Podcasts about Thereza

Se, em sua essência, a curadoria vem para “cuidar”, a curadoria cinematográfica parece traçar um caminho que vai muito além de apenas escolher filmes: envolve um olhar especial para a experiência cinematográfica como um todo, oferecendo ao espectador um gesto, um território e um afeto.Hoje, Rafael Arinelli recebe Leandro Luz para falar com Carol Almeida, pesquisadora, curadora e professora de cinema. Carol compartilha sua trajetória, da crítica ao trabalho de curadoria, revelando que curar vai além da simples seleção de obras: trata-se de construir pontes entre os filmes e o público, criando espaços de encontro, escuta e reflexão.Além disso, o trio discute o papel histórico dos cineclubes como berço da curadoria no Brasil e como essas práticas ajudam a formar olhares críticos e sensíveis. Também percorre os bastidores dos festivais, destacando a importância de respeitar territórios, públicos e contextos políticos e culturais na hora de montar uma programação.É uma conversa sobre os desafios contemporâneos do curador diante da avalanche de imagens na era digital, a urgência por políticas públicas de exibição e a tensão entre liberdade artística e interesses de financiamento.Quer entender como a curadoria pode preservar a memória do cinema, ampliar repertórios e resistir a visões eurocentradas? Então esse episódio é pra você. Dá o play e vem com a gente descobrir o que há por trás das escolhas que moldam nossas experiências cinematográficas!• 03m06: Pauta Principal• 1h22m00: Plano Detalhe• 1h31m49: EncerramentoOuça nosso Podcast também no:• Feed: https://bit.ly/cinemacaofeed• Apple Podcast: https://bit.ly/itunes-cinemacao• Android: https://bit.ly/android-cinemacao• Deezer: https://bit.ly/deezer-cinemacao• Spotify: https://bit.ly/spotify-cinemacao• Amazon Music: https://bit.ly/amazoncinemacaoAgradecimentos aos patrões e padrinhos: • Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Flavia Sanches• Gabriela Pastori Marino• Guilherme S. Arinelli• Katia Barga• Thiago Custodio Coquelet• William SaitoFale Conosco:• Email: contato@cinemacao.com• Facebook: https://bit.ly/facebookcinemacao• BlueSky: https://bit.ly/bskycinemacao• Instagram: https://bit.ly/instagramcinemacao• Tiktok: https://bit.ly/tiktokcinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir de apenas R$5,00, você terá acesso a vantagens incríveis. E o melhor de tudo: após 1 ano de contribuição, recebe um presente exclusivo como agradecimento! Não perca mais tempo, acesse agora a página de Contribuição, escolha o plano que mais se adequa ao seu estilo e torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Leandro): Filme: Eunice, Clarice, Thereza (1979)• (Leandro): Site: Cinelimite• (Carol): Diretor: Lincoln Pericles• (Carol): Petição: Profissionais do audiovisual brasileiro em defesa do povo palestino• (Carol): Filme Nossa Música• (Carol): Livro: Mahmoud Darwish - Da presença da ausência• (Rafa): Livro: Em busca de mimEdição: ISSOaí

Thereza Morris has found her calling- spreading joy through her incredible balloon installations! Her talent is has to be seen to be believed. She creates personalized balloon sculptures that match the vibe/color/size/shape of the event and the client's imagination. Thereza learned the art and then learned the business, and Air Candy Balloons needs to be your first call if you're planning a party!

Antenados #244 - Danilo Gobatto conversa com um ícone do teatro musical, Saulo Vasconcelos, protagonista de grandes espetáculos como “O Fantasma da Ópera”, “Mamma Mia!”, “Cats”, “Les Misérables”, “A Bela e a Fera”, entre outros, e que agora se prepara para estrear “Sweeney Todd”, no Teatro Santander, em São Paulo! Tem também um bate papo com a cantora e compositora Thereza Blota, dividindo as novidades da carreira e contando sobre os projetos no jazz e no gospel! Apresentação, produção e edição: Danilo Gobatto. Sonorização: Cayami Martins

Marcelo Tas conversa com Eugênia Thereza de Andrade, diretora, dramaturga, atriz e professora de teatro há quase seis décadas. No bate-papo, ela fala sobre o que é ensinar, a importância da curiosidade, e relembra seu namoro com o escritor João Ubaldo Ribeiro e a amizade que tinham. Eugênia também comenta sua habilidade de ler corpos, mencionando que já previu doenças e comportamentos violentos apenas observando as pessoas na televisão, incluindo Ronaldinho Fenômeno e o ator Guilherme de Pádua. Por fim, Tas menciona que no aniversário de Eugênia é proibido cantar "Parabéns pra Você" e que todos cantam a "Internacional Socialista", ao que ela responde que gosta da canção por estar na memória afetiva e por ser divertida e humorada.

“La chair du tourbillon”, que pode ser traduzido como “o âmago do turbilhão” ou “o olho do furacão”, é uma exposição de fotografia coletiva que acontece em Paris, reunindo artistas francesas e da América Latina, sendo seis do Brasil. Descolonização do corpo, ecofeminismo e combate ao etarismo estão entre as propostas apresentadas por onze fotógrafes. Patrícia Moribe, em Paris“La Ima é um programa de mentoria baseado em Paris. A ideia é acompanhar fotógrafes, mulheres a princípio, mas também da comunidade LGBTQIA+. E isso nos permite nos conectar com pessoas de todas as origens e também de todas as idades”, explica Oleñka Carrasco, à frente da estrutura La Ima, em Paris. "O objetivo é acompanhar esse grupo de artistas, para colocar no mercado de arte trabalhos que tenham relação com o gênero ou com o corpo, entendendo o corpo como uma coisa muito ampla”, acrescenta.A curadora Ioana de Mello conta que uma primeira fase foi realizada só com artistas da América Latina. “E aí a gente descobriu que, na verdade, os diálogos ultrapassam fronteiras e são incrivelmente próximos. O que mulheres francesas e latino-americanas estão passando é muito próximo, então o diálogo se forma muito facilmente. Foi bonito ver isso.”Uma das participantes é a fotografa brasileira Daniela Balestrin, que expõe “Thereza”, todo em técnica de cianotipia. “Thereza é o nome de minha bisavó paterna. Que durante décadas foi apenas referida como a mãe morta do meu avô. Seu nome foi silenciado. Eu desconhecia qualquer coisa a respeito dela que não fosse o fato de ter sido mãe e de ter morrido. Também desconheço qualquer imagem sua. E esse trabalho desenvolvi nessa busca, então, por essa minha ancestral”, conta a artista.Já Simone Marinho trabalhou sobre os ciclos femininos. "O trabalho que eu apresento em Paris é sobre as experiências dos meus ciclos como mulher, tanto da minha relação com a menstruação, como com as gestações que eu tive, com a experiência do parto, do puerpério", explica Simone Marinho. "Também a experiência do aborto espontâneo que eu sofri e agora do climatério, fase que antecede a menopausa, marcando o fim dos ciclos menstruais. Então, quando eu me dei conta de que um ano depois do meu último ciclo esses ciclos não se repetiriam mais, eu resolvi registrar, por meio da fotografia, o meu próprio corpo", acrescenta.  O local de exposição é privilegiado, uma vitrine de esquina, com a prefeitura de Paris de um lado e o rio Sena do outro. “A gente brinca muito com o espaço, com a questão de ter essa vitrine, essas janelas enormes que dão para a rua e para uma rua super movimentada. Então tem os olhares de dentro para fora, de fora para dentro, os olhares para os olhares, para as mulheres”, explica a curadora Ioana Mello. “Desde o início do programa, que começou em 2022, vemos que há uma busca por uma investigação real sobre as noções que estão relacionadas ao corpo e ao gênero. Também com o feminismo, com o ecofeminismo, com a descolonização do corpo. E quando falamos de transição, falamos de transição de gênero, mas também de transição etária, porque é muito importante ver que em La Ima tocamos num ponto que não se vê muito no mercado de arte, que é a questão do preconceito de idade, o etarismo”, explica Oleñka Carrasco.“Abordamos a questão de ciclos, trabalhos que têm a ver com a menopausa, com a menstruação, com a maternidade. Isso diz respeito à metade da população mundial. São problemas que enfrentamos nos nossos próprios corpos, que é preciso poder disponibilizá-los para que o público possa ver esses modelos de representação”, acrescenta Carrasco.Participam da exposição: Stéphanie Kowalski, Laurence Lebon, Simone Marinho, Marilene Ribeiro, Daniela Balestrin, Jennifer Cabral, Alessandra França, Franklin Garcia, Flavia Raddavero, Mezli Veja Osorno e Bella Tozini.A exposição acontece nos Arches Citoyennes, em Paris. 

