Podcasts about venice biennial

In Episode 28/3 of A is for Architecture, architect, curator and educator Laurence Lord speaks about his practice AP+E, which he founded with Jeffrey Bolhuis, and their civically-minded work in Ireland and Holland, his work at the 2023 Venice Biennial's The Laboratory of the Future show, as Assistant to the Curator, Exhibition Design, and lecturer at Queen's University Belfast. Laurence can be found at the AP+E website, at QUB, on LinkedIn, X/ Twitter and Instagram. Find it where the beautiful people listen to such things, and also those places they would really rather not. Thanks for listening. +  Music credits: Bruno Gillick

While the art of curating was once led by museums, its role has been transformed over the years. A curator nowadays wears many hats: They are curators, producers, mediators – working across fields and disciplines, across borders and mediums, and across physical and virtual spaces. The freelance curator and architect Paula Nascimento is part of this ever-changing process. Having participated in interdisciplinary and collaborative projects, the Angolan curator has a unique perspective on her profession that she shares with us in this episode. Nascimento explains the many layers of curating and how she herself has experienced it in collaborative and interdisciplinary projects. In this episode, we also take a look at the role of international exhibitions, such as the Venice Biennial, where Nascimento co-curated the Angolan pavilion in 2013. It was the first and only time, an African country received the golden lion for its national representation. And finally, she gives us an insight into virtual art spaces, with ifa's digital exhibition “ARE YOU FOR REAL – Phase 1” that she curated together with various artists and curators. If you want to learn more about the digital exhibition, ARE YOU FOR REAL, click here: https://www.ifa.de/tournee/are-you-for-real/ For more information on the potential of transnational cooperations in curating, you should read our study “What does ‘curating' mean today?” by the art historian Annette Tietenberg. You can find the full study here: https://culturalrelations.ifa.de/en/research/details/what-does-curating-mean-today/ All previous episodes of “Die Kulturmittler:innen”, e.g. on feminist foreign policy or our special episodes on Ukraine, can be found here: https://www.ifa.de/ifa-podcast/ Do you have topic requests or feedback? Feel free to send them to podcast@ifa.de. More information on the Institut für Auslandsbeziehungen at https://www.ifa.de.

photograph by Lori E. Seid Charles Atlas was born in St. Louis, MO in 1949; he has lived and worked in New York City since the early 1970s. Recent solo exhibitions include The Mathematics of Consciousness, a 100-foot long video installation commissioned by Pioneer Works, Brooklyn, NY, and supported by a grant from the VIA Art Fund; Charles Atlas: Ominous, Glamorous, Momentous, Ridiculous, Fondazione ICA Milano, Italy; and Charles Atlas: The past is here, the futures are coming and The Kitchen Follies, The Kitchen, New York. In 2017, the Hammer Museum, Los Angeles acquired Atlas' five-channel video installation with sound entitled The Tyranny of Consciousness, which won a prize in Viva Arte Viva, the 57th International Art Exhibition of the Venice Biennial. In September 2019, Atlas unveiled The Geometry of Thought, a new commission for Art on theMART that spanned across the 2.5 acre river fac;:ade of theMART in Chicago.Atlas' work is included in the permanent collections of major institutions worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Art Institute of Chicago; San Francisco Museum of Art; Tate Modern, London; Centre Georges Pompidou, Paris; Hamburger Bahnhof - Museum fur Gegenwart, Berlin; Migros Museum fur Gegenwartskunst, Zurich; and De Hallen Haarlem, The Netherlands. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens. Charles Atlas, A Prune Twin, 2020, Eight-channel video installation with four monitors, with sound, Dimensions variable, Installation view Luhring Augustine Chelsea, New York (January 28 – March 11, 2023). © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York. Photo: John Berens.

Samira Abbassy was born in Ahwaz, Iran in 1965 and moved to Lon-don, UK as a child. After graduating from Canterbury College of Art, she began showing in London. She moved to New York in 1998, where she helped to set up the Eliza-beth Foundation for the Arts, and the EFA Studio Center. Her work has been included in shows at the Metropolitan and the British Museum, and is in private and public collections worldwide, including: the Metropolitan Museum, British Museum, the British Government Art Collection, the Grey Art Gallery at NYU, the Burger Collection, the Donald Rubin collection (Rubin Museum, NY), the Farjaam Collection, Dubai, the Los Angeles County Museum and the Afkhami Collection. Her work is currently on view at CANDICE MADEY Gallery. During Abbassy's thirty year career, her work has been the subject of twenty gallery solo shows in London, Dubai and New York. Her fellowships include: Yaddo fellowship in 2006 and 2022, and Sal-tonstall in 2017. She has been awarded two NYFA awards in 2007 and 2018, a Joan Mitchell award in 2010 and a Pollock-Krasner in 2014. Abbassy was also nominated for the Anonymous Was a Woman award in 2018. In 2019 her work was included in the 26th Venice Biennial presented by Heist gallery London. Abbassy has also worked as an educator in many educational institutions in the UK and the USA, some of which are: Hunter college, Penn State and the University of Virginia, where she was the artists in Residence in April 2012. Samira Abbassy Anastasis, 2021 Oil on birch panel 44 x 33 1/2 inches 111.8 x 85.1 cm, photo by Jeanette May. Samira Abbassy Reincarnated Fears, 2016 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May. Samira Abbassy Love & Ammunition II , 2014 Oil on birch panel 48 x 36 inches 121.9 x 91.4 cm, photo by Jeanette May.

