Bruguera presenta una queja por difamación contra la TV – A falta de otros productos, los cubanos usan el ron contra la sarna, los piojos y para desinfectar heridas - “Patria”, la serie española sobre ETA llega al ‘paquete’ Gracias por compartir este “cafecito informativo” y te espero temprano para el programa del lunes. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com

Buenos días desde La Habana, soy Yoani Sánchez y en la ‘Ventana 14’ del viernes 15 de enero de 2021 comentaré estos temas: - Boniato: de comida de pobres a lujo - Tania Bruguera presenta una queja por difamación contra la TV – A falta de otros productos, los cubanos usan el ron contra la sarna, los piojos y para desinfectar heridas - “Patria”, la serie española sobre ETA llega al ‘paquete’ Gracias por compartir este “cafecito informativo” y te espero temprano para el programa del lunes. Puedes conocer más detalles de estas noticias en el diario https://www.14ymedio.com

Entrevista con Tania Bruguera, artista cubana, fundadora del Instituto Internacional de Artivismo «Hannah Arendt» (INSTAR). La Revolución de los aplausos es una serie de entrevistas de Periodismo de Barrio con actores de la sociedad civil cubana, a raíz del diálogo que tuvo lugar el 27 de noviembre de 2020 en el Ministerio de Cultura.

After the huge success of our Actor Awareness Q&A's over lockdown we have decided to start them up again!   Over lockdown we ran Q&A's with some incredible industry role models such as Vicky Mcclure, Danny Brocklehurst, Nickie Sault & Shane Meadows, alongside many more. We had over 1000 people attend virtually, so due to the success we are ready to run them again! Kicking us back off is John McGrath who is the Artistic Director of Manchester International Festival. We will be talking festival changes during a pandemic, creating new work, best way to stand out when applying for festivals & much more. Please send in any questions you want me to ask John to actorawareness1@gmail.com Here is John's Bio. John E. McGrath is Artistic Director and Chief Executive of Manchester International Festival. His first Festival in 2017 featured world premieres from leading international artists; a new digital direction for MIF; a series of participatory commissions in public spaces, and My Festival a year-round programme forging closer connections with Manchester communities. In 2019 John commissioned artists including Yoko Ono, Philip Glass, Laurie Anderson, Idris Elba and Tania Bruguera to make work for the largest ever edition of MIF. John was previously Artistic Director of National Theatre Wales, where he achieved a reputation for large-scale site-specific work, digital innovation and extraordinary community involvement. As Chief Executive of MIF John will also be responsible for The Factory, a flagship cultural space currently being built in the heart of Manchester, which will have a year-round programme of new work from the world’s greatest artists, offering a space to make, explore and experiment.

Arranca en NY el festival de cine The Cuban Nexus. Grammy Latinos se van de las vegas y aterrizan en una ciudad muy cubana, llegan a Miami por segunda vez en la historia, la primera sucedió en el 2003. Anuncia el actor Jorge Perugorría la realización de la segunda temporada de “Cuatro estaciones en la Habana”. Destaca revista británica Jazz Wide a la Orquesta Faílde. El artista Geandy Pavon anuncia una exhibición fotográfica llamada Cuarentena: 40 días y 40 noches. Hoy tenemos una entrevista que es una joya y un honor, hoy entrevistamos a uno de los escritores más influyentes de la literatura cubana contemporánea, Enrique del Risco. VERBORREA Por La libre Aislar: La palabra aislar está formada por el prefijo ad (hacia) y la palabra isla. Una isla, del latin insula, es un pedazo de tierra separado del resto por agua. De ahí que aislar, significa separar o dejar solo a alguien o algo. Es decir, metafóricamente, ponerlo en una isla. De ahí también obtenemos palabras como aislador, aislamiento o aislante. RECOMENDACIONESRialtaCuarto blanco con mesa. Entrevista con Tania Bruguera por Edgar ArielDOSIER | Mariel: 40 aniversario el colectivo editorial de RialtaPodcast | Entrevista a Abraham Jiménez Enoa: contar un país desde adentro por José Luis Apariciohttps://rialta.org/El estornudoLa condición de fantasma / Entrevista a Idalia Morejón/In-Cubadora por Melissa C. Novo.¿Deberíamos sentir miedo de salir a la calle con una camiseta que muestre una hoja de marihuana? Por Monica Baró.https://www.revistaelestornudo.com/Una entrevista para conocer la vida del escritor Enrique del Risco. “Yo personalmente me encargué de conseguir que se le hiciera una tarja a la tumba de Cirilo Villaverde”“Ver lo cubano no como una fatalidad sino como una elección. Y elegirlo de nuevo hace que esa elección sea un poquito más libre”También nos cuenta sobre sus dos próximas obras. Audio de Ruben desde Cuba…