Thereza Bazar, best known as a member of the pop duo Dollar, chooses 10 of her favourite songs and explains why she's chosen them! Originally broadcast on Hospital Radio Glamorgan on Monday 19th February 2024 1 A Little Respect – Erasure 2 Only You – Yazoo 3 Islands In The Stream – Dolly Parton & Kenny Rodgers 4 If I Fell – The Beatles 5 You Can Call Me Al – Paul Simon 6 How Deep Is Your Live – Bee Gees 7 The Tide Is High – Blondie 8 The Look Of love – ABC 9 Every Breath You Take – The Police 10 Oliver's Army – Elvis Costello

ESTAMOS NO AR! E como já virou tradição aqui no Podcast, 'Elas Por Elas' chega a marca do capítulo 100, e claro que vamos comentar todos os acontecimentos e reviravoltas desse enredo do horário das seis. Com muita alegria recebemos aqui no Novelíssimas as mentes por trás dessa história, Alessandro Marson e Thereza Falcão, os autores comentam em um bate-papo super especial o ínicio da trama, a relação com o público, os personagens que marcam a novela e o que os telespectadores podem esperar daqui para frente? Então dá o play que esse episódio está MUITO ESPECIAL!

Ep. 139 - Rebobinando parte 2: Ordem da Fênix (filme) feat. Chale3 Convidados Chale3 (podcast): Thereza, Rosane e Breno. MANDE SUA CORUJA PARA: mundopottercast@gmail.comRedes: @mpottercast @ithasant e @rodriguesphAjude a gente: padrim.com.br/mundopotterPIX: mundopottercast@gmail.com Grupo do Telegram: @mundopotter Edição: Itamar Santos Roteiro: Paulo Rodrigues Apresentado por Itamar Santos e Paulo Rodrigue

Ep. 138 - Rebobinando parte 1: Ordem da Fênix (filme) feat. Chale3 Convidados Chale3 (podcast): Thereza, Rosane e Breno. MANDE SUA CORUJA PARA: mundopottercast@gmail.comRedes: @mpottercast @ithasant e @rodriguesphAjude a gente: padrim.com.br/mundopotterPIX: mundopottercast@gmail.com Grupo do Telegram: @mundopotter Edição: Itamar Santos Roteiro: Itamar Santos Apresentado por Itamar Santos e Paulo Rodrigue

For this interview special of Electric Friends, I caught up with a genuine pop legend: Dollar's Thereza Bazar!Ahead of her UK tour, I spoke to Thereza about her amazing career, working with Trevor Horn, her upcoming projects, and of course... what it was like working with Gary Numan.Thereza sang on Gary Numan's 1982 tracks 'Noise Noise' and 'Bridge? What Bridge?', later included on re-releases of the I, Assassin album.Thereza reveals how she met Gary, and what it was like being in the studio with him at the height of both of their careers.Clips used:Dollar - Mirror MirrorDollar - Hand Held in Black and WhiteDollar - Love's Gotta Hold on MeDollar - Oh L'amourGary Numan - Noise Noise

Remember Dollar? Thereza Bazar chats to James Watt about their success and the tour that she is creating Oh L'Tour travelling the country. Find out lots more on the podcast Hosted on Acast. See acast.com/privacy for more information.

Thereza Bazar in conversation with David Eastaugh https://linktr.ee/therezabazar?fbclid=IwAR1F6rdK47D-jMRNarXdfasSvU7DXAABq9W-myXrDHuI9rtciaHy79jtzJE Thereza Bazar met with success in her late teens as a member of 1970s group Guys 'n' Dolls, who scored a 1975 hit with "There's A Whole Lot of Lovin'" and went on to have a period of chart success, which also included "Here I Go Again On My Own", a composition by the 17-year-old Bazar. Formed Dollar in 1977. Their hits began with "Shooting Star" in 1978. They then had several big hits including "Love's Gotta Hold on Me" in 1979, "Mirror Mirror" in 1981 and "Give Me Back My Heart" in 1982, until "Oh L'amour" which hit the Top 10 across Europe in 1987.

In part 2 of our special "Fave Boy/Girl Bands" episode, three of the Pop Gays are talking to one half of one of the 80s most iconic Boy/Girl duos - Thereza Bazar from Dollar. Tune into the episode to hear Thereza talk about her upcoming UK Tour - 'Oh L'Tour' - writing her book, her days with Dollar, her fashion style, working with Trevor Horn and writing and producing music for Dollar, her solo material and other bands. We also see if Thereza remembers the price of Dollar's official fanclub merchandise from 1982! This is a must hear episode for fans of Dollar, Thereza, Boy/Girl bands, the 80s and, of course, pop music!

Neste episódio convidamos a Dra. Maria Thereza, médica radioterapeuta e fundadora do @Radioteraquiz, para um bate-papo sobre conceitos, aplicações e complicações da Radioterapia na endocrinologia. Se gostou não esqueça de deixar sua avaliação!! ***** MINUTAGEM: Apresentação da convidada (00:15)Definição e principios da radioterapia (02:20)Tipos de radioterapia (04:20)Aplicações da radioterapia na endocrinologia (17:30)Efeitos adversos na endocrinologia (27:40)Radioterapia: qual a dose máxima? (39:30)

Não perca!

