Podcast appearances and mentions of William Kentridge

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Con l'artista William Kentridge alla scoperta delle contraddizioni di Johannesburg. Con il biologo Yoshinori Ohsumi per conoscere le ricadute positive dell'autofagia su salute e longevità. Con la storica del gioiello Alba Cappellieri alla ricerca della simbologia della catena, dai reperti archeologici alla contemporaneità. E in questa puntata di Start weekend, ci trasferiamo al Festival dell'Economia di Trento per “cucinare sogni” e ascoltare i giovani creativi. Learn more about your ad choices. Visit megaphone.fm/adchoices

Watch the Q&A session here: https://youtu.be/9tcRtGh7hkMThis lecture looks at debates and dialogues that characterise realist photography in Apartheid South Africa (1948-1994) examining the tensions between advocacy, propaganda and the ‘struggle' on the one hand and the poetics of everyday life on the other. Figures from Ernest Cole and David Goldblatt to Zanele Muholi and Lebohang Kganye will be examined. This lecture was recorded by Tamar Garb on 25th March 2025 at Barnard's Inn Hall, London.Tamar Garb is Durning Lawrence Professor in the History of Art. Her research interests have focused on questions of gender and sexuality in European art as well as on post-apartheid culture, contemporary art, and the history of lens-based practices in Africa.Key publications include Sisters of the Brush: Women's Artistic practices in Late Nineteenth Century Paris (1992), Bodies of Modernity: Figure and Flesh in Fin de Siecle France (1996) and,The Painted Face: Portraits of Women in France, 18145-1914 (2007). Her Africa related curatorial projects include: Figures and Fictions: Contemporary South African Photography (V&A, 2011); Distance and Desire: Encounters with the African Archive (Walther Collection, 2015); William Kentridge and Vivienne Koorland: A Conversation in Letters and Lines (Fruitmarket Gallery, Edinburgh, 2016) and, Beyond the Binary: Santu Mofokeng and David Goldblatt (Walther Collection 2023) The transcript of the lecture is available from the Gresham College website: https://www.gresham.ac.uk/watch-now/documentary-photography-apartheid-south-africaGresham College has offered free public lectures for over 400 years, thanks to the generosity of our supporters. There are currently over 2,500 lectures free to access. We believe that everyone should have the opportunity to learn from some of the greatest minds. To support Gresham College's mission, please consider making a donation: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-today Website:  https://gresham.ac.ukX: https://x.com/GreshamCollegeFacebook: https://facebook.com/greshamcollegeInstagram: https://instagram.com/greshamcollegeBluesky: https://bsky.app/profile/greshamcollege.bsky.social TikTok: https://www.tiktok.com/@greshamcollegeSupport Us: https://www.gresham.ac.uk/get-involved/support-us/make-donation/donate-todaySupport the show

Today's episode is a special conversation and recap of Elisabeth Condon and my experiences collaborating as visual artists in the ballet project CounterPointe (now in its 12th year) produced by Norte Maar and staged at the Mark O'Donnell Theater (Brooklyn) in March 2025. Jennifer Coates kindly came on to ask us questions about making props and what it was like for 2 newbies to enter the world of dance. Thanks, Jennifer!Special thanks also to Norte Maar and its co-directors, Julia K. Gleich and Jason Andrew for their support of artists and creative collaboration.More information about Elisabeth and Amy's work:Elisabeth: https://www.elisabethcondon.com/ | @elisabethcondonAmy: https://www.amytalluto.com/ | @tallutsMore information about Julia Gleich and Jason Andrew's NorteMaar & CounterPointe12: https://www.nortemaar.org/projects/counterpointe12Julia K. Gleich's website: https://www.gleichdances.org/Julia Gleich interview on this podcast: Episode 49The dances we discussed:"Vermillion | 10" by Ava Desiderio and Elisabeth CondonDancers: Minami Ando, Lucia BeteluSupport structures: Elise WunderlichMusic by Zero Eklipse and William Pilarte Lighting: Evan SpigelmanMark O'Donnell Theater, Brooklyn, March 2025"And So It Begins" by Margaret Wiss and Amy TallutoDancers: Maya Tsuruki Holden and Jaclyn KriewallMusic by Margaret WissLighting: Evan SpigelmanMark O'Donnell Theater, Brooklyn, March 2025"46 Gordon" by Julia K. Gleich and Nicole CherubiniDancers: Michelle Buckley, Kara Chan, Annie Freeman, Amber Neff, Ethan Schweitzer-GaslinLighting: Evan SpigelmanMark O'Donnell Theater, Brooklyn, March 2025Special thanks to Jennifer Coates for interviewing us! Jennifer's website: https://www.jenniferlcoates.com/Jennifer on IG: @jennifercoates666Artists mentioned: Henri Matisse, William Kentridge, Florine Stettheimer, Keisha Prioleau Martin, Meg Lipke, Elana Herzog, Nicole Cherubini, Alvin Ailey, Judith Jamison (Dancer), Julia K. Gleich (Choreographer), Jason AndrewDances mentioned: "Afternoon of a Faun" by the Ballet Russes, “Minutiae” (1954) Robert Rauschenberg and Merce Cunningham, "Cry" Alvin AileyVideo mentioned: "How to Make Theater Props" by Eric Bucklein (not actually old but young) https://youtu.be/JSl5Vc8mej0?si=KWGdOxnijBiEEGZcBook mentioned: Inigo Philbrick "All That Glitters: A Story of Friendship, Fraud, and Fine Art"Exhibition mentioned: "Edges of Ailey" at the WhitneyAll music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks website: ⁠https://www.peptalksforartists.com/⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

William Kentridge uchodzi za jednego z najwszechstronniejszych współczesnych artystów wizualnych. Jest rysownikiem, grafikiem, twórcą filmów animowanych, rzeźb, immersyjnych instalacji i gobelinów, a także uznanym reżyserem teatralnym i operowym. 