As one of the most influential musicians in Turkish history and the first modern pop star of Turkey, Zeki Müren gained huge popularity beginning in the 1950s across all different communities in Turkey, in spite of his groundbreaking behaviors like cross-dressing, and can be seen as an LGBTQ+ trailblazer. Even now, Zeki Müren continues to have a profound influence on Turkish society and on the Turkish people. We begin discussing how he became so popular with such a wide audience, then Beyza and Jeff talk about their own experiences with Zeki Müren, and what led them to create the interactive documentary Zeki Müren Hotline. After that, we compare the pop culture background while Zeki was performing with the current Turkish pop culture environment, and also discuss how Zeki kept the balance of pushing boundaries and also being conservative, how he used some survival behaviors, and what made him a national hero. Finally, our guests Beyza and Jeff share some stories from the Zeki Müren Hotline. Beyza Boyacıoğlu is an award-winning documentarian and film editor from Istanbul, currently based in Brooklyn. Her work has been exhibited at MoMA, IDFA, Anthology Film Archives, RIDM, MoMA PS1, Museum of Fine Arts Boston, Venice Biennial, Creative Time Summit, Barbican Centre, UnionDocs, Maysles Cinema, Morelia International Film Festival, !f Istanbul and many others.She created the interactive documentary Zeki Müren Hotline at the MIT Open Documentary Lab with Jeff Soyk.Jeff Soyk is an award-winning media artist with experience in storytelling, direction, UX design, UI design, front-end development, animation, and film/video. His credits include co-director and UI & UX designer on Zeki Müren Hotline (2022 Webby Award Honoree: NetArt, 2017 !f Istanbul exhibit, 2017 RIDM exhibit, 2016 IDFA DocLab nominee), co-creative director and UI & UX designer on PBS Frontline's Inheritance (2016 News & Documentary Emmy Award winner, 2016 Peabody-Facebook Award winner), and art director, UI/UX designer and architect on Hollow (2014 News & Documentary Emmy Award nominee, 2013 Peabody Award winner).A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:Zeki Müren HotlineZeki Müren Hotline Kickstarter (w/ background info)The Republic of Love: Cultural Intimacy in Turkish Popular MusicTurkey as Major Television Exporter"Letter of Sorrow"MIT Open Documentary LabShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

I was totally jolted out of my art world cynicism by spending an hour with these two masters, one accomplished and one on his way. Don Porcella is a well-known artist with amazing, original work and a loooong resume of shows, fairs and collectors. Christian Williams, a young talent, seemingly plucked out of Buffalo, NY—comes to NYC and has the great good fortune of being paired with Don through Wild Geese Gallery. They share a sense of humor and other aesthetics in their work, but what comes through is the magic of a shared passion for creativity which produces a bond that transcends all of the other stuff. Though Don and Christian live hundreds of miles apart, I think these guys will be in touch for many, many years to come. Don Pocella Bio: Born and raised in Modesto, California, Don Porcella's artwork has been exhibited at galleries and museums around the world including the United States, China, Greece, Germany, France, Denmark, Colombia and Mexico. Porcella's art has been published in the New York Times, NY Arts, Fiber Arts Magazine, Chelsea Now, San Francisco Magazine and the Village Voice. He has a BA in Psychology from the University of California at San Diego, a BFA from California College of Arts and Crafts and an MFA from Hunter College in New York. Porcella's work is included in public and private collections across the United States and Europe. Porcella has received grants from the Council on the Arts and Humanities for Staten Island, the Brooklyn Arts Council, an EAF Fellowship from Socrates Sculpture Park, the 2012 West Collects Prize, an artist residency at the Museum of Arts and Design, and a 2014 Swatch Art Residency in Shanghai. In 2015 Porcella collaborated with an artist from Iran and the work was exhibited at the Venice Biennial. In 2016, Porcella created 4 installations for the Hermes Maison in Shanghai, China that was published in over 100 television, online and print media in the US and China. In 2018, Porcella created 7 installations for the Hermes boutique in Manhattan, NY which was featured in Architectural Digest, NY Magazine and Yahoo. More about Don's work HERE. Follow Don on Instagram HERE. Follow Kiffy on Instagram HERE.

Photo portrait by Kicca Tommasi Jorge Macchi is a  visual artist. Born in Buenos Aires, Argentina, in 1963. Lives and works in Buenos Aires. In 2001 he was awarded the John Simon Guggenheim Memorial Foundation Fellowship. He had three major retrospectives of his work: Perspectiva at MALBA Latin American Art Museum of Buenos Aires, in 2016, Music Stand Still at S.M.A.K the Municipal Museum of Contemporary Art, Ghent, Belgium in 2011, and The anatomy of melancholy at Santander Cultural, 2007, Blanton Museum, 2007 and CGAC, Centro Gallego de Arte Contemporáneo, 2008, He represented Argentina at the Venice Biennial in 2005. He took part in the Biennials of Liverpool 2012, Lyon 2011, Yokohama 2008, Porto Alegre 2007, Venezia 2005, San Pablo 2004, Estambul 2003, Porto Alegre 2003. Parallel lives, Jorge Macchi. Courtesy the artist. All the words of the world, Edouard Fraipont. Courtesy Galeria Luisa Srina, Sao Paulo. Bone exposed, Joerg Lohse. Courtesy Alexander and Bonin Gallery, NY

This week Anita and Sarah are joined by curator Maya Allison. Listen in as Maya discusses curating this year's UAE Pavilion to the Venice Biennial with Mohamed Ahmed Ibrahim, the significance of a translation key for exhibition audiences, and mindfulness of our own reference points when shaping a regional art canon. Music composed by Sara Fakhry Podcast powered by The Foundry

You're heard quite a bit about biennials on the Art Angle recently—the Whitney Biennial, the Venice Biennial, and, most recently, Documenta, which comes once every five years to Kassel, Germany. On their own, each of these are closely watched events by art mavens looking to spot national and global trends. But they are also just the tip of the iceberg when it comes to a circuit of Biennial and Triennial art events that girdle the earth, popping up from Athens to Bangkok to Cuenca to Dakar to, well—you could keep going on down through the alphabet. With the newest Documenta now open, we asked ourselves: What if you could go to every one of these biennials? What kinds of trends would you see? To answer the question, our writers looked at the artists included in hundreds of biennials curated since the last Documenta in 2017, to find out which names came up most. The answers that emerged were surprising, frankly, even to us, revealing a list of Biennial Art superstars who have dominated the conversation among curators in the last five years. These figures make art cut to fit that circuit. They even have their own means of economic support. To talk about the findings of the Biennial Art project, today we have two of our writers who worked on it in conversation: Ben Davis, our National Art Critic, and Kate Brown, our European editor.  You can read the full project, which includes an extremely long list of all the artists in our data set and an essay on what it means to be a biennial artist on Artnet News. 

You're heard quite a bit about biennials on the Art Angle recently—the Whitney Biennial, the Venice Biennial, and, most recently, Documenta, which comes once every five years to Kassel, Germany. On their own, each of these are closely watched events by art mavens looking to spot national and global trends. But they are also just the tip of the iceberg when it comes to a circuit of Biennial and Triennial art events that girdle the earth, popping up from Athens to Bangkok to Cuenca to Dakar to, well—you could keep going on down through the alphabet. With the newest Documenta now open, we asked ourselves: What if you could go to every one of these biennials? What kinds of trends would you see? To answer the question, our writers looked at the artists included in hundreds of biennials curated since the last Documenta in 2017, to find out which names came up most. The answers that emerged were surprising, frankly, even to us, revealing a list of Biennial Art superstars who have dominated the conversation among curators in the last five years. These figures make art cut to fit that circuit. They even have their own means of economic support. To talk about the findings of the Biennial Art project, today we have two of our writers who worked on it in conversation: Ben Davis, our National Art Critic, and Kate Brown, our European editor.  You can read the full project, which includes an extremely long list of all the artists in our data set and an essay on what it means to be a biennial artist on Artnet News. 