What you'll learn in this episode:   How Thereza helps art collectors enter the world of contemporary jewelry. Why contemporary jewelry shouldn't be a niche, but a part of the larger art and design scene. How Thereza defines contemporary jewelry, and how she became interested in it. How she selects artists for her art and jewelry gallery, Thereza Pedrosa Gallery. Why even delicate art shouldn't be hidden away. Why quality matters just as much as aesthetics in a piece of jewelry.   About Thereza Pedrosa   Thereza Pedrosa (Rio de Janeiro, 1985) is an art historian, independent curator and gallery owner. She graduated in Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on art works on paper belonging to the Peggy Guggenheim Collection. She continued her studies and obtained a MA in Management and Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on the use of niello in contemporary European jewelry. In 2009 she collaborated as assistant registrar at the Peggy Guggenheim Collection, cataloging all the museum's works on paper. Her work led to the exhibition Revealing Papers: The Hidden Treasures of the Peggy Guggenheim Collection, for which Thereza was the scientific coordinator (Lucca Center of Contemporary Art). Since 2011 she has been working as an curator, creating exhibitions, catalogues and projects for artists and galleries in Italy, Switzerland, Germany, France and the Netherlands. In 2012 she founded the blog Beautiful People Live Art, dedicated to art, design, architecture, photography and art jewelly. In 2019 she established with her business partner Elinor Garnero a contemporary art gallery with a focus on art jewelry, the “Thereza Pedrosa Gallery”. In 2021 she joined as an expert the examining committee of the Alchimia Contemporary Jewellery School in Florence. She brings a genuinely international perspective to her curatorial activity also thanks to her residencies in Switzerland, Germany and, since 2015, the Netherlands. Additional Resources: Thereza Pedrosa Gallery  Instagram Facebook LinkedIN Photos Available on TheJewelryJourney.com Transcript: For Thereza Pedrosa, no form of art is more important than another. At her gallery, contemporary jewelry, sculpture, paintings and other fine art are all given equal standing, and she's helped numerous art collectors discover jewelry for the first time. She joined the Jewelry Journey Podcast to talk about why contemporary jewelry is still unknown to most art collectors and why that should change; how she balances raising children with owning a gallery; and what she discovered at this year's jewelry fairs. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.    Today, my guest is Thereza Pedrosa of Thereza Pedrosa Gallery. Thereza is speaking to us from Asolo, which is right near Florence. It's supposed to be a very lovely medieval village. She and her partner and friend, Elinor Garnero, founded the gallery in 2019. Welcome back.    I was wondering about this. If you have people who come in and say, “I like this painting,” or “I want a painting,” and then they look at the jewelry, do they walk out with the jewelry, or do they walk out with both? How does that work?   Thereza: Yes, it's happened a couple of times that someone came inside because they saw the paintings. When you are walking in the street, it's easier to see the paintings from outside than the jewelry. So, they come to see the paintings and discover we have contemporary jewelry, but they don't know about it. It happened a couple of times, where they may buy a painting and also a piece of jewelry. It happens more often that they open their minds to the field of contemporary jewelry, and they come back later to buy jewelry. Normally, if they come inside the first time just thinking about paintings, they are not ready yet to move to contemporary jewelry, but they come back. They fall in love with it. They come back to discover more, and then they can start buying contemporary jewelry.   Sharon: Would you call yourself a collector, somebody who collects?   Thereza: Yes. I don't know how many pieces I have in my own collection, but I sure love to collect myself. I cannot resist. I'm an art lover, and I love to collect paintings, sculptures, books and contemporary jewelry, absolutely.   Sharon: Are they different from each other, the art people who come in and just want a painting versus a jewelry person who comes in and looks at the art? Are they different kinds of personalities or people?   Thereza: I don't think they are different kinds of personalities. Normally, they are people that, like me, love art and design in all forms, especially people who love paintings and discover contemporary jewelry. What happens more often is that they just didn't know the field before. They didn't know contemporary existed. What happens often with these collectors is that they come inside, and they are like, “Oh, I love art. I love sculptures. I collect them. I never knew about contemporary jewelry. I never thought art you can wear existed.” They are excited to discover it.   This is how I was. I always loved art and paintings and sculptures, and I grew up in an artist family. I grew up with my walls surrounded by art all my life. For me, when I got involved in contemporary jewelry, I was like, “Wow!” I love art. I love to have art pieces in my house, but contemporary jewelry is a piece of art I can wear when I go out of the house. It's amazing.   Sharon: Do you consider it that? Do you consider contemporary jewelry art you can wear?   Thereza: I do.   Sharon: You do?   Thereza: Yeah, I do. For me, yes. I also consider them art pieces. There are many jewelry artists, but they make sculptures. If you see this object, you can imagine it big and it would still be amazing. They just decided to make them small and wearable, but they are still art pieces. For example, in my house, I like to keep some pieces of contemporary jewelry around the living room on shelves we have around the house, just off the coffee table because I have two small kids, but in places at least a little higher. I keep one piece here and one piece there because they look like small sculptures. They are interesting to see even when you are not wearing them.   Sharon: That's interesting. People have suggested to me that I frame some jewelry when I'm not wearing it, but I've never thought about it. The first time somebody said it to me, I thought, “Well, that's really stupid.” I didn't understand what they were talking about.    Thereza: Sometimes people come to my house and say, “Oh, my god, you keep this piece here. You should close it in a safe or something,” and I'm like, “This is an artwork. It was made to be seen and to be enjoyed. It was not made to be hidden away. If I need to have something in a safe, if I never look at it or see it or enjoy it, then I cannot own it. What is the purpose for it?” The jewelry in my collection is the same thing. I like to enjoy the pieces, even when I'm not wearing them. I cannot wear 20 pieces at the same time, so I like to see them around me. They make me happy.   Sharon: You've been in a lot of different countries. You've been in the Netherlands. Where else? I know you've been in a lot of countries, selling and creating.   Thereza: I was born in Brazil, in Rio de Janeiro. I grew up in Italy. I lived for a couple of years in Switzerland and a couple of years in Germany. Actually now, I live in the Netherlands. It's been almost eight years that I've lived in the Netherlands. My art gallery is in Italy, but I actually live in the Netherlands.   Sharon: Oh, wow! Do you find that the different cultures and places you've lived or studied influences what you do?   Thereza: I think yes, for sure, even if I don't think about it on purpose. For sure I think of it in a more international way. I don't really feel myself as Italian or Brazilian, and I have big difficulties when someone asks me, “Where are you from?” I'm like, “What are you asking me? Are you asking me where I was born? Are you asking me where I grew up? Are you asking me where I was living before I moved to this country?” It's always hard for me, but I like to take the positive sides of everywhere I was living and growing up.    What I like most is to see my kids growing up internationally. My kids are six and four, and they speak four languages and have friends from all around the world. They have friends from Tokai, from China, from Germany, from France, from the U.K., the U.S., Canada, anywhere. We go out on Sunday to have lunch together with some friends. They come to our place or we go to their place, and my kids can try food from India or Tokai, or different festivities, a different region, a different tradition. I think that's the best way for them to learn that we need to respect everyone and hope they will respect us. There is no color of skin or religion or culture that is more important than the other ones. We are all different and we are all the same, but sometimes it is difficult to teach that. If they can live it, I think it's the best way to grow up with this concept.   Sharon: Do you expose them to a lot of art, more than usual? Do you take them to art galleries? I don't know what there is in Italy. How do they learn about art?   Thereza: Some of my friends think we are little bit crazy. When we were expecting my first son, they told us, “Oh, you should put away everything that can break.” Now I'm sitting in my kitchen in Iceland, and I can see here I have a glass sculpture that is full of small, fragile pieces. When friends come over, they are like, “How can you keep that thing there with two small kids around?” I think if you teach them to respect the artworks, they can grow up with them around. I grew up with them around. My parents always had paintings and sculptures around the house. They never put them away because we were children, and I tried to do the same with my kids.   I would like them to enjoy that we have these pieces at home. With a marble sculpture or a bronze sculpture, they can touch it and feel the difference between the materials. I love it when they talk about these pieces and they go around the house and say, “This is my favorite painting,” or “This is my favorite sculpture,” or “I like this one because it's cold,” or “I like this one because I like the shape of it.” I love abstract art, so the paintings we have at home are all abstract, but my kids go around and say, “Oh, I see an ice cream in this painting. I never saw that ice cream before.” Then I start seeing things they see. Obviously, we like to go with them to museums. I go to art fairs sometimes and they can come with me. It's a pleasure to bring them around to contemporary jewelry fairs as well.    Sharon: You went to Schmuck this year. Do you go to Schumck every year?   Thereza: This year was the first year we were participating as a gallery because the gallery's only three years old. We opened it in 2019. Then Corona came, and Schmuck was not there for a couple of years. Before that, I went to visit three times, I think. I visited the last couple of years before Corona came because I was busy with my babies. They were really small, but I went. In 2014, 2015 and 2016, I went. I took a break with my babies for a couple of years, then I opened up my gallery, and this was the first year of participating as a gallery.    Sharon: Did you find new artists there or new work by artists you have? What did you find? What was interesting to you?   