It's MIAMI art fair week - we are ready for Art Basel, Untitled, NADA and more! We meet legendary art collecting family THE RUBELL'S!!!! Mera, Don and Jason!!!Don and Mera Rubell started collecting in 1965 while living in New York, acquiring their first work after a studio visit and paying on a modest weekly installment plan. The Rubells grew their collection by looking at art, talking with artists, and trusting their instincts. Their son, Jason Rubell, joined them in 1982 in building the collection, extending the multigenerational family passion for discovering, engaging, and supporting many of today's most compelling artists. The Rubells moved to Miami in 1992, and together with Jason and their daughter, Jennifer, began developing hotels and an art foundation and museum to house and publicly exhibit their expanding art collection.Since the Rubells' first acquisition, they've amassed one of the most significant and far-ranging collections of contemporary art in the world, encompassing over 7,700 works by more than 1,000 artists—and still growing. The collection is further distinguished by the diversity and geographic distribution of artists represented within it, and the depth of its holdings of works by seminal artists.The Rubells are drawn to emerging and underrecognized artists. They were among the first to acquire work by now-renowned contemporary artists, including Jean-Michel Basquiat, Cecily Brown, Keith Haring, Rashid Johnson, Hayv Kahraman, Jeff Koons, William Kentridge, Yoshitomo Nara, Cindy Sherman, Yayoi Kusama, Kara Walker, Purvis Young, and Mickalene Thomas, among many others. They continue to vigorously collect by visiting studios, art spaces, fairs, galleries, biennials, and museums, and by talking with artists, curators, and gallerists. If the work grabs them, they dig deeper—conducting intensive research before they welcome it into their collection.Jason Rubell started collecting contemporary art in 1983 at the age of 14, acquiring the painting Immigrants from then-emerging George Condo via Pat Hearn Gallery. At first supporting his collecting habit by stringing tennis rackets, Jason's early support of artists grew into a life-defining passion. Jason's studies at Duke and experience with organizing and touring the exhibition of his collection were instrumental in the Rubell family's decision to open their collection to the public, ensuring it would serve as a broader resource for audiences to encounter contemporary art and the ideas it explores. In 1993, the Rubells' passion became their mission when they opened the Rubell Family Collection/Contemporary Art Foundation in Miami's Wynwood neighborhood. The establishment of the RFC pioneered a new model for sharing private collections with the public and spurred the development of Wynwood as one of the leading art and design districts in the U.S. After nearly 30 years, the collection relocated to the Allapattah neighborhood in December 2019 and was renamed the Rubell Museum to emphasize its public mission and expanded access for audiences. The opening of the Rubell Museum DC in October 2022 further deepened the family's commitment to sharing their collection as a public resource, providing opportunities for residents and visitors of the nation's capital to engage with today's most compelling artists.Follow: @RubellMuseum on Instagram.Vanessa Raw: This is How the Light Gets In, the Rubell's Artist in Residence for 2024 opens on December 2nd.Visit: http://rubellmuseum.org/ Hosted on Acast. See acast.com/privacy for more information.

Denis Hirson's My Thirty Minute Bar Mitzvah can be read as many different books. It can be read as a new, deeply personal, take on a pivotal episode in the history of South Africa. It can be read as a tender reflection on the mind of the author as he teetered on the cusp of adulthood. It can be read as a portrait of one particular wing of the Jewish diaspora, at one very particular moment in time. And it can be read as an account of how trauma is passed from one generation to the next, but also how with every new generation we are offered the opportunity of recovery…if only we will grasp it.My Thirty Minute Bar Mitzvah focuses primarily on the life of the author in the early 1960s, when he was between the age of nine and thirteen, and when the politics of his homeland was in turmoil after the brutal Sharpeville Massacre, carried out by the apartheid regime. Indeed, it's these very politics that are going to impose themselves in a real and immediate fashion on the author's world, not only shattering his idea of family, of community, of home, but also setting his life on a course that will ultimately see him pitch up in Paris.Buy My Thirty Minute Bar Mitzvah: https://www.shakespeareandcompany.com/books/my-thirty-minute-bar-mitzvah*Denis Hirson has lived in France since 1975, yet has remained true to the title of one of his prose poems, ‘The long-distance South African'. Most of his nine books, both poetry and prose, are concerned with the memory of the apartheid years in South Africa. Two of his previous titles, The House Next Door to Africa and I Remember King Kong (the Boxer) were South African bestsellers. His most recent books are Ma langue au chat, sub-titled ‘tortures and delights of an English-speaker in Paris', and a book of conversations with William Kentridge, Footnotes for the Panther.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Zum Start in den November war in unserer Stadt wieder viel los. Der IKEA in Essen will jetzt doch einen Neubau an der Bottroper Straße starten. Die Planungen dafür laufen jetzt wieder an. Die Stadt Essen hat außerdem Erzieherinnen und Erzieher aus Spanien an vier verschiedene Kitas geholt. Damit will die Stadt dem Fachkräftemangel entgegenwirken. Und heute Abend wird der Folkwang-Preis verliehen, an den südafrikanischen Künstler William Kentridge.