For over 25 years, artist Tania Bruguera has created socially-engaged performances and installations that examine the nature and effect of political power structures. In this artist talk Bruguera discusses her research, as well as some of her many short-term and long-term projects. Tania Bruguera visited Australia as a guest of MUMA | Monash University Museum of Art, Melbourne.

Welcome to your first day at the School of Integration. This episode is all about sharing knowledge across cultural divides. When people arrive in a new country they are usually expected to learn the customs and languages of the host culture, but what if the tables were turned? Cuban artist Tania Bruguera acknowledges that integration is a two-way street and gives us the chance to learn from people who have moved to Manchester and made it their home. On the curriculum are lessons by the Congolese drummer and community leader Pat Mackela, who asks is marriage a topic for the 21st Century? Mei Yuk Wong, an artist from Hong Kong discusses the art of protest, and Iranian writer Shahireh Sharif shares the forward thinking insights of Shahnameh, an epic Persian poem written over a thousand years ago. Don’t forget your homework! Hosted by Isaiah Hull. Music by Vicky Clarke. Produced by Rebecca Gaskell. A Reduced Listening and Manchester International Festival production.

We last saw the work of the Cuban artist Tania Bruguera when she was commissioned for the turbine hall of Tate Modern. She’s known for facing down police interrogation of her work in her native Havana. Now she’s harnessed Manchester’s international community for what she calls a School of Integration. In May, Ibrahim Mahama was one of the six Ghanaian artists chosen to represent the country as it made its debut at the Venice Biennale. Now, he’s come to Manchester to create Parliament of Ghosts – an exhibition at the Whitworth Art Gallery which reflects both on Ghana’s time under British rule, and the years following the country’s independence. The Mexican-Canadian electronic artist Rafael Lozano-Hemmer’s new work, Atmospheric Memory uses the very latest technology but is rooted in the story of the English mathematician and computer pioneer Charles Babbage. We’ll be asking why this very contemporary artist is seeking inspiration in the nineteenth century. Presenter: Samira Ahmed Producers: Ekene Akalawu and Olive Clancy

Is it still possible to be original? MIF Originals is a new podcast series where we invite artists developing new work for Manchester International Festival 2019 to design their own audio adventure, investigating what it means to be original. Hosted by the poet Isaiah Hull, MIF Originals kicks off on Wednesday 3 July with award-winning author Adam Thirlwell, exploring the creativity of translation. With a new episode released every Wednesday throughout July, join us each week to hear from Tania Bruguera, Phelim McDermott, Hardeep Pandhal and the artists behind Animals of Manchester (including HUMANZ). Commissioned by Manchester International Festival. Produced by Reduced Listening and Manchester International Festival. Music: Vicky Clarke, Ariel