Thereza: Everything was different for me because that was the first year I was not free to go around so much as the other three years. I needed to be in our exhibition during the day all the time, so I didn't have much time to go visit other exhibitions. But it was wonderful to meet many artists of the art gallery that we don't get to meet often. If we organize a solo exhibition at the gallery, normally the artist comes for the solo exhibition, but otherwise we don't get to see the artists from other countries so often. I didn't have time to count how many artists of the gallery we met last week, but I think almost 20 of them were there. It was very nice to meet everyone in person.    I met artists of the gallery I had already met other times before and we are friends, but I also met some artists of the gallery that we represent that I'd never met in person before. Finally, we got the opportunity to meet in person. That was also really nice. We got new pieces to bring to the gallery from some of them. It's always a good excuse to meet in person to receive some pieces for the gallery. I also met some artists that I invited to be artists of the gallery. I'm really happy to have had all these exchanges.   Sharon: The people that you asked to be artists, they're people that you don't have now, but you saw they had work you were interested in.   Therbeza: Yes. I invited some artists I already knew I wanted for the gallery, but I just didn't have time to invite them yet. Then I met them in person. In person is always better to talk and invite them to work with the gallery. It's a pleasure. It's better than just writing an email.   Sharon: Was that a chance to see work you usually don't see, besides meeting artists? Was it work you don't see?   Thereza: Yeah, every time you visit Schmuck, you have the opportunity to discover an artist you didn't know before. You study and you try to keep in touch with everything, but there are always some artists you don't know or have yet to discover. It's always wonderful to go there because in one week, you see so many different things, displays, artists' pieces. It's really, really interesting.   Sharon: I've been wanting to ask you about this. There was a long and very interesting interview with you that Art Jewelry Forum did, and you used the word “authorial jewelry.”   Thereza: Well, with authorial jewelry, I don't know if it's a mistake in the translation from Italian. It really means alto jewelry. I think it's also used in English sometimes, but in Italian we use it to divide art jewelry from design jewelry. Alto jewelry is more about artists that also made jewelry, instead of contemporary jewelry artists that work only in the field of jewelry.   Sharon: What holds your attention about art jewelry as opposed to art? What keeps you going with art jewelry? What do you like, and why do you stay attracted to it?   Thereza: There are a lot of things I like. One of them is how many different media contemporary jewelry artists can use to make jewelry. You often find some artist who uses materials you never thought before could be used to make jewelry, and sometimes you see something that looks like one material, and then you go to see what it is and it's a different one. It always surprises me in a good way when I'm surprised with the aesthetics of a piece, the quality of the piece, but also the materials that are unexpected and different from what I was thinking or expecting   Sharon: Is that what you look at? Besides the fact that it has surprised you, do you look at the quality and the craftsmanship and the way it's done?   Thereza: Absolutely. That's really important. It's important to look. The aesthetic is important in a piece because that's what you see, but then there's the quality of it, the durability of it. You don't want it to be broken in one week. It needs to be well-made, it needs to be wearable and it needs to be of good quality. Especially for a young artist, sometimes they don't finish a piece, or they just want to have many pieces done and they don't finish them properly. No, it's really important to finish them properly for the quality of the piece, but also the wearability. It's important that you try the piece on until it works, it doesn't hurt and it doesn't break. That's important because it's an art piece, but it's also jewelry. It needs to be wearable; otherwise, it's a sculpture. Jewelry needs to be wearable for me.   Sharon: No, that's really important. You're right; a lot of young makers don't understand that it has to be something you can wear. Thereza, thank you so much for being here today and telling us about Schmuck and your gallery. Asolo is—what did you say? A couple of hours, less than a couple of hours from Florence?   Thereza: It could be more. It's actually one hour from Venice. It's in the northeast of Italy, 50 minutes from Pauda and one hour from Venice.   Sharon: You're right in the middle of things, then. Thank you so much for being with us today. We really appreciate it.   Thereza: It was a pleasure. Thank you, Sharon.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How Thereza helps art collectors enter the world of contemporary jewelry. Why contemporary jewelry shouldn't be a niche, but a part of the larger art and design scene. How Thereza defines contemporary jewelry, and how she became interested in it. How she selects artists for her art and jewelry gallery, Thereza Pedrosa Gallery. Why even delicate art shouldn't be hidden away. Why quality matters just as much as aesthetics in a piece of jewelry.   About Thereza Pedrosa   Thereza Pedrosa (Rio de Janeiro, 1985) is an art historian, independent curator and gallery owner. She graduated in Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on art works on paper belonging to the Peggy Guggenheim Collection. She continued her studies and obtained a MA in Management and Conservation of Cultural Heritage at Ca' Foscari University in Venice with a thesis on the use of niello in contemporary European jewelry. In 2009 she collaborated as assistant registrar at the Peggy Guggenheim Collection, cataloging all the museum's works on paper. Her work led to the exhibition Revealing Papers: The Hidden Treasures of the Peggy Guggenheim Collection, for which Thereza was the scientific coordinator (Lucca Center of Contemporary Art). Since 2011 she has been working as an curator, creating exhibitions, catalogues and projects for artists and galleries in Italy, Switzerland, Germany, France and the Netherlands. In 2012 she founded the blog Beautiful People Live Art, dedicated to art, design, architecture, photography and art jewelly. In 2019 she established with her business partner Elinor Garnero a contemporary art gallery with a focus on art jewelry, the “Thereza Pedrosa Gallery”. In 2021 she joined as an expert the examining committee of the Alchimia Contemporary Jewellery School in Florence. She brings a genuinely international perspective to her curatorial activity also thanks to her residencies in Switzerland, Germany and, since 2015, the Netherlands. Additional Resources: Thereza Pedrosa Gallery  Instagram Facebook LinkedIN Photos Available on TheJewelryJourney.com Transcript: For Thereza Pedrosa, no form of art is more important than another. At her gallery, contemporary jewelry, sculpture, paintings and other fine art are all given equal standing, and she's helped numerous art collectors discover jewelry for the first time. She joined the Jewelry Journey Podcast to talk about why contemporary jewelry is still unknown to most art collectors and why that should change; how she balances raising children with owning a gallery; and what she discovered at this year's jewelry fairs. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.    Today, my guest is Thereza Pedrosa of Thereza Pedrosa Gallery. Thereza is speaking to us from Asolo, Italy—I don't know if I said that right—which is near Florence. It's supposed to be a very lovely medieval village. She and her partner and friend, Elinor Garnero, founded the gallery in 2019, and it features art and art jewelry. Thereza has been in many countries studying, curating and exhibiting. She just took part in Schmuck, which, if you don't know, is one of the world's biggest art jewelry exhibits. Everybody in the world is there. We'll hear all about her jewelry journey today. Thereza, welcome to the program.   Thereza: Thank you for having me, Sharon.   Sharon: So glad to have you. Tell us about your jewelry journey. Were you considered artistic? Are people surprised when you tell them what you do?   Thereza: I think someone who knows me from when I was a child would not be surprised that I work with art and jewelry right now. I grew up in the family as an artist. My father is an artist, and I always went with him to exhibitions and art fairs. I loved to go with him when he was making Murano glasses and blown sculptures. I would go to the studio with him and take photos of him working. So, I think those who saw me growing up will not be really surprised that I love art and work with art.   Sharon: It doesn't sound surprising at all. I didn't know you were really exposed to art. Tell us about your jewelry education, then. How did you learn about jewelry?   Thereza: I started out with my father because he's a plastic artist, mainly a painter and sculptor. Sometimes during the 55 years of his career, he made Murano glasses, sculptures, mosaics, paper, iron, brass; any kind of media. Around 2000, when I was around 15 years old, he made a collection of jewelry. To make this collection of jewelry, he bought a machine for soldering. He did this beautiful collection, and then he moved back to painting and other kinds of sculptures. I asked him, “Well, you have the machine. You know how to do it. Why don't you teach me how to solder so I can make some jewelry for myself?” He taught me the basics and I made some jewelry for myself. Then some design shops sold my pieces and they wanted to start selling them. This is how I started to get involved with contemporary jewelry.    I grew up less than one hour from Padua, where there is a really important jewelry school, the Selvatico, where Babetto and Pavan and many others are from. Growing up, I saw some exhibitions of Giampaolo Babetto and Annamaria Zanella. I saw their works and I got to love their work. That's how everything started.   Sharon: So, you didn't learn classically, right? You didn't go to school and learn. That's not the way you learned.   Thereza: No, when I needed to decide what to study in university, I said, “O.K., I want to stay in the field of art,” but I didn't see myself as an artist. I didn't think I had it in me to make things except for designing my jewelry. I said, “O.K., what can I study? If I study history of art, then I can go into teaching; otherwise, what do I do with history of art?”    In Paris, in the university environment, there is this interesting course called conservation of cultural heritage. In conservation of cultural heritage, we had exams about the laws of art when you work in a museum or salon. Nationally and internationally for an exhibition, there are a lot of laws involving how long the piece can stay away from the museum and these kinds of things. I studied chemistry of conservation for paintings, drawings, and sculptures, and museography, which is what kind of temperature you need in the rooms and the lighting. So, everything you need for the economics, how to find funding for the exhibition. Everything you needed to be a curator or a registrar in a museum, that was what I studied.    