Exposition « Tuning In – Acoustique de l'émotion » au Musée international de la Croix-Rouge et du Croissant-Rouge L'exposition « Tuning In – Acoustique de l'émotion » se tient au Musée international de la Croix-Rouge et du Croissant-Rouge à Genève jusqu'au 24 août 2025. Elle propose une exploration inédite des sons de l'action humanitaire en dialogue avec l'art contemporain. À travers des archives sonores rares et des œuvres d'artistes renommés comme William Kentridge et Christine Sun Kim, l'exposition interroge le rôle du son dans la transmission des émotions et la mémoire des crises humanitaires. Trois artistes ont reçu carte blanche pour des créations originales, ajoutant un caractère interdisciplinaire et expérimental à l'événement. En collaboration avec des institutions comme l'Université de Genève, l'EPFL et l'EDHEA du Valais, « Tuning In… » offre une expérience immersive et inclusive, redéfinissant notre manière d'écouter et de comprendre l'humanitaire. Dans ce reportage, Épiphane Amanfo s'entretient avec Elisa Rusca, commissaire de l'exposition, pour découvrir les coulisses de cette exposition innovante.    

In a special interview, Lucy Dallas meets artist William Kentridge to explore his new set of films.'Self-Portrait as a Coffee-Pot', by William Kentridge, available on Mubi Hosted on Acast. See acast.com/privacy for more information.

This week, Oonagh Devitt Tremblay is intrigued by the multiple voices in Sarah Moss's new memoir; and Lucy Dallas speaks to artist William Kentridge.'My Good Bright Wolf', by Sarah Moss'Self-Portrait as a Coffee-Pot', by William Kentridge, streaming on Mubi Produced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

William Kentridge is one of the major figures in the contemporary art world with an award-winning body of work that includes drawings, films, theatre and opera productions. His latest creation -Self Portrait As A Coffee Pot - is a nine part televisual work of art which, filed with images, music, dancers, and actors, explores the joy and power of making art.Robert Laycock, CEO of Marlow Film Studios and Isabel Davis, Executive Director of Screen Scotland discuss the challenges of expanding the studio capacity in the UK for the British film industry.Jacob Fortune-Lloyd on playing Brian Epstein in new film, Midas Man, which looks at the life and career of the man who turned The Beatles from a scruffy band in Liverpool into international superstarsPresenter: Nick Ahad Producer: Ekene Akalawu

La Paeria de Balaguer ampliarà la captura de coloms nou mesos més i instal•larà més gàbies en altres punts de la ciutat. Fins ara s’han capturat una mica més de 900 coloms amb les quatre gàbies instal•lades al centre històric des del mes de juliol. Des del col•lectiu de veïns que s’estan movent des de fa temps per acabar amb la plaga de coloms demanen que els llocs on es posin les gàbies siguin eficients i que s’elabori un pla per controlar aquetes aus Els veïns de les dues cases afectades per l’esllavissada del carrer Ponent podran tornar a casa seva després que tècnics de la Paeria hagin certificat que els habitatges no corren perill Àger vol recuperar una sèquia del segle XI per regar horts del municipi. La UAB ho impulsa amb la Fundació Arnau Mir de Tost i l’Ajuntament Bellcaire d’Urgell convida als seus veïns a participar en la creació del calendari del proper 2025 Una persona ha mort aquest dilluns en caure en una bassa a Torrelameu. Es tracta d’un temporer que s’hauria precipitat accidentalment a l’aigua La Cambra de Comerç de Lleida impulsa l’exportació de vins catalans amb una nova trobada internacional L’Hospital Universitari Arnau de Vilanova, primer hospital de l’Estat espanyol distingit amb una certificació d’excel•lència pel bon ús dels antibiòtics L’Associació Dona Pas celebra dissabte dia 26 d’0ctubre el Mercat del Vell. El Mercat es realitzarà durant el matí al Passeig de l’Estació de Balaguer, i pretén oferir un espai per a la venda d’objectes “usats” a particulars i entitats Lleida acull el major fons artístic de William Kentridge a Europa en una exposició de la Fundació Sorigué. La mostra compta amb 18 peces al museu situat a la capital del Segrià mentre que també hi ha una altra obra a Balaguer La VII Fira de la Sal de Les Avellanes se celebrarà el diumenge 3 de novembre durant tot el matí, amb el tradicional mercat, mostres de cultura popular i activitats familiars El Mil•lenari de Sant Pere de Ponts encara la seva recta final amb una sèrie d’activitats en què la música adquireix un renovat protagonisme gràcies, d’una banda, al concert d’aquest dissabte a càrrec de Roger Mas i la cobla Sant Jordi i, de l’altra, a l’estrena de la Suite del Mil•lenari de Sant Pere de Ponts coincidint amb el dia de Sant Cecília Esports Balaguer presenta la Cursa del Sant Crist, que aquest any s’integra dins dels actes de Festa Major amb un sol recorregut de 5km el dissabte 9 de novembre a la tarda Contundent derrota del Comtat d’Urgell de futbol sala a Tercera Nacional, en perdre per 8 a 1 a la pista de l’Atlètic Vilatorrada. El Comtat B empatava a 5 amb el Llardecans i el Balaguer Vedruna guanyava 2 a 4 al BellaguardaDescarregar àudio (34:06 min / 16 MB)

Norway releases its annual state budget, the voice of Japan's beloved ‘Doraemon', Nobuyo Ōyama, dies aged 90, Elon Musk reveals his $30,000 Tesla self-driving Cybercab and larger Robovan, a startling discovery is made on Mount Everest and we check in with the Quality of Life Conference in Istanbul. Plus: We speak to the renowned artist William Kentridge. See omnystudio.com/listener for privacy information.