SONIC ACTS FESTIVAL 2019 – HEREAFTER The Otolith Group and Annie Fletcher – Eastman is the Matter at Hand24 February – De Brakke Grond, Amsterdam, The Netherlands With an introduction by Emily Pethick. From the late 1960s until his death in 1990 at the age of 49, Julius Eastman, the queer African-American avant-garde composer, pianist, vocalist and conductor, wrote and performed compositions whose ecstatic militant minimalism initiated a black radical aesthetic that revolutionised the East Coast’s new music scene of the 1970s and 1980s. No recordings of Eastman’s compositions were released during his lifetime. In January 1980, Julius Eastman was invited by the Music Department at Northwestern University in Evanston, Illinois to present his compositions Crazy Nigger (1978), Evil Nigger (1979) and Gay Guerrilla (1979). A number of African-American students and one faculty member objected to the titles of Eastman’s compositions. The titles were redacted from the concert programme. Before the concert on 16 January 1980, Eastman delivered a public statement that responded to these objections. The speeches delivered by two speakers in The Otolith Group’s video, The Third Part of the Third Measure (2017) – on display as the installation at the Stedelijk Museum Amsterdam during the festival – are based on each performer’s adapted transcription of Eastman’s Northwestern statement. This talk by The Otolith Group – Anjalika Sagar and Kodwo Eshun – who will be joined by Annie Fletcher, will focus on the importance of this Afrofuturist artist and expand on ideas in making the film. In May 2019, the Van Abbemuseum, Eindhoven, will present the first large scale solo exhibition of The Otolith Group. The exhibition is curated by Annie Fletcher. Founded by Anjalika Sagar and Kodwo Eshun, The Otolith Group makes films, installations, and performances that are driven by extensive research into the histories of science fiction and the legacies of transnationalism. Their works and curatorial projects explore the temporal anomalies, anthropic inversions and synthetic alienation of the posthuman, the inhuman, the non-human and the anti-human. In 2010 The Otolith Group were nominated for the Turner Prize. Annie Fletcher is the chief curator at the Van Abbemuseum. Her projects include the solo exhibition of Qiu Zhijie, the ten-day project in collaboration with DAI called Becoming More in 2017, a collaborative research project led by Vivian Ziherl called Frontier Imaginaries: Trade Markings in 2018 and a large-scale and travelling museum retrospective of the Otolith Group in 2019. She tutors at De Appel, Amsterdam, Dutch Art Institute, Arnhem and Design Academy Eindhoven. She is part of a team that developed the Museum of Arte Útil with Tania Bruguera in 2013 and continues to develop the Association of Arte Útil today. Other projects include solo exhibitions or presentations with Ahmet Ögut, Hito Steyerl, Sheela Gowda, David Maljković, Jo Baer, Jutta Koether, Deimantas Narkevičius, Minerva Cuevas and long-term projects Be(com)ing Dutch (2006 – 09) and Cork Caucus (2005), both with Charles Esche.

Artists in Cuba are unable to express themselves freely without fear of reprisals from the Communist government. To help us learn their names and stories Babalublog.com’s Alberto de la Cruz tells us about such individuals as El Sexto, Tania Bruguera, Lia Villares, Luis Manuel Otero, Yanelys Nuñez and others. In addition we talk the New York Times propagating Cuban propaganda, the Cuban influence in Maduro’s Venezuela and the Democratic Socialists of America.   To hear on Stitcher, click here! To hear on iTunes, click here! To hear Amplifying the Muted Voices of Cuba II, click here To hear Amplifying the Muted Voices of Cuba II, click here    

Michael Petry, author, artist and Director of the Museum of Contemporary Art in London talks with Emmy Winner Charlotte Robinson host of OUTTAKE VOICES™ about his new book “The Word Is Art” that addresses how contemporary global artists incorporate text and language into their works that speaks to some of the most pressing issues of the 21st century. In the digital and online age words have become more important than ever with text becoming information and information striving to become a free form of expression. “The Word Is Art” looks at the work of a diverse range of artists including Annette Messager, Barbara Kruger, Cerith Wyn Evans, Christian Marclay, Christopher Wool, Chun Kwang Young, eL Seed, Fiona Banner, Ghada Amer, Glenn Ligon, Harland Miller, Jenny Holzer, Kay Rosen, Laure Prouvost, Martin Creed, Rachel Whiteread, Raymond Pettibon, Roni Horn, Tania Bruguera, Zhang Huan and many more interpreting how the digital and online age have made words more important than ever. “The Word Is Art” takes us on a fascinating and richly illustrated tour interpreting these trending global art forms. We talked to Michael about his inspiration for creating this book and his spin on our LGBTQ issues. When asked what his personal commitment is to LGBTQ civil rights Petry stated, “I’m one of the ancients who’s been around fighting for LGBTQ rights since the early eighties and I’ve been involved in so many different ways over the years. I consider myself queer because I think that is a broader term that for me represents who I am and what I think and part of that commitment as a queer who is an artist and who also is an author and a curator is to try and bring queer artists to the foreground of the art world. We only have to think back a few years to realize that LGBTQ artists were very marginalized and that’s still the case for many people. In the LGBTQ movement every year I curate a Pride Exhibition in London which I really hope to introduce LGBTQ artists not only to that community but to the straight community and I work within all the structures that are available whether that’s museums or the corporate structure to get that recognition for LGBTQ people because I think what is at issue in the broader political sphere is this notion of fear. Fear of others and of course that fear is not limited to the general public. It’s also in the art world.” Michael Petry has written a number of books, including “Installation Art”, “The Art of Not Making: the new artist/artisan relationship”, “Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition” and his most recent work “The Word Is Art” all published by Thames & Hudson. In 2019 he will be speaking and exhibiting his work worldwide.For More Info: michaelpetry.com Hear 450+ LGBT Interviews @OUTTAKE VOICES