What does contemporary kitsch look like? In this episode, Paddy and William use a discussion of the art fairs and New York gallery scene to lead a defining of the term. From its generic definition of objects described to be in poor taste because of excessive garishness or sentimentality, to the current nostalgia driving a tasted for recycled art movements, all kitsch lacks in originality.  Listen in for the whole conversation.    THE INDEPENDENT Kenny Schachter at Allouche Benias Gallery  Renate Druks at The Ranch, Olivia Reavey at Helena Anrather   1-54 CONTEMPORARY AFRICAN ART FAIR Sanaa Gateja at 50 Golborne WonderBuhle at BKhz Gallery   VOLTA Michael Foley   GALLERIES  Judith Linhares at PPOW  JTT Gallery Anna-Sophie Berger and Sam McKinniss Sky Hopinka at Broadway Gallery  Paul Mpagi Sepuya at Bortalami  Nora Turato at 52 Walker Gallery   ARTICLES The Downward Spiral: 59th Venice Biennial by Dean Kissick 

This week we talk about the Venice Biennial & Twitter's influence Field recording by Christina Latina https://www.christinalatina.com/

This is a special anniversary Episode - it's not only the first talk of the new year 2022, it's also our No. 50! Philipp Kaiser, Partner and President at Marian Goodman Galleries worldwide, is accordingly a very special guest.  As a curator he did almost everything one could think of. He relentlessy and with great passion follows his intuition and curiosity. Philipp considers art and history being in constant flux and in his practice combines concentration with dedication and bravery with openness. Recently he prepared the extensive exhibition, archive, and library about the life and work of Harald Szeemann at the Getty, he was curator of the Swiss Pavillion for the 2017 Venice Biennial, and served as curator at the Museum for Gegenwartskunst in Basel as well as senior curator at the MOCA in Los Angeles and last but not least Philipp was director of Museum Ludwig in Cologne from 2012 to 2014 and that's just the tip of the iceberg... Philipp talks his early days, first desiring to find an alternative lifestyle for himself through art and then traveling the world, realizing exhibitions, working with different institutions, finally coming to the place he is at in his life and work right now - a place of freedom and the opportunity to access new territories.  44 min., recorded December 17, 2021, language english. If you like the talk kindly give us a rating on #applepodcasts or #spotify and leave a comment on our Instagram @voicesonart @van_horn_duesseldorf More about Philipp here in our #shownotes https://www.mariangoodman.com/news/539-marian-goodman-announces-new-partners-and-new-leadership/ A complete list  of his exhibitions:   https://de.wikipedia.org/wiki/Philipp_Kaiser Museum Ludwig (2013): Short video of Philipp Kaiser speaking mostly about the installation of the exhibition “Not Yet Titled, but also a bit about his experience one year into the position of director: https://vimeo.com/78074764 Art Review (2017): Medium-length questionnaire pertaining to the 2017 Venice Biennale https://artreview.com/2017-venice-13-philipp-kaiser-switzerland/ #voicesonart #vanhorngallery #podcast #philippkaiser #mariangoodmangallery #kunstmuseumbasel #mocala #museumludwig #venicebiennial #danielasteinfeld #talk #storytelling #van_horn_duesseldorf

Julieta Aranda, Berlin based artist and filmmaker is since many years contributor, co-director and collaborator with Anton Vidokle of the online platform e-flux. She is also organizing this years conversations for Art Basel. Julieta has exhibited her works internationally including the Venice Biennial, Berlin Biennial, documenta, the Guggenheim etc. She talks her background, growing up in Mexico and leaving home at fourteen, paving a path on her own. She talks her artistic process, how she took up the task to look at the dark side of things, the hidden underbelly of society, themes and movements and that she only feels drawn to create a work of art when language fails her to understand the topic - when it is beyond words. Every work of art requires a different medium, a different strategy to be created and Julieta listens intently to each work to find the right means to bring it into the world. If not creating works of art she writes, communicates with people, brings them together and tries to find ways to collaborate and make the life of each person easier. You will find many interviews, videos and information on Julieta online. Follow our Instagram @van_horn_duesseldorf or @voicesonart The Podcast is vailable on https://van-horn.net, Anchor, Spotify, Apple Podcasts and many other platforms. Portrait photo by Peyton Fulford. Recorded November 4, 2021, 36 min., Language english

Cauê Alves nasceu em São Paulo, São Paulo, Brasil, em 1977. É mestre e doutor em Filosofia pela USP e professor da PUC-SP. Desde 2020 é curador-chefe do Museu de Arte Moderna de São Paulo e entre 2016 e 2020 foi curador-chefe do Museu Brasileiro da Escultura e Ecologia, MuBE. Foi curador adjunto da 8ª Bienal do Mercosul (2011) e co-curador do pavilhão do Brasil na Bienal de Veneza de 2015. É autor de diversos textos sobre arte em revistas e catálogos de exposições. [Cauê Alves was born in São Paulo, São Paulo, Brazil, in 1977. He holds a master and PhD degrees in Philosophy from the University of São Paulo, besides being a professor at the Catholic University of São Paulo. Since 2020 he is the chief curator of the Museum of Modern Art of São Paulo. Between 2016 and 2020 he was the chief curator of the Brazilian Museum of Sculpture and Ecology (MuBE). He was adjunct curator of the 8th Mercosul Biennial (2011) and co-curator the Brazilian pavillion at the Venice Biennial (2015). He's the author of many texts about art in magazines and catalogues of exhibitions] ///imagens selecionadas|selected images: Revista Número, primeira edição (first edition), 2006 + Mira Schendel, sem título da série "Objetos cartográficos" (untitled from the series "Cartographic objects"), 1972/// [entrevista realizada em 18 de outubro de 2020|interview recorded on october 18th, 2020] [link para YouTube: https://youtu.be/gji1CoNrbN4]

John talks with Ghanaian-American curator and cultural critic, Larry Ossei-Mensah. Larry uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. He has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome featuring artists such as Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Modou Dieng, Glenn Kaino, Joiri Minaya and Stanley Whitney to name a few. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today such as Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley.A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR endeavors to celebrate the artistry and creativity by Black and Brown artists around the world via virtual and in-person experiences. Ossei-Mensah is a contributor to the first-ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye.Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit. He co-curated in 2019 with Dexter Wimberly the critically acclaimed exhibition at MOAD in San Francisco Coffee, Rhum, Sugar, Gold: A Postcolonial Paradox in Spring/Summer 2019. Ossei-Mensah currently serves as Curator-at-Large at BAM, where he curated the inaugural exhibition When A Pot Finds Its Purpose featuring the work of Glenn Kaino at the Rudin Family Gallery. He will be co-curating with Omsk Social Club 7th Athens Biennale in Athens, Greece in 2021. Ossei-Mensah has had recent profiles in such publications as the NY Times, Artsy, and Cultured Magazine, and was recently named to Artnet’s 2020 Innovator List.