Toute cette semaine, Aujourd'hui l'économie vous plonge dans le monde de l'art. Comment les musées trouvent-ils leur équilibre économique ? Comment les artistes gagnent-ils leur vie ? Deuxième épisode au musée d'art contemporain du Cap, en Afrique du Sud, le Zeitz MOCAA. Créé en 2017, il tire son nom de la collection donnée par l'homme d'affaires allemand Jochen Zeitz. Le jeune musée a surmonté la crise du Covid-19, mais cherche aujourd'hui à attirer plus de visiteurs pour assurer sa viabilité. Une cathédrale de béton s'élève au milieu d'un chantier naval. Ces anciens silos reconvertis en musée incarnent la réhabilitation du quartier industriel. Le monument est brut à l'extérieur, raffiné à l'intérieur.« Nos conservateurs s'intéressent à la définition de l'art africain dans toute sa largeur. Pas seulement l'art classique, je dirais, mais ça peut être un objet, du digital, immersif... »Fawaz Mustapha est le chef des opérations et le directeur financier du Zeitz MOCAA. Il chuchote alors que nous traversons des installations vidéos tout en évoquant le modèle de financement du musée et les années Covid-19.« Un très grand nombre de musées dans le monde ont fermé leurs portes pendant le Covid sans jamais pouvoir rouvrir. C'est un miracle qu'une institution qui avait seulement trois ans à l'époque ait pu survivre. J'adresse une mention spéciale aux membres de notre conseil d'administration qui nous ont permis de maintenir le musée à flot. »À lire aussiOuverture du Zeitz Mocaa: le plus grand musée d'Afrique change la donneUn musée en pleine croissanceAprès le Covid-19, le musée a élargi son conseil d'administration pour accueillir davantage de membres qui payent pour entrer sur un modèle à l'américaine. C'est la première source de financement du musée. Suivent les visites et les adhésions, puis les dons, les partenariats et les privatisations.« On accueille de nombreux événements dans ce bâtiment spectaculaire qui a gagné de nombreux prix. On organise beaucoup de mariages, des fêtes d'entreprises, etc. Au rez-de-chaussée, on a une boutique souvenir et sur le toit, on a un restaurant. »Fawaz Mustapha est un commercial dans l'âme. Il vient de l'immobilier et de la grande distribution. Il sait que 15% des visiteurs achètent un souvenir. Plus il augmentera les entrées, plus il augmentera les ventes à la boutique, passage obligé en sortant du musée.« Cette table est dédiée à l'exposition William Kentridge. C'était en 2019 et les produits font encore partie des meilleures ventes. »L'exposition When We See Us, 100 ans de peinture noire, fut aussi un succès en 2023. Gigantesque, elle a été rendue possible grâce au soutien de Gucci, la marque de luxe. Cette méthode de financement est indispensable. L'exposition est aujourd'hui en voyage au Kunstmuseum de Bâle en Suisse. De quoi donner de la visibilité au Zeitz MOCAA qui cherche à attirer davantage de visiteurs.À lire aussiFinancement de l'art - Quel modèle économique pour la biennale de Dakar?

This episode is brought to you by CHANEL. CHANEL Connects – the acclaimed arts and culture podcast – is back for its fourth season, with nine episodes featuring the artists, curators and thinkers shaping culture today. If you enjoy the episode, you can hear much more from the new season, just search CHANEL Connects now on your preferred streaming platforms or visit chanel.com.   The artist William Kentridge and curator Carolyn Christov-Bakargiev are old friends who, together, have created some of the most resonant work of their time. These two giants of the art world discuss the Venice installation of William's film “Self-Portrait as a Coffee Pot,” Carolyn‘s previous work as director of the Castello di Rivoli museum in Italy, and the origins of their long and rich creative relationship. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Spreng, Eberhard www.deutschlandfunk.de, Kultur heute

(00:00:42) LUMA Arles präsentiert «The Great Yes, The Great No» von William Kentridge in Zusammenarbeit mit dem Festival d'Aix-en-Provence. (00:06:15) Wer kann belangt werden, wenn faschistisches Liedgut auf Spotify veröffentlicht wird? (00:10:27) «The Last Screenwriter», ein Film, dessen Drehbuch konsequent von einer Künstlichen Intelligenz geschrieben ist, ist beruhigend langweilig. (00:14:55) Saša Stanišic neues Buch mit dem unendlich langen Titel: «Möchte die Witwe angesprochen werden, platziert sie auf dem Grab die Gießkanne mit dem Ausguss nach vorne».

Fuchs, Jörn Florian www.deutschlandfunkkultur.de, Fazit

De Lemi Ponifasio ass no der Anne Teresa de Keersmaeker an dem William Kentridge deen drëtte Red Bridge Project Artist - also dee Projet, wou een oder eng Kënschtler:in de MUDAM, de Groussen Theater an d'Philharmonie bespillt. No ënner anerem Opféierunge vu senge Wierker "Jersusalem" an "Love to Death" steiert de Projet dëse Freideg mat "The Manifestation", ee Projet un, fir deen de Lemi net just mat der Choreografin Elisabeth Schilling, mee och mat enger Rei Communities geschafft hunn.

【本集精彩段落】(01:19) 為什麼有這次去柏林的計畫？(03:02) 1986年獲西德文化部邀請前往德國8天(04:33) 德國浪漫主義代表性畫家弗雷德里希(Caspar David Friedrich)250週年誕辰特展(06:29) 柏林最大、號稱文化百貨公的的Dussmann書店(07:57) 聽了一場小提琴家Frank Peter Zimmermann的音樂會(08:41) 柏林愛樂廳超凡的音響效果(10:23) 1943年德國納粹政府建造的防空地堡(11:08) 由出版商Christian Boros買下翻修後蛻變成私人美術館收藏藝術品(12:28) 2024年10月23日將舉辦第一屆的台北畫廊藝術週(14:34) 柏林新國家美術館展出Gerhard Richter透過基金會永久借出的100件作品(17:43) 在威尼斯遇到英國當代雕術家Antony Gormley(20:07) Antony Gormley根據自己身體打造出作品(20:31) 高美館攜手英國泰德美術館展出(21:49) 德國政府表明他們所收藏的貝寧青銅器(Benin Bornzes)歸還給奈及利亞(23:20) 南非當代藝術家威廉．肯特里奇(William Kentridge)大展【展覽資訊】展覽│《瞬間－穿越繪畫與攝影之旅》展期│2024/6/29-2024/11/17地點│高美館101-103展覽室展覽│《威廉．肯特里奇》個展展期│2024/5/4-2024/9/1地點│北美館 ▲德國浪漫主義代表性畫家－弗里德里希畫作