I thought I would love to work in a museum as a registrar because I'm shy. I didn't see myself as a curator that needed to be the first in line. I said, “A registrar, he's more in contact with the art pieces, but a little bit in the background.” That was my dream at the beginning, but then I started moving around so much that it was difficult to find a permanent position in a museum. I started organizing exhibitions as a freelance curator for galleries in collaboration with some museums.    Sharon: You did that on your own with a museum? Did you come up with the idea, or did they come up with the idea for the exhibitions you did?   Thereza: The exhibition I did was a coordination with the drawings of the Peggy Guggenheim Collection, a collection in Venice, and I did the coordination with the Lucca Center for Contemporary Art in Tuscany. The idea for the exhibition was mine, and it was based on my bachelor's thesis. When I was writing my bachelor's thesis, I decided I wanted to write about the Guggenheim Museum in Venice, but I wanted to write about something new. I told them I wanted to write about the drawings, and I asked if could study the archives. They said, “Yes, I'm sure it would be lovely, but we never made a catalog of the drawings of the museum.”    So, my thesis became the cataloging of all the drawings in the museum. It covered how they arrived in the museum, how they received them as a gift from the artist. She bought them from the artist or from some galleries, so that's how they arrived in the collection. I also cataloged which exhibitions they participated in, which books they were published in, the state of conservation, everything you needed to know about the drawings of the collection. Then we made the Peggy Guggenheim Collection, which was at the Lucca Center of Contemporary Art and was only about the drawings of the museum.   Sharon: That sounds like a huge thing, the Peggy Guggenheim drawings. How many were there?   Thereza: I think there were around 80. More than 70, around 80. Drawings are sometimes considered less important artworks, but I've always loved paper media. Actually, in the collection, there are many works that are not just a preparation for a big painting. They are actually works in themselves. Klee, Kandinsky, many important artists from the collections also have works on paper. It really was a beautiful collection.   Sharon: How did you come to own an art gallery, you and your friend Elinor? How did you start an art jewelry gallery, I should say. What happened?   Thereza: I was organizing exhibitions for other galleries. I opened some exhibition galleries in Germany, in the Netherlands, in France. At the same time, I was still making my own jewelry. Then I got pregnant with my first son, and I decided to take a break from my jewelry to organize exhibitions. When my second child, my daughter, was around six months old, Elinor and I were talking and I was saying, “I would love to open my own gallery one day, but I cannot do it now because my kids are two and six months old.” They were too young, and I wanted to be there for them. I said, “I can do it in the future, but right now, I want to be flexible to stay with my kids. If I open a gallery, I need to be there.”    She told me, “Well, I don't feel like I can open a gallery alone,” because her background is architectural. She was in architecture and then art management, but she didn't study history of art as a main course. She was thinking, “O.K., I could be at the gallery, but I don't feel like I can organize the exhibitions myself and do everything by myself.” So, we complement each other very well because she's the one to actually stay at the gallery all the time, and I am the one that organizes the exhibitions and makes the selection of the artists for the gallery and the online shop, the online website. She's the one who stays at the gallery and deals with the collectors.   Sharon: How did you come to art jewelry? It doesn't sound like that was your initial interest. Did your father do art jewelry when he showed you jewelry? Would you call it art jewelry?   Thereza: Yes, he was an artist that made jewelry during some periods of his life, like many other artists like Picasso and Talbert. It was not their main thing, but between other things, they also made some jewelry. Also, in 2012, I opened a blog. The name was Beautiful People Love Art.   Sharon: Beautiful People Love Art.   Thereza: Yes, Beautiful People Love Art. I went on with this blog for seven, eight years. The main thing of the blog was to show how all forms of art are important and interconnected. All sides are the same thing. I don't see drawings as less important than paintings, or sculptures as more important than jewelry. I think they are all important, just different media. When I opened my own gallery, I decided we would be an art gallery. We'll have paintings and sculptures, but I was already showing a lot of contemporary jewelry with my blog.    I fell in love with contemporary jewelry while I was visiting Schmuck and Joya Barcelona and getting to know the artists. Actually, when I was finishing my master's degree, I wrote a thesis about contemporary jewelry and the use of niello in contemporary jewelry. I got in contact with many artists, Giampaolo Babetto, Annamaria Zanella, Phillipe Cizetta. I got to know the field better and I really fell in love with it.    When I decided to open my open my own gallery, I wanted contemporary jewelry to be part of it. I truly believe the contemporary jewelry field should be more open. Not a niche, but more open to art lovers in general. I think to be an art gallery, it helps to make contemporary jewelry be known to people that love art. Really often, they don't even know that contemporary jewelry exists. So, with the gallery we try to get the field of contemporary jewelry to be known outside of the field and the collectors of the field, to get it known to art collectors, design collectors, people that love art in general.   Sharon: Do you find a lot of resistance where people say, “I like the art, but the jewelry is just jewelry”? What do you find?   Thereza: We find everything. My experience at Schmuck was really interesting in this way, because we organized a contemporary jewelry exhibition with 15 artists we represent at the gallery. We were guests of Petenbone Auction House. They were having an auction week with design and glass, so a lot of people that were coming during the week weren't there for the contemporary jewelry exhibition. They would just come inside the auction house and look at the jewelry and go out. There were people coming to see the purview of the auction house and the design and glass. They were just there to see the pieces of the auction and go out without looking at the jewelry.    But there were also a lot of people that came inside to see the jewelry, and they looked at me and were like, “Oh my God, these Murano glass pieces are amazing,” or “Look at this piece from the 70s or this lamp from the 60s. There are so many beautiful pieces here.” There were some people that came to see the purview of the design auction and discovered our exhibition, and they were like, “Oh wow, we've never seen contemporary jewelry before. We didn't know it existed,” but they asked a lot of questions and were interested in understanding the different artists. There are some people that collect one kind of thing, and they want only that. Then there are people that love art in general and get excited about everything. It was very nice last week to see people going around and discovering contemporary jewelry or glass and design. It was a good mix.   Sharon: How do you choose your artists? When you have an exhibit, how do you decide which ones to have?   Thereza: For example, last week, we had an exhibition for Schmuck. We represent around 45 artists at the gallery, but we had limited space to show pieces. I wanted to show them as well as I could. I also wanted some space so you could enjoy each piece and show a little bit more of each artist, so even if you didn't know that piece, you could have an idea of his work. I decided to invite 15 artists and not bring all the artists we have at the gallery to permit people to enjoy the ones with small pieces and finalize the decision about, “O.K., I want to show a little bit of what we have at the gallery.”    It was the first time for us at Schmuck, so I invited some artists that are really well-established, who showed that we have masters of the field. I also wanted to show that we have young artists with careers and artists that work with traditional materials, and others that work with different materials like paper or food or plastic, resin and anything else. I really liked the mix. I don't like to show all pieces from the same artist here and five pieces of the other artist there. I like to mix them, and I like to have a dialogue between the pieces. I wanted the artists of the exhibition to have harmony when you saw it together. That was the important thing I wanted to get across with the exhibition, and I hope people enjoy it.   Sharon: It sounds like they would enjoy it and be exposed to things they wouldn't see a lot. Tell us a little more about who buys from your gallery.   Thereza: All kinds of people. We have contemporary jewelry collectors that love contemporary jewelry, and they come back all the time nationally and internationally. We work in an area where there were many important contemporary jewelry galleries in the past. In the last 10 years, they all closed. They closed more than 10 years ago, because the gallerists retired one after the other. For example, in Padua, there aren't any galleries specializing in contemporary jewelry anymore. We have a lot of collectors that live there who don't have a gallery close by anymore to find contemporary jewelry, so now they come to us.   We also have art collectors that love paintings and sculptures. They come inside to see the paintings, but then they discover contemporary jewelry. They get involved with contemporary jewelry and start buying contemporary jewelry also. That's very nice. We like it when that happens.   Sharon: When you say people are collectors of contemporary jewelry and art, are they people who might say to you, “I want a Babetto piece. Call me any time you get one,” or do they just come in and look around?   Thereza: Both. Sometimes there is someone who is really looking for a Babetto piece, and they come to us because they are looking for a specific piece or a specific artist. We also have collectors that just come inside because they want to have a look, or they come every two or three months to see what is new at the gallery.    With the internet, now we are working a lot online also. It happens often that whoever comes to the gallery was already checking our website, especially our Instagram page. So, when they come to the gallery—because we publish almost every day—often they come to the gallery and already know what they want to see in real life. They come and say, “Oh, I saw this artist and that artist on your Instagram page or on your website. I want to see this and that piece in real life and decide between them.”    There are people that come inside without knowing what they are looking for. There are people that come to have a look at specific pieces, and there are people that really collect. They decide before, “I want a piece of this artist,” and they come to see what we have of this specific artist.    Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.