English voice over of a conversation with Prof. Dr. Susanne Gaensheimer, since 2017 Director of the Kunstsammlung Nordrhein-Westfalen, K20/K21 in Düsseldorf. Susanne also curated the German pavilion of the Biennale di Venezia 2011, which was originally planned to be designed by Christoph Schlingensief. The pavilion received the "Golden Lion", the highest award of the Biennale. In 2013 she also curated the German contribution to the 55th Venice Biennial. Susanne gives personal insights and speaks about the moment in which she understood how deeply art is connected with life, when encountering works by Mike Kelley or Bruce Nauman during her studies in the early 1990ies. She relates in depth what art means for her personally and reveals that she is driven by the wish to move things. She also explains what it takes to lead an institution with a world class collection into the future - on the human, as well as political and structural level and leaves us with a very positive outlook into whats coming next. Düsseldorf, August 2020, 42 min., Language: german with english voice over

A conversation with Prof. Dr. Susanne Gaensheimer, since 2017 Director of the Kunstsammlung Nordrhein-Westfalen, K20/K21 in Düsseldorf. Susanne also curated the German pavilion of the Biennale di Venezia 2011, which was originally planned to be designed by Christoph Schlingensief. The pavilion received the "Golden Lion", the highest award of the Biennale. In 2013 she also curated the German contribution to the 55th Venice Biennial. Susanne gives personal insights and speaks about the moment in which she understood how deeply art is connected with life, when encountering works by Mike Kelley or Bruce Nauman during her studies in the early 1990ies. She relates in depth what art means for her personally and reveals that she is driven by the wish to move things. She also explains what it takes to lead an institution with a world class collection into the future - on the human, as well as political and structural level and leaves us with a very positive outlook into whats coming next. Düsseldorf, August 2020, 43 min., Language: german

AW CLASSROOM PODCAST: INTERVIEW WITH LARRY OSSEI MENSAH For this episode, we are diving into Larry Ossei-Mensah’s curatorial journey and perspective on supporting artists early in their careers. Larry shares his eye for art and his advice for young artists. Larry Ossei-Mensah uses contemporary art as a vehicle to redefine how we see ourselves and the world around us. The Ghanaian-American curator and cultural critic has organized exhibitions and programs at commercial and nonprofit spaces around the globe from New York City to Rome featuring artists such as Firelei Baez, Allison Janae Hamilton, Brendan Fernades, Ebony G. Patterson, Glenn Kaino, and Stanley Whitney to name a few. Moreover, Ossei-Mensah has actively documented cultural happenings featuring the most dynamic visual artists working today such as Derrick Adams, Mickalene Thomas, Njideka Akunyili Crosby, Federico Solmi, and Kehinde Wiley. A native of The Bronx, Ossei-Mensah is also the co-founder of ARTNOIR, a 501(c)(3) and global collective of culturalists who design multimodal experiences aimed to engage this generation’s dynamic and diverse creative class. ARTNOIR endeavors to celebrate the artistry and creativity by Black and Brown artists around the world via virtual and in person experiences. Ossei-Mensah is a contributor to the first ever Ghanaian Pavilion for the 2019 Venice Biennial with an essay on the work of visual artist Lynette Yiadom-Boakye. Ossei-Mensah is the former Susanne Feld Hilberry Senior Curator at MOCAD in Detroit. He recently co-curated in 2019 with Dexter Wimberly the critically acclaimed exhibition at MOAD in San Francisco Coffee, Rhum, Sugar, Gold: A Postcolonial Paradox in Spring/Summer 2019. Ossei-Mensah currently serves as guest curator at BAM's Rudin Family Gallery. He also will be co-curating with Omsk Social Club 7th Athens Biennale in Athens, Greece in Spring 2021. Ossei-Mensah has had recent profiles in such publications like the NY Times, Artsy, and Cultured Magazine, which recently named him one of seven curators to watch in 2019. Follow him on Instagram/Twitter at @youngglobal or www.larryosseimensah.com. Image: Miranda Barnes for New York Times Follow us: @artsywindow --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/artsywindow/support

Warren Neidich is a conceptual artist and theorist based in Berlin and Los Angeles. He is the founding director of Saas-Fee Summer Institute of Art and the English editor of Archive Books, Berlin. He founded the website www.artbrain.org which includes the Journal of Neuroaesthetics in 1997. His Pizzagate Neon was exhibited as part of the 2019 Venice Biennial in the Zuecca Project Space. Recently published books include Glossary of Cognitive Capitalism, Archive Books, 2019; Neuromacht,Merve Verlag, Berlin, 2017. He has been guest tutor at Goldsmiths College, London 2004-2007 and the Weissensee Kunsthochschule, Berlin 2016-2018 as well as lecturing at such institutions as Harvard University, Columbia University, Princeton University, Brown University, University of Oxford and University of Cambridge Pizzagate Neon, 2019, Neon Glass, Zuecca Project Room, Venice Biennial. Phantoms of the Acephalous,KAI 10 Foundation, Dusseldorf,Neon Glass and Prosthetic Arms, 2020

Richard Humann is a New York based artist working in several mediums; video, installation, and computer generated visual works such as AR (augmented reality). His work has been exhibited at Pace University’s Digital Gallery in NYC, the Karachi Biennale in Pakistan in 2017, and the Venice Biennial, among others. His recent 2019 exhibition, “Art Has No Limits”, was an augmented reality visual experience viewable through cell phones at the High Line in Chelsea New York, curated by Augmented Reality Fine Art Gallery 9. Humann is also a published writer and lyricist for the Brooklyn based band American Nomads, Intro and outro music is courtesy by American Nomads. Richard Humann: https://richardhumann.com/ American Nomads: https://www.americannomadsband.com/  