【本集精彩段落】(01:19) 為什麼有這次去柏林的計畫？(03:02) 1986年獲西德文化部邀請前往德國8天(04:33) 德國浪漫主義代表性畫家弗雷德里希(Caspar David Friedrich)250週年誕辰特展(06:29) 柏林最大、號稱文化百貨公的的Dussmann書店(07:57) 聽了一場小提琴家Frank Peter Zimmermann的音樂會(08:41) 柏林愛樂廳超凡的音響效果(10:23) 1943年德國納粹政府建造的防空地堡(11:08) 由出版商Christian Boros買下翻修後蛻變成私人美術館收藏藝術品(12:28) 2024年10月23日將舉辦第一屆的台北畫廊藝術週(14:34) 柏林新國家美術館展出Gerhard Richter透過基金會永久借出的100件作品(17:43) 在威尼斯遇到英國當代雕術家Antony Gormley(20:07) Antony Gormley根據自己身體打造出作品(20:31) 高美館攜手英國泰德美術館展出(21:49) 德國政府表明他們所收藏的貝寧青銅器(Benin Bornzes)歸還給奈及利亞(23:20) 南非當代藝術家威廉．肯特里奇(William Kentridge)大展【展覽資訊】展覽│《瞬間－穿越繪畫與攝影之旅》展期│2024/6/29-2024/11/17地點│高美館101-103展覽室展覽│《威廉．肯特里奇》個展展期│2024/5/4-2024/9/1地點│北美館 ▲德國浪漫主義代表性畫家－弗里德里希畫作