Screenwriter Jimmy McGovern talks about his new BBC One drama Care, starring Sheridan Smith, Alison Steadman and Sinead Keenan, which looks at the personal challenges of caring for a parent with dementia and the struggle to find good and affordable care.Cuban performance artist Tania Bruguera talks to us from her home in Havana and explains why she is continuing to protest over Decree 349, a new law that will require artists to obtain a government licence, despite Bruguera being arrested twice this week by the authorities. BBC Correspondent in Havana, Will Grant, explains the context and implications of the new law. How can the arts help people with insomnia? We speak to two artists making work to fall asleep to – Richard Talbot of band Marconi Union, who worked with a sound therapist to write the soporific track Weightless, and Phoebe Smith, Sleep Storyteller-in-Residence for the sleep app Calm.Presenter John Wilson Producer Edwina Pitman

Tania Bruguera answers your questions

Tania Bruguera's pieces and immersive performances have attracted international acclaim but prolonged harassment from the Cuban authorities. Is she artist, activist or both?

Tania Bruguera's pieces and immersive performances have attracted international acclaim but prolonged harassment from the Cuban authorities. Is she artist, activist or both?

Tania Bruguera's pieces and immersive performances have attracted international acclaim but prolonged harassment from the Cuban authorities. Is she an artist, activist or both? (Photo: Cuban artist Tania Bruguera poses in the Turbine Hall of the Tate Modern. Credit: Daniel Leal-Olivas/AFP)

Tania Bruguera's pieces and immersive performances have attracted international acclaim but prolonged harassment from the Cuban authorities. Is she an artist, activist or both? (Photo: Cuban artist Tania Bruguera poses in the Turbine Hall of the Tate Modern. Credit: Daniel Leal-Olivas/AFP)

Activism has long been a way for artists and curators, writers and filmmakers to engage with global flashpoints, inspiring new perspectives on visible and unseen causes. Over the last century, public interventions, performative protests, and works created for public marches and events have led communities to participate in art experiences and make art themselves. The Me Too Movement, Black Lives Matter, Dreamers and Climate Change Activists expose sexual harassment and assault, race-based violence, immigrant rights violations, and the impact of sea level rise. The issues have energized today’s culture production. Contemporary artists and curators increasingly lead and invite calls to action in response to these vital concerns. Voices in this conversation: Andrea Bowers, Ralph Rugoff, Catherine Morris, Gary Carrion-Murayari, Manolis D. Lemos, Tania Bruguera, Maria Elena Ortiz, Maria Alyokina Sound Editor: Julien Borrelli | Special Audio: Andrea Bowers, Manolis D. Lemos, Pussy Riot | Photography: Credits in captions Related episodes: Andrea Bowers on Environmental Activism, Ralph Rugoff on the 13th Lyon Biennial, Catherine Morris and A Year Of Yes, Tania Bruguera on Art Activism, Maria Aloykhina on Political Art Related links: Agora, The Highline, New York; Elizabeth A. Sackler Center for Feminism Art, Brooklyn Museum; Songs for Sabotage, New Museum, Sala de Arte Público Siquieros

We kick out the jams with some live music in Berlin's Maurer (Wall) Park, a wonderful communist-era grove known for its love of Oasis hits. Erik is late to the final opening ceremony of the Sommerakademie at the Zentrum Paul Klee because he doesn't know the exchange rate between American minutes and European hours. Andre makes a prophetic prediction about the next project of Tania Bruguera. And instead of the Zurich edition of the roving European biennial, Manifesta, we discuss manifest destiny.

Cuban performance artist Tania Bruguera on 'artivism' in a changing world

Our second podcast focuses on New York's borough of Queens, which is becoming a growing hub of artistic activity in the city. We talk to Tania Bruguera about her Immigrant Movement International project in Queens and her experience in Cuba, then we chat with artist Mariam Ghani about her commissioned mural at the Queen Museum, and finally we wander the Queens International biennial with director Laura Raicovich and guest co-curator Lindsey Berfond to discuss the exhibition's themes of accumulation and globality.