Welcome to this fourth episode of Dior Talks. This podcast series will explore the connections between Creative Director of Women’s collections Maria Grazia Chiuri and contemporary women artists and curators.  In this episode, series host Katy Hessel, the London-based writer, curator and art historian, talks to Tracey Emin, one of the pre-eminent figures of contemporary art in the UK. In 2017, Emin, whose practice has always been firmly yet uniquely framed within the history of feminist discourse, created a specially commissioned work, Should Love Last, for the Dior pop-up store at 44 Avenue Montaigne in Paris. Tracey Emin CBE is one of the generations of Young British Artists (YBAs) who came to prominence in the early 1990s and whose work changed the landscape and language of contemporary art in the UK. Yet the immediacy and autobiographical narrative of her work has always set her slightly apart from her contemporaries. Working in painting, drawing, video and installation, and also photography, needlework and sculpture, she has always used her own life and childhood as her subject matter, to reassess the nature of “women’s work” and the position of women, and of femininity, within the frame of artistic expression.  Emin was born in 1963 and grew up in Margate, a seaside town on the Kent Coast, and her childhood there, particularly her teenage years, form a powerful source of inspiration for her work. In 1999 she was nominated for the prestigious Turner Prize in London and in 2007 she represented Great Britain at the Venice Biennial. She is a panelist and speaker and has lectured widely, including at the V&A Museum. In 2011, she was appointed professor of Drawing at the Royal Academy. Discover a selection of works: Tracey Emin, Should Love Last, 2016 (Dior store, 44 avenue Montaigne, Paris) https://www.dior.com/diormag/en_gb/article/interview-tracey-emin Tracey Emin, The Mother, 2018 (The Museum Island, Oslo) https://www.themuseumisland.com/en/artist/tracey-emin/ Tracey Emin, Hate and Power Can be a Terrible Thing, 2004 https://www.tate.org.uk/art/artworks/emin-hate-and-power-can-be-a-terrible-thing-t11891 https://www.jessicahemmings.com/tracey-emin-stitching-extreme/ Tracey Emin, A Fortnight of Tears, Exhibition at the White Cube gallery (February- April 2019, London) https://whitecube.com/exhibitions/exhibition/tracey_emin_bermondsey_2019 Louise Bourgeois with Tracey Emin, Do Not Abandon Me, 2009-2010 https://www.moma.org/collection/works/153422 Bow Down : Women in Art History, a podcast by Jennifer Higgie https://frieze.com/article/bow-down-podcast-women-art-history

Paul Chaat Smith is a Comanche  writer and curator. He  joined the Smithsonian's National Museum of the American Indian in 2001, where he serves as Associate Curator. His projects include the NMAI's history gallery, performance artist James Luna's Emendatio at the 2005 Venice Biennial, Fritz Scholder: Indian/Not Indian, and Brian Jungen: Strange Comfort. With Robert Warrior, he is the author of Like a Hurricane: the Indian Movement from Alcatraz to Wounded Knee, a standard text in Native studies and American history courses. His second book, Everything You Know about Indians Is Wrong is a memoir and commentary from Paul about the contradictions of life in the Indian business. americanindian.si.edu · www.creativeprocess.info

Paul Chaat Smith is a Comanche  writer and curator. He  joined the Smithsonian's National Museum of the American Indian in 2001, where he serves as Associate Curator. His projects include the NMAI's history gallery, performance artist James Luna's Emendatio at the 2005 Venice Biennial, Fritz Scholder: Indian/Not Indian, and Brian Jungen: Strange Comfort. With Robert Warrior, he is the author of Like a Hurricane: the Indian Movement from Alcatraz to Wounded Knee, a standard text in Native studies and American history courses. His second book, Everything You Know about Indians Is Wrong is a memoir and commentary from Paul about the contradictions of life in the Indian business. americanindian.si.edu · www.creativeprocess.info

On this edition of The Arts Section, host Gary Zidek talks to City Winery founder and CEO Michael Dorf about his new book titled INDULGE YOUR SENSES. Later in the program, Gary profiles the life and career of north shore photographer Helen Balfour Morrison. A Northbrook-based foundation dedicated to preserving her legacy recently gifted some of her work to the Newberry Library. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, stop by to review the Chicago premiere of a play titled SUGAR IN OUR WOUNDS. And Gary will revisit a feature on a Chicago-centric Africobra exhibit that's currently on display at the Venice Biennial.

In an era of the “art product” as opposed to Art, Lindsey Nobel’s work stands out for its beauty and intellectual rigor. Listen to the artist discuss her practice and her experience of the Burning Man community, her time at the Chelsea Hotel in NYC and her recent residency during the 2019 Venice Biennial. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Kader Attia, artiste a lancé depuis deux ans le lieu LA COLONIE (barré) dans le 10ème arrondissement de Paris. Photo by Camille Millerand Kader Attia grew up in Paris and in Algeria. Preceding his studies at the École Supérieure des Arts Appliqués Duperré and the École Nationale Supérieure des Arts Décoratifs in Paris, and at Escola Massana, Centre d'Art i Disseny in Barcelona, he spent several years in Congo and in South America. The experience of living between different cultures, the histories of which over centuries have been characterised by rich trading traditions, colonialism and multi-ethnic societies, has fostered Kader Attia’s intercultural and interdisciplinary approach of research. For many years, he has been exploring the perspective that societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and how this affects the evolving of nations and individuals — each of them being connected to collective memory. His socio-cultural research has led Kader Attia to the notion of Repair, a concept he has been developing philosophically in his writings and symbolically in his oeuvre as a visual artist. With the principle of Repair being a constant in nature — thus also in humanity —, any system, social institution or cultural tradition can be considered as an infinite process of Repair, which is closely linked to loss and wounds, to recuperation and re-appropriation. Repair reaches far beyond the subject and connects the individual to gender, philosophy, science, and architecture, and also involves it in evolutionary processes in nature, culture, myth and history. Following the idea of catharsis, his work aims at Art’s re-appropriation of the field of emotion that, running from ethics to aesthetics, from politics to culture, links individuals and social groups through emotional experience, and that is in danger of being seized by recent nationalist movements In 2016, Kader Attia founded La Colonie, a space in Paris to share ideas and to provide an agora for vivid discussion, that extends his praxis from representation to action. Focussing on decolonialisation not only of peoples but also of knowledge, attitudes and practices, it aspires to de-compartmentalise knowledge by a trans-cultural, trans-disciplinary and trans-generational approach. Driven by the urgency of social and cultural reparations, it aims at reuniting which has been shattered, or drift apart. Kader Attia's work has been shown in group shows and biennials such as the 12th Shanghai Biennial; the 12th Gwangju Biennial; the 12th Manifesta, Palermo; the 57th Venice Biennial; dOCUMENTA(13) in Kassel; Met Breuer, New York; Kunsthalle Wien; MoMA, New York; Tate Modern, London; Centre Pompidou, Paris, or The Solomon R. Guggenheim Museum, New York - just to name a few. Notable solo exhibitions include “The Museum of Emotion”, The Hayward Gallery, London; “Scars Remind Us that Our Past is Real”, Fundacio Joan Miro in Barcelona; “Roots also grow in concrete”, MacVal in Vitry-sur-Seine; „The Field of Emotion“, The Power Plant, Toronto; Museum of Contemporary Art, Sydney; SMAK, Gent; Museum für Moderne Kunst, Frankfurt; Musée Cantonal des Beaux Arts de Lausanne; Beirut Art Center; Whitechapel Gallery, London; KW Institute for Contemporary Art, Berlin. In 2016, Kader Attia was awarded with the Marcel Duchamp Prize, followed in 2017 by the Prize of the Miró Foundation, Barcelona, and the Yanghyun Art Prize, Seoul. Schizophrenic Melancholia, 2018, Exhibition view “The Museum of Emotion”, Hayward Gallery, London, UK, 2019 Courtesy of the artist and Regen Projects, Photo : Marc Domage Shifting Borders, 2018, 3-channel HD digital film on 4 screens, 16:9, colour, sound each, vintage chairs and leg prosthesis. “The Paradoxes of Modernity”, 43:19 min., “Recycling Colonialism”, 32:12 min., “Catharsis: The Living and the Dead are Looking for Their Bodies”, 48:53 min.,