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

Women of Substance with Dr. Scarlett Horton⁣ Episode 71 - Dr. Scarlett Horton interviews Jennifer Larmore __________⁣ Jennifer Larmore is an American mezzo-soprano, a Grammy winner with over 100 recordings to her name, a Chevalier of the French government, Richard Tucker winner, Hall of Famer and an author! Add straight actress to the list with her appearance in a new Netflix series entitled *King the Land.* She has a wide-ranging repertoire, having begun with coloratura roles from the Baroque and bel canto then adding music from the Romantic and Contemporary periods. She began her career at Opera de Nice in 1986 with Mozart’s La Clemenza di Tito and went on to sing at virtually every major opera house in the world, including the Metropolitan Opera, La Scala, Paris Opera, Tokyo, Berlin Deutsche Oper, and London Covent Garden. She is a two-time Grammy Award winner who has recorded widely for the Teldec, RCA, Harmonia Mundi, Deutsche Grammophon, Arabesque, Opera Rara, Bayer, Naive, Chandos, VAI and Cedille labels in over one hundred CDs to date as well as DVDs of “Countess Geschwitz” in Lulu, Jennifer Larmore in Performance for VAI, Il Barbiere di Siviglia (Netherlands Opera), L’Italiana in Algeri (Opera de Paris), La Belle Hélène (Hamburg State Opera), Orlando Furioso (Opera de Paris) and Jenufa (Deutsche Oper Berlin). She has recorded three charming books on tape for Atlantic Crossing Records with stories by Kim Maerkl entitled Mozart’s Magical Night with Hélène Grimaud and the Bavarian State Orchestra, Puccini’s Enchanted Journey with story by Kim Maerkl, and The King’s Daughter with story and music for flute and string orchestra by Kim Maerkl with the flute player Natalie Schwaabe. With the pianist Antoine Palloc, she has made many International recital tours, including appearances in Amsterdam, Paris, Madrid, Hong Kong, Seoul, Tokyo, Vietnam, Vienna, London, San Juan, Prague, Melbourne, Brussels, Berlin, Rio de Janeiro, Lisbon, Sao Paolo, Athens and Copenhagen, as well as all the major American venues. Symphonic repertoire has played a large role in this mezzo’s career with the works of Mahler, Schoenberg, Mozart, de Falla, Debussy, Berlioz and Barber featuring prominently. Miss Larmore has enjoyed great collaborations with world orchestras under the direction of Muti, Lopez-Cobos, Bernstein, Runnicles, Sinopoli, Masur, von Dochnanyi, Jacobs, Mackerras, Nelson, Spinosi, Abbado, Barenboim, Bonynge, Maazel, Osawa and Guidarini. Jennifer’s repertoire has expanded to include roles such as “Marie” in Berg’s masterpiece Wozzeck, which she sang to great success at the Grand Théâtre de Genève. Berg is now a specialty of Miss Larmore, with her having sung “Countess Geschwitz” in Berg’s Lulu at Covent Garden in the Christof Loy production with Antony Pappano, then again in Madrid. At Paris Opera Bastille she sang in the Willy Decker production and she reprised the role yet again in a new production of William Kentridge with Lothar Zagrosek conducting for the Nederlandse Opera, and at the Rome Opera. She has also become well known for “Kostelnička Buryjovka” in Janacek’s Jenůfa which she performed with Donald Runnicles at Berlin Deutsche Oper. The DVD of this production was nominated for a Grammy. She reprised her “Kostelnička” in this same production for the New National Theater in Tokyo. ”Lady Macbeth” in Verdi’s opera Macbeth is a role she debuted in a striking new production of Christof Loy at the Grand Théâtre de Genève, then in the Bob Wilson production in Bologna and Reggio Emilia. Her first “Eboli” was in the French version of Don Carlos at the Caramoor Music Festival in New York, with Will Crutchfield conducting, and she sang “Jocasta” in Stravinsky’s Oedipus Rex at the Bard Festival. Adding to her growing list of new repertoire, Miss Larmore debuted the role of ”Mère Marie” in Les dialogues des carmélites at the Caramoor Festival, New York. She went back to her roots with “Ottavia” in Monteverdi’s l’Incoronazione di Poppea at the Theater an der Wien in October 2015 and returned there in December 2016 for her debut in the role of “Elvira” in Mozart’s Don Giovanni. Debuts for more new roles came in 2017 with the title role of La Belle Hélène at Hamburg State Opera, and then “Anna 1” in Kurt Weill’s The Seven Deadly Sins for the Atlanta Opera. In 2018 she debuted the role of “La Dama” in Hindemith’s Cardillac for the Maggio Musicale in Firenze, “Fidalma” In Il Matrimonio Segreto for Opera Köln, and “Marcellina” In Le Nozze di Figaro in Tokyo. Engagements in 2019 included concerts in Grenoble, Olten and Magève with OpusFive, “Marcellina” in Paris at the Théâtre des Champs-Elysées, and she returned to Opera Köln in the title role of a new production in her on-going collaboration with Doucet/Barbe of La Grand Duchesse de Gérolstein. 2020 was an interesting year, but also because she debuted “Herodias” in Salome for the Atlanta Opera before going into lockdown. Continuing with their collaboration, in 2021, Jennifer sang ”Genevieve” in their new production of Pelleas et Melisande in Parma. Miss Larmore, in collaboration with the double bass player Davide Vittone, created an ensemble called Jennifer Larmore and OpusFive. This a string quintet offering programs that are entertaining and varied with Songs and Arias, Cabaret/Operetta and Movies and Broadway. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Venice, Amiens, Olten, Aix en Provence, Dublin, and Paris. At the Magève Festival in August, 2018 they presented a World Premiere work by composer Scott Eyerly, called Creatures Great and Small on the theme of animals. In July of 2022, Jennifer and OpusFive performed at the Liestal Stimmen zu Gast Festival in a program entitled America! Throughout her career Jennifer Larmore has garnered awards and recognition. In 1994 Jennifer won the prestigious Richard Tucker Award. In 1996 she sang the Olympic Hymn at the Closing Ceremonies of the Olympics in Atlanta. In 2002, “Madame” Larmore was awarded the Chevalier des arts et des lettres from the French government in recognition of her contributions to the world of music. In 2010 she was inducted into the Georgia Music Hall of Fame in her home state of Georgia. In addition, to her many activities, travels, performances and causes, author Jennifer Larmore is working on books that will bring a wider public to the love of opera. Her book “Una Voce” explores the world and psychology of the performer. Miss Larmore is widely known for teaching and giving master classes and in 2018, she went to New York’s Manhattan School of Music, Santiago, Chile, Luxembourg, Atlanta, and to the new Teatro Nuovo at Suny Purchase College, New York. She began the New Year 2019 with master classes for the Atlanta Opera and Kennesaw State University in Kennesaw, GA. In March, 2019 Miss Larmore gave master classes and workshops at the École Normale and for the Philippe Jaroussky Academy in Paris. In 2020 she gave classes at the École Normale, Atlanta Opera, Kennesaw State University, Luxembourg, and on ZOOM for the Kiefersfelden Master Classes and Utah Valley University. In 2022 classes were in Malta, Tirol, Lausanne, Sion, Martina Franca and Valencia! In 2023 she began the year with a master class at the Eva Lind Akademie in Achenkirch, Austria! Miss Larmore lives in Paris with her husband and little Opera dog Buffy. “Train up a child in the way he should go [and in keeping with his individual gift or bent]...” Proverbs 22:6a (AMPC) In this episode, Scarlett and David interview Jennifer about how her love for the arts was nurtured and encouraged at a very young age, which opened doors for her gift in great places. Your faith will be inspired as you watch. __________ https://JenniferLarmore.info https://ScarlettHorton.com __________ TO SUPPORT THIS PODCAST: https://gvly.org/s/NNHT.5REoBw OR TEXT Proverbs31 to 844-544-7171

durée : 00:58:49 - LSD, la série documentaire - par : Johanna Bedeau, Nicolas Champeaux - William Kentridge n'occulte pas l'horreur. Il contourne même le pittoresque et cherche la laideur, pour une œuvre qui finit par être belle. Il a commencé dans les années 70 dans la nuit de l'apartheid, et il continue, car malgré Nelson Mandela, le sombre demeure.

Hey, welcome back to Hung Up. This week we're talking to Lottie World about Paintings shifting between objects and ideas, going to the sauna, William Kentridge, ornamentation culture in PNG, cyclical time, friends with a sense of humour, the music industry and heaps more.   Outro song: CANDY SOUND - Lottie World FYI bit: ⁠@no.hands__⁠

Shortlisted for the Independent Podcast Awards 2023. In this episode, I talk about Naomi Klein's new book Doppelganger, which takes the reader on a journey into conspiracy culture. I consider the power of storytelling in the spread of misinformation, and I think about the work of artists who interrogate the media and who question how power circulates in our world including the great Barbara Kruger, the photographer Cassandra Zampini and the South African artist William Kentridge.The Gallery Companion is hosted by writer and historian Dr Victoria Powell. It's a thought-provoking dive into the interesting questions and messy stuff about our lives that art explores and represents.To see the images and watch the videos discussed in the podcast visit www.thegallerycompanion.com. This is where you can subscribe to The Gallery Companion email list, which goes out to accompany each new podcast episode, and is packed full of links to more info. That's where you can share your thoughts and join the conversation too. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.thegallerycompanion.com/subscribe