Na história do "Quem Ama Não Esquece " de hoje o Murilo e a Tatá, contam a história da Thereza e o Paulo que viveram 26 anos em um casamento muito alegre, mas um dia o Paulo acabou descobrindo que estava com câncer no intestino num estágio muito avançado, apesar dos dois terem muita fé para que um milagre acontecesse, o Paulo infelizmente acabou falecendo deixando a Thereza com um vazio profundo no coração. Até hoje a Thereza sente muita falta do marido e está aqui hoje no "Quem Ama não Esquece" para homenagear ele.

Vamos viajar com a Maria Thereza para Ouro Preto- Minas Gerais. Maria contou como foi visitar a cidade para ver a Festa de Congado.  E você? Quer ver algum destino aqui no nosso podcast?  Mande em nossas redes sociais.  Convidada Maria Thereza:  www.instagram.com/singular.englishstudio  Hoyo Hoyo nossos contatos: www.instagram.com/bitongatravel  www.instagram.com/danickela  www.instagram.com/rebeccaletheia Nosso site: www.bitongatravel.com.br

Mirando do alto a chuva rosa sobre os rios (sob) asfalto e gente, em pausa para um café e prosa em comunhão com toda a rua.Viva Thereza e sua mesa!Instituto Undió:https://goo.gl/maps/mMTHmm9D2undar639http://www.institutoundio.org/https://www.facebook.com/institutoundioJunia Penna:bio - https://projetoplantabaixa.wordpress.com/artistas/junia-pena/sobre o Miradouro - https://bheventos.com.br/noticia/09-20-2022-nessa-rua-tem-um-rio-comemoracao-da-xxx-edicao O Histórias Vizinhas é orgulhosamente parte do Portal Desaprender:https://desaprender.com.br/https://desaprender.com.br/historiasvizinhas/ Outras redes:Facebook - https://www.facebook.com/historiasvizinhas Instagram - https://www.instagram.com/historiasvizinhas Twitter - https://twitter.com/Hvizinhas Wix (bom para ouvir no navegador) - https://historiasvizinhas.wixsite.comMedium (alguns artigos e material extra) - https://medium.com/@historiasvizinhas hospedado no Castbox - https://tinyurl.com/ywbrwyw4 trilhas:Blue Dot Sessions - Careless MorningBen Reynolds - RevolutionBoozoo Bajou - Grains

Thereza Ameal é licenciada em História e integra a direção de uma IPSS. Descobriu o gosto pela escrita num momento de renovação da sua vida, em que se reaproximou da Igreja e decidiu dar testemunho da sua fé através da escrita, para as crianças. O novo livro, “O Foguetão dos Sentidos”, resulta de um projeto inclusivo que vale a pena conhecer.

Atenção galera do Farroups e do Anchieta! Venham ouvir a Thereza Blunch e a galera do Malhassaum.

A 25-year-old man identified as Muhima is to be married to his 85-year-old lover in spite of age difference between them. However, as far as Thereza is concerned, age is just a Number.The great- grand mother of 8 children and 20 grandkids is the landlady of the apartment where Muhima and his friend rented.Thereza and Muhima are set to take their relationship to a new level by getting married despite disapproval from the woman's kids and the man's friend Kakule.The bridegroom told Afrimax in an interview that he had left his country Congo for another African country (undisclosed) with the sole aim of continuing his education at the university.On how they fell in love, Muhima recalled an incident that happened ."I remember one Friday when my colleague wasn't around, I was hungry and we had no food. I was very weak. And out of nowhere, the old woman brought me some food. She came and served me with too much care,'' he recalled.According to him, this was one of the many attitudes of the woman he experienced that got him."The way she behaved and treated me pushed me to loving her. Though she is an old woman and in reality could be my grandmother, but so what! I love her." Theresa said she is ready to risk it all for their relationship.She said: "I am 85 years of age. I have 8 children and 20 grandchildren. According to my boyfriend's age, he could be my 5th grandchild. He loves me and I also love him. I am now ready to put on the wedding dress and ring."

Maria Thereza e Dener, Esse é o título da peça que estreia na próxima semana em São Paulo, com Angela Dippe. O texto é livremente inspirado em Uma mulher vestida de silêncio - a biografia de Maria Thereza Goulart, de Wagner William. Ambos são os convidados do episódio de hoje. A peça estreia na próxima semana em São Paulo. Curtiu? Ouça, compartilhe e curta! Apresentação de Simone Magno.

Thereza di Marzo foi a primeira aviadora “oficial” do Brasil, primeira mulher a conquistar o brevê de piloto no país.

ELE NÃO FOI EMBORA (COVID-19)

In this episode, Podmas installment #9 and a LeftPOC of the Week edition, I finish my discussion on Black Brazilian communist, performer, thinker, and activist Thereza Santos. --- Music: "My Life as a Video Game" by Michael Salamone --- Learn more about the Left POCket Project via: Twitter: twitter.com/LeftPOC Facebook: facebook.com/leftpoc Media Revolt: mediarevolt.org/leftpoc Reddit: reddit.com/user/leftpoc/ Subscribe: Soundcloud: soundcloud [dot] com/leftpoc Spreaker: spreaker.com/user/leftpoc Spotify: open.spotify.com/show/13trBKujjjBnmWHeDZcC5Z or search "LeftPOC" iTunes: itunes.apple.com/us/podcast/leftp…d1329313097?mt=2 or search "LeftPOC" in podcasts Youtube: www.youtube.com/channel/UCT60v3qYO7Bj0R1XbUZct5Q Support: patreon.com/leftpoc

In this episode, Podmas installment #6 and LeftPOC of the Week edition, I discuss the early life of Black Brazilian communist, performer, thinker, and activist Thereza Santos. This is Part I. --- Music: "My Life as a Video Game" by Michael Salamone --- Learn more about the Left POCket Project via: Twitter: twitter.com/LeftPOC Facebook: facebook.com/leftpoc Media Revolt: mediarevolt.org/leftpoc Reddit: reddit.com/user/leftpoc/ Subscribe: Soundcloud: soundcloud [dot] com/leftpoc Spreaker: spreaker.com/user/leftpoc Spotify: open.spotify.com/show/13trBKujjjBnmWHeDZcC5Z or search "LeftPOC" iTunes: itunes.apple.com/us/podcast/leftp…d1329313097?mt=2 or search "LeftPOC" in podcasts Youtube: www.youtube.com/channel/UCT60v3qYO7Bj0R1XbUZct5Q Support: patreon.com/leftpoc

Jornada no Advento | Dia 4 | Thereza by

Today you will be introduced to two women who are part of Brazil's Airplane History. They are two symbols of courage and determination and they reach the sky! Meet Anásia and Thereza, the first brazilian women pilots. For the full text, go to: https://readbrazilianportuguese.com/news-in-easy-portuguese-mulheres-nas-alturas/ If you are an intermediate and would like to listen to some advanced material, go to: https://anchor.fm/portuguesewitheli --- Send in a voice message: https://anchor.fm/readbrazilianportuguese/message

Entrevista mensal que lhe ajudará a entender questões importantes para a educação dos seus filhos. Compartilhe esse e outros conteúdos do Canal com seus amigos! Mande suas perguntas e dúvidas sobre educação de filhos no e-mail descrito abaixo, para que possamos ajudá-lo com uma resposta Bíblica que faz a diferença ao forma-la em prática. A Bíblia é um livro espiritual extraordinário que nos ajuda a viver uma vida plena em Cristo em todas as áreas. e-mail: contato@gentegrandedica.com.br www.gentegrandedica.com.br Deus abençoe sua vida.

Hoje eu conversei com Thereza Paiva, física e professora do Instituto de Física da UFRJ, sobre magnetismo e a importância da ciência básica para as inovações tecnológicas, sobre o dia a dia e o mercado de trabalho do físico, e sobre seus projetos para incentivar crianças e principalmente meninas a se encantar pela física. --- Send in a voice message: https://anchor.fm/prosa-com-ciencia/message

Sylvia Thereza é carioca e começou seus estudos musicais improvisando com o pai aos três anos. Ela logo chamou a atenção e não demorou para chegar até a Europa e conquistar o planeta. Seu talento chamou a atenção nos Estados Unidos, onde ela foi patrocinado para estudar com a pianista russa Bella Davidovich, em Nova York, e mais tarde na Bélgica, com Alan Weiss no programa de mestrado da Universidade de Leuven. Hoje é a mais talentosa pianista brasileira na Europa, como é possível ver no seu canal de YouTube. Uma conversa bem animada e com a própria Sylvia falando sobre algumas das suas obras com a gente, em tempo real. O YouTube da Sylvia está aqui! Página da Sylvia aqui está! Conversa de Câmara é apresentado por Aroldo Glomb com o Eduardo Masses na unibancada! Estamos também no programa Antigas Novidades! ESSE PROGRAMA É PRODUZIDO POR NA PAUTA PODCAST!