In this episode Gary Mansfield talks to painter Lee Cutter (@leecutter_Studio)   This is the second of several podcasts featuring artists that are associated with the prison arts charity Koestler Arts, who have their annual art exhibition at the Southbank’s Royal Festival Hall, this year entitled Another Me, until 3rd November.   Lee Cutter discovered art whilst serving a 6 year prison sentence and over the following years he gained a BA & MA.  He is now very active within the, arts in the criminal justice system and works full-time at Koestler Arts, where he met Jeremy Deller, who took him and several other ex-offenders to help him install his Pavilion at the Venice Biennial in 2013.   For full line up of confirmed artists go to https://www.mizogart.com Email: podcast@mizogart.com Social Media: @mizogart

Jack and Cait meander a whole bunch but manage to discuss Uber’s decision to straight up break the law, the Hillary Clinton emails art exhibition at the Venice Biennial, and of course a Caroline Calloway Update. Episode originally aired live on Twitch Thursday 9/12/19. VOD link for this episode here: https://www.twitch.tv/videos/480388097 JackAM FM, the podcast audio-only version of this show, is available here https://podcasts.apple.com/us/podcast/jackam-fm/

In this episode Gary Mansfield talks to Johnny Costi (@johnny_costi)   Johnny Costi is an ex-gang member and prisoner whose life was transformed thanks to art.  He was the recipient of the Koestler Arts mentor ship programme, where he met Jeremy Deller, who took him and several other ex-offenders to help him install his Pavilion at the Venice Biennial in 2013.   For full line up of confirmed artists go to https://www.mizogart.com Email: podcast@mizogart.com Social Media: @mizogart

Rafaël Rozendaal is a dutch-brazilian visual artist based out of new york city who uses the internet as his canvas. He also creates installations, tapestries, lenticulars, haiku and lectures. Exhibitions: Times square, Centre Pompidou, Venice Biennial, Valencia Biennial, Postmasters Gallery, the Hole gallery. TSCA Gallery Tokyo, Seoul Art Square, NIMk Amsterdam, Stedelijk Museum. Press: Time Magazine, Wall street Journal, Flash Art, Dazed & Confused, Interview, Wired, Purple, McSweeney’s, O Globo, Vice, Creators Project, Artreview, Vogue. Lectures: Yale (New Haven), DLD (Munich), AIT (Tokyo), Ecole des Beaux Arts (Paris), NYU (New York), Here (London), Vivid (Sydney). Collections: Whitney Museum, Stedelijk Museum Sound and Vision is supported by Golden Artist Colors. Golden is an employee owned company based in upstate New York committed to making the highest quality artist materials.

From April 2nd to July 8th, 2019, on the occasion of Miart 2019, Fondazione Adolfo Pini will present the exhibition THE ACCURSED HOUR, by Carlos Amorales, curated by Gabi Scardi. Carlos Amorales is interested in language, images and their transformation. More generally, he takes an interest in communication systems, their constant renewal, their potentialities and pitfalls; as well as the mechanisms that allow particular narratives to emerge at the expense of others; and, by extension, the issue of dominant representation, the manipulation of communication and thought. In his work visual art, music, animation and poetry converge, all interpreted, with great formal rigor, through a deep awareness of the present time and its tensions. For Fondazione Adolfo Pini, Amorales has conceived the exhibition THE ACCURSED HOUR, which focuses on his life-size installation Black Cloud and on various elements from the project Life in the folds. The exhibition will also include silhouettes and other works by the artist, in a continuous shift between images and signs. With Black Cloud, a swarm of thousands of black butterflies will invade the premises of the Foundation starting from the staircase at the very entrance. 15,000 butterflies will populate the new and the already existing spaces of the Foundation. With Life in the folds, the artist will scene the theme of human violence against other human beings. A kind of violence that lies deep within and that can explode in unjustified ways. The project also includes an animation video that tells a dramatic story while at the same time showing the hands of a puppeteer moving the characters' threads: a metaphor of the mystification to which history and our own actions are subjected, both whether we are aware of it or not. And origins of our ghosts, to recognize their scope, matrix, and ideological value. After presenting the five site-specific projects The Missing Link by Michele Gabriele, Materia prima by Lucia Leuci, Memory as Resistance by Nasan Tur, Labyrinth by Jimmie Durham and SUMMERISNOTOVER by Šejla Kamerić, with this new exhibition Fondazione Adolfo Pini continues its journey into contemporary art, under the guidance of Adrian Paci. Carlos Amorales Carlos Amorales lives and works in Mexico City. He studied in Amsterdam at the Gerrit Rietveld Academie (1996–97) and Rijksakademie van beeldende kunsten (1992–95). He has participated in artistic residencies at the Atelier Calder in Saché (2012) and MAC/VAL, Vitry-sur-Seine in France (2011), and as part of the Smithsonian Artist Research Fellowship program in Washington, D.C. (2010). His works have been shown in numerous solo and group exhibitions. Carlos Amorales represented Mexico at the 57th Venice Biennial with the project Life in the Folds (2017). Gabi Scardi Curator and contemporary art critic. Her research focuses on the latest artistic trends and the relationship between the arts and other close branches of knowledge. She worked with numerous museums and institutions in Italy and abroad, including: the Province of Milan; Pac Museum in Milan; Museo del Novecento in Milan; Pirelli Hangar Bicocca in Milan; MAXXI Museum in Rome; Venice Biennale; Royal Academy of London; Louisiana Museum in Copenhagen. For Fondazione Adolfo Pini she curated the exhibitions Memory as Resistance by Nasan Tur (2017) and Labyrinth by Jimmie Durham (2018).