In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada.   Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020.  There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad.   Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues.   Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg.   Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing.   Episode image: Lucy MacGarry   USEFUL LINKS https://www.jillianrossprint.com https://www.instagram.com/jillianrossprint_/ https://www.facebook.com/jillian.ross.520 https://www.linkedin.com/in/jillianrossprint https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander https://latitudes.online/artworks.html https://latitudesartfair.com/about-the-event/ https://remaimodern.org/about/remai-modern-museum/   Jillian Ross working on William Kentridge's photogravure plates at the University of Alberta, Edmonton. Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa. William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg. Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa. William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 ¼ x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 ½ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 ¾ x 6 in.); sheet: 40 x 35 cm. (15 ¾ x 13 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. Jillian Ross creating assembly instructions, charts, and maps for Kentridge's Triumphs and Laments, 2018–19. Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum cut on Somerset Velvet Soft White 300 gsm. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021. William Kentridge and DKW printer Kim-Lee Loggenberg. A scene from William Kentridge's Self-Portrait as a Coffee Pot. Giorgio Morandi (Italian, 1890–1964). Grande natura morta con la caffettiera (Large Still Life with Coffeepot), 1933, printed later. Etching. Plate: 11 11/16 x 15 3/8 in. (29.7 x 39 cm.); sheet: 15 1/16 x 20 1/8 in. (38.3 x 51.1 cm.). Published by Calcografia Nazionale, Rome. Museum of Modern Art, New York. William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published by Jillian Ross. William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with chine collé. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge in studio. Components of William Kentridge (South African, born 1955). Eight Vessels, 2020–21. 4-plate photogravure with hand painting. 64 x 96 cm. (28¾ x 39¼ in.). Published David Krut Projects, Johannesburg, South Africa. David Krut watches William Kentridge work in his studio on Eight Vessels. Installation view of William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021, featuring Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge's Triumphs and Laments, Tiber River. William Kentridge (South African, born 1955). Tree (17), 2022. Direct gravure with drypoint on gampi chine with red pencil. 563.5 x 62.9 cm. Published by David Krut Workshop and Jillian Ross Print. Cinithia Sifa Mulanga (South African, born 1997). Vulnerable, 2022. Direct gravure with photogravure on chine collé and collage. Plate: 40.5 x 30.2 cm.); sheet: 51 x 40.5 cm.). Published by David Krut Projects, Johannesburg, South Africa. Puleng Mongale signing the edition of Grounded, 2021. Photogravure with etching with color roll on surface Gampi chine collé. 48.5 x 62.5 cm. Co-published by Latitudes Online and Jillian Ross Print. William Kentridge (South African, born 1955). The Old Gods Have Retired, 2022. Photogravure with liftground aquatint, direct gravure, drypoint and chine collé with found ledger paper and hand painting. Sheet: 175 x 210 cm. Co-published by David Krut Projects and Jillian Ross Print. Jillian Ross assembling a multi-part Kentridge print. William Kentridge working on Mantegna from the Triumphs and Laments series. Latitudes Online website. Shepstone Gardens, site of the RMB Latitudes Art Fair. Johannesburg, South Africa. RMB Latitudes Art Fair. Johannesburg, South Africa. Remai Modern Museum, Saskatoon, Sasketchawan. Nick Cave (American, born 1959).  Spinner Forest, 2020. Installation view at Remai Modern, 2023. Photo: Carey Shaw. Chad Cordiero and Sbongiseni Khulu printing one of 77 elements for Kentridge's Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. Robyn Penn prints in process. Lithographs on Awagami Kitkata chine collé pn Zerkall White. Each: 76 x 63.5 cm. Published by Jillian Ross Print. William Kentridge at work. William Kentridge and David Krut inspect an impression of Tree (17).

A conversation with artist William Kentridge. The world-renowned Kentridge is a multifaceted artist whose work includes prints, drawings, animations, sculptures and design collaborations for the stage. He took time out to speak from his home's garden studio in Johannesburg, South Africa about his creative process, the value of ambiguity, the importance of place and his latest show opening September 12 at Marian Goodman Gallery in New York.https://www.mariangoodman.com/exhibitions/william-kentridge-ny-2023/https://www.kentridge.studio/

A lifelong arts maker, Audrey Hoo is the Director of Production of Tony-award winning Berkeley Repertory Theatre in Berkeley California. Originally from Singapore, Audrey ventured to the United States to seek new experiences. Most recently, she has worked at the American Conservatory Theater, La Jolla Playhouse and the Brooklyn Academy of Music. She has had the pleasure of working with artists across all performing arts genres such as Tony Taccone, Chay Yew, Christopher Ashley, William Kentridge, Alex Timbers, Catherine Martin, Sam Mendes, Paul Simon, Laurie Anderson, John Turturro & Elaine Stritch. Outside of work, Audrey strives to be her best self. Always pushing to learn new skills, her main loves include martial arts, hiking, west coast swing and country two-step dances.  Audrey holds a M.F.A in Technical Direction from the University of North Carolina School of the Arts.     “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

A lifelong arts maker, Audrey Hoo is the Director of Production of Tony-award winning Berkeley Repertory Theatre in Berkeley California. Originally from Singapore, Audrey ventured to the United States to seek new experiences. Most recently, she has worked at the American Conservatory Theater, La Jolla Playhouse and the Brooklyn Academy of Music. She has had the pleasure of working with artists across all performing arts genres such as Tony Taccone, Chay Yew, Christopher Ashley, William Kentridge, Alex Timbers, Catherine Martin, Sam Mendes, Paul Simon, Laurie Anderson, John Turturro & Elaine Stritch. Outside of work, Audrey strives to be her best self. Always pushing to learn new skills, her main loves include martial arts, hiking, west coast swing and country two-step dances.  Audrey holds a M.F.A in Technical Direction from the University of North Carolina School of the Arts.     @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