“Sono un po' una cittadina del mondo”. Quante volte ti è capitato di sentire qualcuno affermare di essere tale, magari sulla base di numerosi viaggi, o di un periodo più o meno lungo trascorso all'estero in più paesi? Per quel che riguarda la protagonista dell'episodio di oggi l'essere cittadina del mondo va ben oltre l'aver viaggiato o avere, o aver avuto, la residenza fuori dall'Italia. Perché la protagonista, che di nome fa Thereza Christina, ha un papà austriaco - e infatti di cognome fa Grollitsch -, e questo papà un po' di anni fa ha sposato una donna brasiliana, e proprio in Brasile, 41 anni fa, è nata Thereza. Questo curioso mix di culture - che se fosse una musica sarebbe quella di Mozart a ritmo di samba, e fonde la luce sudamericana con la poesia della Mitteleuropa - decide a un certo punto della propria vita di aggiungere un altro ingrediente alla ricetta del cosmopolitismo. Così attraversa l'Atlantico in senso contrario a quello su cui si mosse il citato papà, approda in Italia e poi, dopo altre avventure, arriva laddove affondano le sue radici: Klagenfurt, Carinzia. Che è il luogo in cui è nato il papà ed è il teatro della storia che stai ascoltando in questo nuovo episodio di It's My Life.Buon ascolto! LE VOCI DI QUESTO EPISODIOThereza Christina Grollitsch - Promozione Investimenti Internazionali Babeg Igor - Responsabile editoriale Podcast Italia Network

Hoje o programa Falando sobre Engenharia é com a Engenheira Eletricista Thereza Neumann, falando sobre sua trajetória profissional e o programa Tecnologia no Dia a Dia que era apresentado nas rádios do Ceará!

A saudade não tem luz...

Entrevista com Ana Thereza Chaves - Mulheres elétricas, com Carol Gilberti by Rádio BandNews BH

O jogo finalmente começou! Quais participantes mais se destacaram? Quem ganhou a prova de imunidade? Quais foram nossas primeiras impressões dos brothers na casa? Vem escutar e ficar atualizado! Igspace  SIGA NO INSTA: @PodcastBigBichaBrasil SIGA NO TWITTER: @PodcastBigBicha EMAIL:

Exposição Virtual

Vení y conoce la historia de la artista brasileña radicada en Cali con un sello amazónico en la sangre, una mujer que nos a ilustrado la belleza de la naturaleza y la destrucción a la que la estamos sometiendo. En #MAMCulturalPodcast tenemos la historia de Maria Thereza Negreiros. Una producción del colectivo MAM. Productores: @camigarciacalad @mateousmus. Realización de: @elnegroever, Camila Garcia y Mateo Uribe. Posproducción y musicalización: Bichofue Records (@bichofuerecords y @dave.paz). Un podcast financiado por la Alcadía de Cali (@alcaldiadecali) Patrocinado por: @pulpasarar @agua_canay @charlespanaderia @gofood_cali @tumovilcolombia @casacuchuflettos @bombay_jugos @amalsaludable #MAM #MAMCultural #Cultura #VejezFemenina #HablarDeVejezEsUnActoPolitico #Artistas

Entrevista completa desta segunda-feira (14/09).

Maria Thereza Goulart (1936) foi primeira-dama do Brasil durante o breve mandato de Jango. Foi a mulher mais jovem a ocupar o cargo, ainda presenciando um dos momentos políticos mais turbulentos do Brasil: a deposição do marido após o golpe militar de 1964.

Seja bem-vinda, seja bem-vindo ao Sarau da Casa Azul!!!! Nesse novo episódio, Luzimar Soares e Luciene Carris conversaram com a historiadora e professora Maria Thereza David João do Centro Universitário UNINTER e do Colégio Suíço-Brasileiro de Curitiba. Nesse bate-papo, ela falou sobre a sua trajetória profissional e sobre a importância das agências de financiamento para a sua formação profissional desde graduação até o doutorado, inclusive parte dela foi realizada na França. Além disso, ressaltou a relevância do fomento público à educação nacional e como tem sido os ensinos à distância e remoto em tempos de COVID-19. Esperamos que gostem desse nosso bate-papo. Até breve!

A atriz e diretora Thereza Piffer fala sobre carreira, teatro e poesia, num papo emocionado e cheio de surpresas! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/denisantunes/support

Episode Summary: In this episode we meet Brazilian artist Maria Thereza Alves, whose work feels particularly urgent in the current environment we find ourselves in. Her research-based, highly poetic, and astonishingly courageous practice continuously addresses ecological and social issues for the betterment of humanity. In this genuine and intimate conversation, Alves discusses her childhood experiences that formed her artistic consciousness, how the global cultural scene needs to avoid categorisations, and how her body of work gives witness to silenced histories, creating spaces of agency for oppressed and discriminated cultures, ongoing environmental emergencies, and the never-ending crisis of cultural authority.About the Speaker: Maria Thereza Alves is a Brazilian artist and activist living in Europe. Alves's oeuvre comprises equally political texts, artist's texts, videos, mixed media installations, drawings, photographs, performances, in situ works, talks and documentations of important moments in history. Since the early 1970s, both the devastating effects of Portuguese imperialism on the indigenous peoples of her native Brazil and the impact of the Spanish conquest in the Americas, has been central to her practice. Through her creative and intelligent body of work Alves has addressed concepts that question social circumstances, researching social and cultural phenomena. In 2017, she was awarded the Vera List Prize. Selected exhibitions include solo shows at IAC - Institut d'Art Contemporain (Villeurbanne), Parsons - The New School of Design (New York), CAAC - Centro Andaluz de Arte Contemporáneo (Seville), Musée d'Histoire de Nantes - Château des Ducs de Bretagne, and group shows at Manifesta 7 (Trento), Serpentine Gallery (London), (d)OCUMENTA 13 (Kassel), Bétonsalon (Paris), Crac Alsace, Jewish Museum (Berlin), 3rd Guangzhou Triennial, 29th Sao Paulo Biennial, amongst others.Hosts: Elizabeth Zhivkova and Farah PiriyeSign up for ZEITGEIST19's newsletter at https://www.zeitgeist19.comFor sponsorship enquiries, comments, ideas and collaborations, email us at info@zeitgeist19.com

Beyond Ochre wraps up its first season with a fourth and final episode. Nadia and Kayla part ways with Thereza and Gruff before embarking on a journey to a mysterious glass tower in the Rocky Mountains. Grab some snacks and enjoy a road trip through the Junk of the post apocalyptic US of A! Check out episodes 6, 9, and 13 to get the full Beyond Ochre story.

ein Pflegeheim weigert sich immer noch, den wunderbaren Okker-Anstrich gegen ein farbenfrohes grau zu tauschen? Geh doch mal auf Reisen... Florian Stummer lebt und Arbeitet in Insbruck. Neben seinem Medizinstudium verfasst er seit 2004 Kurzgeschichten aller Genres, von denen eine 2005 zur Top Story des Jahres des Schreibforums www.kurzgeschichten.de gewählt wurde. Dort ist er unter dem Nicknamen Lems Erbe 2007 gründete er zusammen mit Manuela Führer den Literaturverein „Earth Rocks“, dessen erste Ausgabe des Vereinsmagazins von der Kulturabteilung des Landes OÖ. als „förderungswürdig“ eingestuft wurde. www.earth-rocks.at Bisherige Veröffentlichungen: „Ruhe und Frieden“, Tunderbolt Golem 77 „Lehrgeld“, KG.de: „Das sterben ist ästhetisch bunt“, „Meisterbrief“, in J. Schreiner: „Satan Gmbh & Co KG“ (Bei Amazon vergriffen.) „Jede Generation hat ihre Helden“, in SFCD „Story Center“ „Fixstern“, in „Die Zärtlichkeit des Übermorgen“ „Haute cuisine“, Caligo-Magazin 02/07 „Willkommen“, Earth Rocks-Magazin 01/07 „Mit Sambal Oelek gepierct“, Leumond-Magazin Aug.07 „Swing-by“, Leumond-Magazin Sept.07 „Wir sind dann mal weg“, TERRACOM-Magazin Ausgabe 103 „Thereza“, Caligo - Magazin 04/07 „Shorty kratzt die Kurve“, TERRACOM-Magazin Ausgabe 104 „Fräulein Rosig beschließt zu singen“, Leumond-Magazin Dezember 07