How 3D Audio enhances and impacts content, human experiences, art, and science… Photo credit: Kevin Vallejos Julie Kaganskiy (Cultural Director), and Seth Kranzler and Daniel Perlin (members), of  New Inc. (the first museum-led incubator and a coworking space designed to encourage collaboration and spark new ideas from the synthesis of different disciplines) discuss how 3D Audio will enhance sensory experiences, influence human emotions and perception through a new lens of viewing and interpreting art. They also take questions from the audience and cover the importance of really listening. Presented by Sennheiser in collaboration with MouthMedia Network.Panelists Julie Kaganskiy Photo credit: Kevin Vallejos Julia Kaganskiy is a cultural producer across art and technology. She previously served as global editor of the Creators Project, a partnership between VICE Media Group and Intel. In 2010, she founded #ArtsTech Meetup, an initiative that brings together digital artists and professionals from New York’s museums, galleries, and art-related start-ups. In 2012, she was profiled in the AOL/PBS series “MAKERS,” which honored women leaders. In 2015, she was named in Crain’s New York Business’s 40 Under 40 list, and has been cited by Fast Company (2011) and Business Insider(2013) as one of the most influential women in technology. Seth Kranzler Photo credit: Kevin Vallejos Seth Kranzler is an artist, engineer, and developer working at the intersection of art and technology. He seeks to examine the impact of technological progress and expose new modes of interaction through the subversion of new technologies. His work manifests itself in installations, websites, and physical artifacts. He holds a Masters degree from New York University’s ITP program and a Bachelor of Science in Mechanical Engineering from Drexel University in Philadelphia. Seth cofounded Mixed Signals, an emerging concert series highlighting new works in electronic and digital video, music and dance. He also cofounded Channel Studio, a design and technology studio based in Brooklyn. Daniel Perlin Daniel Perlin is an artist and designer who believes in listening as a strategy for good design. Daniel got his start making work with things that make sound such as music, film, objects and sometimes spaces. After some years spent in Rio de Janeiro, where he worked in film and made work, he returned to New York where he attended NYU’s ITP program and the Whitney Independent Study program. During that time he started Perlin Studios, an experience and sound design studio in New York. Daniel has had the privilege of making things that cross many disciplines including sounds, interactive designs, objects, installations and performances. Recent work has included a solo performance at MoMA for the Lygia Clark Exhibition, an installation for the Costa Rica Pavilion in the Venice Biennial of Architecture, interactive work for Toyota’s Hydrogen Fuel Cell Vehicle and a kinetic speaker in São Paulo. He has worked with such people, places and things as Google, Vito Acconci, Maya Lin, Errol Morris, Todd Solondz, IBM, Toyota, Domus Magazine, Under Armour, The Whitney Museum of American Art, PS1 the Cooper Hewitt and The New Museum. The post 3D Audio – Sennheiser Master Class with New Inc. appeared first on Content Is Your Business.

  Alireza Khatami comes into the studio to talk his first feature film Oblivion Verses (https://www.youtube.com/watch?v=X1e6OaNQ-2k) which premiered at the Venice Biennial where it took a golden lion for screenwriting. He chats with Brian and Dana on filming beyond plot, making a movie in a language you don't speak, and everything you need to know about cemeteries.   

To coincide with the publication of a book which collects all her artwork from the past decade, Tracey Emin comes into the Front Row studio to look back at that prolific period which saw her represent Britain at the Venice Biennial.Twenty-five years after publishing The Ice House, the first of her many highly successful crime novels, Minette Walters discusses her historical fiction debut, The Last Hours, set in a medieval Dorsetshire village during the start of the Black Death. Paul Gauguin's two years in Tahiti saw the French painter create some of his most celebrated artworks. But his time in French Polynesia is also seen as controversial due to alleged relationships with young girls while there. A new French-language biopic starring Vincent Cassel comes out this week about Gauguin's time on Tahiti, art critic Waldemar Januszczak gives his verdict on the film. For National Novel Writing Month we hear from three people hoping to complete a novel this November.

Conceptual artist Simon Starling talks with curator Ethan Lasser about "The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820" on view May 19 through December 31, 2017 at the Harvard Art Museums. Simon Starling was born in 1967 in Epsom, United Kingdom, and graduated from the Glasgow School of Art. He was professor of fine arts at the Städelschule in Frankfurt between 2003 and 2013. He won the Turner Prize in 2005 and was shortlisted for the Hugo Boss Prize in 2004. He represented Scotland at the Venice Biennial in 2003 and has exhibited widely with solo exhibitions at Mass MOCA, North Adams, Massachusetts; The Power Plant, Toronto; Musée d’art contemporain du Val de Marne, Vitry-sur-Seine, France; Temporäre Kunsthalle, Berlin; Hiroshima City Museum of Contemporary Art, Hiroshima; Tate Britain, London; Staatsgalerie Stuttgart; MUMA, Melbourne, Australia; Casa Luis Barragán and Museo Experimental El Eco, Mexico City; and Museum of Contemporary Art, Chicago, among others. The artist currently lives in Copenhagen.

Kirsty Young's castaway is the artist Yinka Shonibare MBE.His work has populated museums around the globe, with a vivid, subversive and often tragi-comic presence; exploring themes of cultural identity, post colonialism and the impact of globalisation. A Turner Prize nominee in 2004, he has exhibited at the Venice Biennial and internationally.His 'Nelson's Ship in a Bottle' became his first public art commission when it was one of the art works chosen for the Fourth Plinth in London's Trafalgar Square.Born in London, his parents moved the family back to Nigeria when he was three. Later he returned to Britain to finish his education but his plans to study art were brutally interrupted when he was 19 contracted the disease, Transverse Myelitis, which attacked his central nervous system and rendered him paralysed from the neck down. He had three years of intensive rehabilitation before beginning again at art school.He went on to study at Goldsmiths and was part of the Young British Artist generation.Producer: Sarah Taylor.