Artist Tania Brugera delivers her first UK lecture after being detained in Cuba for eight months

Art and politics have a long history of complex entanglement, but in the new millennium, the global artistic scene has exploded with political controversy. From the Mariinsky Ballet to Brett Bailey's Exhibit B, from Tania Bruguera to Charlie Hebdo, via El Sistema and other social experiments, artists and their work appear more and more entwined with surrounding political issues and volatility. Part 2 of this talk features a debate on these topics and more with Afa S. Dworkin (Sphinx Organization), Antonio Aiello (PEN American Center) and Paul Smith (Director of the British Council in the USA and Cultural Counsellor at the British Embassy Washington DC) Participants Presenter: Graham Sheffield CBE Global Director Arts, British Council Moderator: Paul Smith Director of the British Council (USA) and Cultural Counsellor at the British Embassy Respondents: Afa S. Dworkin Executive Director, Sphinx Foundation Antonio Aiello Content Director and Web Editor, Pen American Center In Part 1, Graham Sheffield CBE, Global Director Arts for the British Council, offers reflections on the current situation, examining issues of conscience, freedom of expression, social action and identity in an international context.

Art and politics have a long history of complex entanglement, but in the new millennium, the global artistic scene has exploded with political controversy. From the Mariinsky Ballet to Brett Bailey's Exhibit B, from Tania Bruguera to Charlie Hebdo, via El Sistema and other social experiments, artists and their work appear more and more entwined with surrounding political issues and volatility. In Part 1 of this talk, Graham Sheffield CBE, Global Director Arts for the British Council, offers reflections on the current situation, examining issues of conscience, freedom of expression, social action and identity in an international context. Participants Presenter: Graham Sheffield CBE Global Director Arts, British Council Moderator: Paul Smith Director of the British Council (USA) and Cultural Counsellor at the British Embassy Respondents: Afa S. Dworkin Executive Director, Sphinx Foundation Antonio Aiello Content Director and Web Editor, Pen American Center Part 2 of this talk features a debate on these topics with Afa S. Dworkin (Sphinx Organization), Antonio Aiello (PEN American Center) and Paul Smith (Director of the British Council in the USA and Cultural Counsellor at the British Embassy Washington DC)

Presidents of Cuba and the U.S. recently announced a rapprochement, but is the island country ready for free expression in the form of contemporary art activism? Recorded in Havana, this Fresh Talk episode features Cuban artist Tania Bruguera and her recent launch of a new initiative: the Hannah Arendt Institute for Artivism. Bruguera is moving ahead with her project despite the fact that she's been under city arrest and subject to government reprisals after her unauthorized public art performance on December 30, 2014, landed her in jail for three days. Sound Editor: Kris McConnachie Special Audio: May Day 2009, Plaza of the Revolution and Tania, Bruguera Tatlin's Whisper #6, 2009

Entrevista a la artista cubana Tania Bruguera by Panampost

Andrés Montenegro is studying the work of Francis Alÿs, Santiago Sierra and Tania Bruguera as part of his PhD at the University of Essex and is being supported by the Institute for Studies on Latin American Art (ISLAA) to travel to New York to take part in a discussion on the grotesque at the prestigious 101st Annual Conference of the College Art Association. Find out more about ISLAA's support for work at Essex here: http://bit.ly/essex_islaa

This week: Duncan talks to installation and performance artist Tania Bruguera. TANIA BRUGUERA Tania Bruguera (born 1968, Havana, Cuba) is a Cuban installation and performance artist, trained at the Instituto Superior de Arte in Havana and at the School of the Art Institute of Chicago.  Bruguera's work pivots around issues of power and control. She lives and works between Chicago and Havana. She is the founder and director of Arte de Conducta (behavior art), the first performance studies program in Latin America, which is hosted by Instituto Superior de Arte in Havana. She is also an Assistant Professor at the Department of Visual Arts of The University of Chicago, United States and is an invited professor at the University IUAV in Venice, Italy. A March 2009 performance by Tania Bruguera, at an arts centre in Havana, has been involved in controversy. During the performance Tania Bruguera put up a microphone and told people in attendance they could say whatever they wanted for one minute. Various of the attendees use the opportunity to ask for “freedom” and “democracy”. One of these was the awarded blogger Yoani Sanchez. The Cuban government denounced this in a statement saying that it considered “this to be an anti-cultural event of shameful opportunism that offends Cuban artists and foreigners who came to offer their work and solidarity." Another controversial performance in September 2009 in the National University of Colombia (Bogota branch), included consumption of cocaine provided by the artist to the attendants. According to University officials, the artist asked for permission to carry a weapon and use cocaine but permission was denied.