Vocês estão preparados pra esse close? No episódio de hoje recebemos Ikaro Kadoshi e Thereza Brown pra tirar todas as nossas curiosidade e dúvidas sobre a cena Drag, Fomos de aprender a aquentar até papos sentimentais e chororô! Vem que está babado! Apresentadores: @lucasromano @priscillaolyva Convidados: @ikarokadoshi @there.za Referências: Festa Priscilla https://www.sympla.com.br/festapriscilla Ikaro Kadoshi performance de Noiva Cadaver https://www.youtube.com/watch?v=0aqs60lgvys Drags: Vera Verão - Jorge Lafond @alexiatwister @leyllahdiva @rupaulofficial @gloriagroove @pabllovittar @penelopyjean Série: Pose Filme: Priscilla - A Rainha do Deserto Reality: Drag Me As a Queen - Brasil (Canal E!) Canal no Youtube: O Voo de Ikaro https://www.youtube.com/channel/UC2l8Bj6BxaIylgvQtwMgZZQ Thereza https://www.youtube.com/channel/UC7ZzK01dAIBvFLQkuVzisxQ Experiência com Realidade Virtual: https://youtu.be/uflTK8c4w0c

Palestra realizada no Centro Espírita Thereza de Jesus, em Jaú/SP, no dia 25/04/2019.

Terceiro episódio da parceria entre o Diagrama e o Design Ativista. Em dezembro do ano passado aconteceu o primeiro Encontrão do Design Ativista em São Paulo e separamos algumas palestras que funcionam melhor no formato de podcast pra mostrar o que rolou por lá e também pra fazer um esquenta pro Encontrão desse ano que acontece agora do dia 5 a 8 de dezembro. E nesse terceiro episódio, uma mesa redonda com Janara Lopes, Camila Rosa e Thereza Nardelli. Pra participar do Encontrão Design Ativista desse ano, é só se inscrever no site designativista.org. Mais informações no site designativista.diagrama.co

In expanding dialogues around the inaugural Toronto Biennial of Art, selected artists discuss their practice and processes in a series of short format podcasts. Interviewed artists and collectives include Adrian Blackwell, Ayumi Goto, Caroline Monnet, Diane Borsato, Isuma, Jeneen Frei Njootli, Life of a Craphead, Lisa Steele and Kim Tomczak, Maria Thereza Alves, Syrus Marcus Ware, and Tsēmā Igharas.Music: Chris Zabriskie, Remember Trees?, 2016; We Were Never Meant to Live Here, 2016.Image: Portrait, Maria Thereza Alves

This episode includes an excerpt from Maria Thereza Alves' artist talk presented at SFU Galleries in collaboration with the City of Vancouver Public Art Program during Spill Response. Alves speaks about her project Um Vazio Pleno/A Full Void developed for Frestas Trienal 2017 that is an attempt to question the denial of the Indigenous presence in the history of the making of Sorocaba which states that one man founded the city. Since the 1980s Alves has produced a body of work that investigates the circumstances of specific localities in order to give witness to silenced histories. Her work proceeds through a process of dialogue facilitated by direct involvement in material, environmental and social circumstances, engaging spaces of agency and visibility.

Hey everyone, here's an exciting episode with Sera and Thereza of Heyma Entertainment on their new short film Delirium, which premieres tonight in Atlanta! We cover a wide range of topics like getting a project like Delirium off the ground, and how to deal with social media for kids. It's a great episode! Thanks for listening! Rate and review this podcast on iTunes! Check them out on Instagram: https://www.instagram.com/thereza_e_smith/ https://www.instagram.com/sera_m_lauren/ https://www.instagram.com/delirium_short_film/ https://www.instagram.com/heyma_entertainment/ You can follow Will Malone on Instagram @willmalone Check out Will's blog: https://www.willmalone.com/blog --- Support this podcast: https://anchor.fm/outoffocus/support

Carol Herr is a life coach from Sao Paolo, Brazil. With her husband Peter, she has a beautiful baby girl named Thereza who's now almost 1. I, Diana Orozco (@dianagogo) met Carol through Lindsey (lindseythoeng), who met Carol at a fashion event in New York City and they have been friends ever since. I love how Carol expresses herself and every time I would hang out with her I would learn something new about life, work, creativity, fear, dealing with obstacles, anxieties or relationships. If you follow her on Instagram (@cajuinaefrevo) you can see how great she is at sharing her wisdom by applying her process in her day to day life. She always leaves me wanting to know more so I invited her to record an episode to go deeper into why and how she does what she does. Here is our conversation. P.s. If you would like to send us your story, please go to: https://www.ellasahora.com/aperitivo and follow us on IG @ellasahora Thanks for listening!

Quer ouvir um programa que mistura música, série, feminismo e a vida real?Então coloca o fone de ouvido que esta edição do Da Série Pra Vida tem tudo isso. A história de luta de Adélia, Malu, Lígia e Thereza fazem você conhecer um pouquinho da década de 50, do surgimento da Bossa Nova e das lutas feministas da época. Tematiquinho produzido no primeiro semestre de 2019 pelas estudantes Dhandhara Costa e Karoline Bernardi, para a disciplina de Áudio e Radiojornalismo. Orientação da professora Valci Zuculoto.

Ouça os destaques do caderno Internacional deste sábado (22/06/19)See omnystudio.com/listener for privacy information.

Ouça as principais notícias do jornal O Estado de S. Paulo desta sexta-feira (21/06/19)See omnystudio.com/listener for privacy information.

Confira as principais notícias internacionais desta sexta-feira (21/06/19) no EstadãoSee omnystudio.com/listener for privacy information.

Esse é o Wine & Talk, nosso programa sobre vinhos no Fashionismo para ouvir! Do blog para o Podcast, uma vez por mês, Thereza e Rodrigo batem um papo descontraído sobre vinho para iniciantes e iniciados. No programa de hoje falamos sobre as barreiras que quem está começando no mundo dos vinhos enfrenta, os rótulos, uvas, desafios e um roteiro básico pra você começar da melhor maneira. Para saber mais sobre vinho no Fashionismo, acesse: https://www.fashionismo.com.br/tag/vinho/

Beyond Ochre's story continues in Episode Nine, picking up where Episode Six's The Big Day left off. Thereza, Nadia, and Kayla are drawn into a dangerous web after they find themselves in what was once considered the greatest place on Earth.

Entrevista a Thereza Nahas, Juíza trabalhista.

 Filha de imigrantes italianos, Thereza de Marzo vislumbrou sua vida ao contemplar o céu e observar um avião, ficou encantada e decidiu que um dia iria voar também. Aperte os cintos e embarque nesse programa junto com Iracroft, Juliana Ponzilacqua e a nossa pilota, convidada especial, Sally do Pará. >>> Clique aqui e escute o […] O conteúdo Ponto G 18 – Thereza De Marzo aparece primeiro em Preciosa Madalena.

Nesta edição de julho, o Pautas Femininas discutiu a realidade da microcefalia adquirida por contato com o Zika vírus. O debate traz opiniões da senadora Vanessa Grazziotin (PCdoB/AM), de Inez Gadelha, diretora do Departamento de Atenção Especializada e Temática do Ministério da Saúde, Thereza de Lamare, coordenadora-geral da Saúde da Criança e Aleitamento Materno do Ministério da Saúde, dra. Denize Bomfim, coordenadora da Neurologia Pediátrica da Secretaria de Saúde do Distrito Federal, e Viviane Lima, mãe de duas adolescentes com microcefalia.

INTO THE GOBLIN CAVE: The old team gets ambushed by goblins and Thereza and Teddy narrowly escape. On the way back to town they meet "Team B". The two parties join up to raid the goblin cave and... Tabletop roleplaying game actual plays, news, and interviews.

THE ABYSS GAZES BACK: The heroes return to Phandalen, now set ablaze by the Red Brands and their new allies--including an ogre that no one wants to go near! When the team learns that Thereza's... Tabletop roleplaying game actual plays, news, and interviews.