Kirsty Young's castaway is the artist Yinka Shonibare MBE. His work has populated museums around the globe, with a vivid, subversive and often tragi-comic presence; exploring themes of cultural identity, post colonialism and the impact of globalisation. A Turner Prize nominee in 2004, he has exhibited at the Venice Biennial and internationally. His 'Nelson's Ship in a Bottle' became his first public art commission when it was one of the art works chosen for the Fourth Plinth in London's Trafalgar Square. Born in London, his parents moved the family back to Nigeria when he was three. Later he returned to Britain to finish his education but his plans to study art were brutally interrupted when he was 19 contracted the disease, Transverse Myelitis, which attacked his central nervous system and rendered him paralysed from the neck down. He had three years of intensive rehabilitation before beginning again at art school. He went on to study at Goldsmiths and was part of the Young British Artist generation. Producer: Sarah Taylor.

Recorded June 17, 2013 This time around, the conversation takes aim at the current Venice Biennial. Are national pavilions still relevant in our time? Does the Venice Biennial reflect a hierarchical power structure between nations? Why does the year’s biggest art event focus on outsider art and painted napkins created by prison inmates? All this and much more in our summer episode. Language: English

Recorded June 17, 2013 This time around, the conversation takes aim at the current Venice Biennial. Are national pavilions still relevant in our time? Does the Venice Biennial reflect a hierarchical power structure between nations? Why does the year’s biggest art event focus on outsider art and painted napkins created by prison inmates? All this and much more in our summer episode. Language: English

This week: Bad at Sports humbly presents Yael Bartana. We speak about her film work, identity struggles, the history of war and power, and just how an Israeli comes to represent Poland in the 2011 Venice Biennial. Bio from Experimental Television Center Yael Bartana was born in 1970 in Kfar-Yehozkel, Israel. She has a BFA from the Bezalel Academy of Art and Design in Jerusalem, an MFA from the New York School of Visual Arts and participated in the Rijksakademie artist-in-residence program from 2000-2001. She has had solo exhibitions in many countries including Germany, Israel, Australia and Japan and has won various prizes such as the Anselm Kiefer Prize (2003) and the Dorothea von Stetten-Kunstpreis (2005). Her work focuses mainly on the relationship between ritual and identity in Israeli society, looking at the practices that constitute identity, especially in its relation with traditional and contemporary notions of gender, place and ethnicity. In most of the pieces Bartana uses documentary footage shot in public or semi-public spaces at collective events that contribute to identity formation, such as shooting drills for trainee female soldiers or the carnivalesque festivities of the Jewish holiday Purim. Bartana currently lives and works in Amsterdam and Tel Aviv.   www.my-i.com http://www.experimentaltvcenter.org/history/people/bio.php3?id=40  

This Week: Lisa Freiman In this weeks episode Duncan talks to Lisa Freiman of the Indianapolis Museum of Art. This wide-ranging discussion looks at her work with the 2011 Venice Biennial/Jennifer Allora and Guillermo Calzadilla, what it takes to make a relevant sculpture park, and what is up with our neighbor in the blogosphere Art Babel. Hold onto your hats it's bound to be a bumpy ride. Lisa appears with the generous support of SAIC's Visiting Artist Program and we thank them for their assistance. And special thanks go out to Andrea Green and Thea Liberty Nichols.  The following bio was "borrowed" remorselessly from the 54th international art exhibition known as the Venice Biennial. Maybe you've heard of it? Lisa D. Freiman is senior curator and chair of the Department of Contemporary Art at the Indianapolis Museum of Art. In fall 2010, Freiman was appointed by the United States Department of State to be commissioner of the U.S. Pavilion in the 54th International Art Exhibition, La Biennale di Venezia. In 2011, she will present six newly commissioned, site-responsive works by Puerto Rico-based artists Allora & Calzadilla, the first collaborative to be presented in the U.S. Pavilion. Under Freiman’s vision and direction, the IMA opened 100 Acres: The Virginia B. Fairbanks Art & Nature Park to international critical acclaim in June 2010. 100 Acres offers a new  resilient model for sculpture parks in the 21st century, emphasizing experimentation, place-making, and public engagement with a constantly changing constellation of commissioned artworks. Inaugural installations included works by eight artists and artist collaboratives from around the world including Atelier Van Lieshout, Kendall Buster, Jeppe Hein, Alfredo Jaar, Los Carpinteros, Tea Mäkipää, Type A, and Andrea Zittel.   During her eight-year tenure at the IMA, Freiman has transformed the experience of contemporary art in Indianapolis. She has created a dynamic and widely  renowned contemporary art program that has become an influential model for encyclopedic museums as they engage the art of our time. Actively seeking out the works of emerging and established international artists, Freiman continues to provide a platform to support artists’ work through major traveling exhibitions, commissions, acquisitions, and publications. She has realized major commissions by artists including Robert Irwin, Kay  Rosen, Tony Feher, Orly Genger, Julianne Swartz, and Ghada Amer, and curated numerous exhibitions of works by international contemporary artists including  Amy Cutler, Ingrid Calame, Maria Magdalena Campos-Pons, Ernesto Neto, and Tara Donovan. Freiman has published extensively on contemporary art, including books on Amy Cutler (Amy Cutler, Hatje Cantz, 2006), and María Magdalena Campos-Pons (María Magdalena Campos-Pons: Everything Is Separated by Water, Yale University Press, 2007), and Type A (Type A, Hatje Cantz, 2010).   Prior to joining IMA, Freiman worked as assistant professor of art history, theory, and criticism at the University of Georgia, Athens and served in the curatorial department of the Institute of Contemporary Art, Boston. She earned her doctorate and master’s degrees in modern and contemporary art history from Emory University and has a bachelor’s degree in art history from Oberlin College. Freiman is currently editing the first collection of Claes Oldenburg’s writings from the Sixties, which will be published by Yale University Press in London in 2013. She is also adapting her dissertation, “(Mind)ing The Store: Claes Oldenburg’s Psychoaesthetics,” into the first scholarly monograph on Claes Oldenburg entitled Claes Oldenburg and the Sixties.