Der noch amtierende Wiener Festwochen-Intendant Christophe Slagmuylder ist live zu Gast bei Musikchefin Ursula Magnes, die sich in diesem Festwochen-Rubato ganz auf die Musikproduktionen der Festwochen fokussiert. Alban Bergs Oper Lulu in der ersten Opernregie von Marlene Monteiro Freitas, die Zusammenarbeit der beiden japanischen Künstler Dai Fujikura und Toshiko Okada, der Biennale Hit aus 2019, die Beach Opera Sun & Sea erstmals in Wien, Luigi Dallapiccolas Canti di Prigionia. Song of Shank über den Black-Mozart Thomas Wiggins sowie das Gastspiel Sibyl von William Kentridge.

TikTok CEO Shou Chew testified before a House Committee looking at the social media platform's data security and relationship with the Chinese government. William Kentridge is best known for his charcoal illustrations and unique animation style, where he draws a picture, films it, then erases and redraws. Critics review the latest film releases: “John Wick: Chapter 4,” “A Good Person,” “Tori and Lokita,” and “The Lost King.”

Based in Johannesburg, South Africa, internationally acclaimed artist William Kentridge engages with politics and memory through a variety of forms – from charcoal drawings, animation and sculptures, to immersive videos, theatre and opera. His 2022 exhibition at London's Royal Academy was hailed as "enthralling," an "operatic epic," while Kentridge's current retrospective at L.A.'s Broad Museum has been called "extraordinary." He spoke to Eleanor Wachtel about his work and career, as well as his recent "lockdown" project, a series of films about Kentridge's life in the studio, called "Self-Portrait as a Coffee Pot," which had its world premiere at the Toronto International Film Festival last fall.

World-renowned South African artist William Kentridge discusses the process of making the 2019 chamber opera Waiting for the Sibyl. He also touches on why artists should stay open to new ideas, the complex relationship between humans and algorithms — "one has to make space for that which does not compute," he says — and the "unavoidable optimism" in the activity of making.During the 2022-23 academic year, Cal Performances, the Berkeley Art Museum and Pacific Film Archive (BAMPFA) and the Townsend Center for the Humanities at UC Berkeley are participating in a campuswide residency with Kentridge.Cal Performances will present the U.S. premiere of SIBYL on March 17-19. SIBYL is comprised of two parts: The first part of the program, The Moment Has Gone, is a film by Kentridge with live music featuring a piano score by Kyle Shepherd and an all-male vocal chorus led by Nhlanhla Mahlangu; the second part is the chamber opera Waiting for the Sibyl. Learn more about the residency and upcoming events.Read a transcript and listen to the episode on Berkeley News.Music by Blue Dot Sessions.Photo by Marc Shoul. Hosted on Acast. See acast.com/privacy for more information.

Hoy me acompaña Gemma Avinyó, Directora Adjunta de la Fundació Sorigué, para hablar de mecenazgo.  Gemma nos explica la labor de la Fundació Sorigué, el desarrollo de proyectos propios y colaborativos y cómo dan apoyo a la producción contemporánea. Hablamos sobre la importancia del mecenazgo y comentamos el rol que juegan las colecciones corporativas y las fundaciones en el ecosistema del arte. Gemma destaca la importancia de la ciudad de Lleida como sede de la Fundación y comentamos la necesidad de deslocalizar la oferta cultural de las grandes ciudades y circuitos habituales. Por último, nos adentramos en el innovador proyecto PLANTA, ubicado en un complejo industrial en Balaguer (Lleida),  que presenta obras site specific  de reconocidos artistas contemporáneos como William Kentridge, Bill Viola, Anselm Kiefer, Juan Muñoz y Chiharu Shiota. La Fundació Sorigué se constituye en 1985 con la voluntad de retorno del grupo empresarial Sorigué a la sociedad. La colección de arte contemporáneo es considerada una de las más importantes de España y en el 2015  fue galardonada con el premio Arte y Mecenazgo, impulsado por la fundación “La Caixa” y el premio GAC al Coleccionismo en 2017. Gemma Avinyó es Directora Adjunta de la Fundación Sorigué. Es miembro de la International Association of Collections of Contemporary Art (IACCCA), donde lidera el grupo de trabajo Art Commissions. Licenciada en Historiadora del Arte y máster en Gestión del Patrimonio Cultural por la Universidad de Lleida. Realiza su tesis doctoral en el Departamento de Historia del Arte de la Universidad de Barcelona. Ha sido profesora en el Departamento de Historia del Arte de la Universidad de Lleida, donde ha impartido materias relacionadas con el coleccionismo artístico y la gestión.

As Congresswoman Karen Bass is officially announced as LA's next mayor, the homelessness crisis here keeps growing, and Angelenos are losing trust in City Hall. Billions will watch the World Cup as kicks off on Sunday. But this year's event is plagued with scandals and allegations of human rights abuses. Critics review the latest film releases: “The Menu,” “She Said,” “The Inspection,” “Bones and All.” William Kentridge is best known for his charcoal illustrations and unique animation style, where he draws a picture, films it, makes changes by erasing and redrawing. Thirty years of his work is now on view at the Broad Museum.

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!William Kentridge uses drawings to create films. In his works, unlike in traditional animation that employs multiple drawings to denote change and movement, Kentridge erases and alters a single, stable drawing while recording the changes with stop-motion camera work. He modifies the drawing slightly, goes to the camera, and begins what he calls “the rather dumb physical activity of stalking the drawing, or walking backwards and forwards between the camera and drawing; raising, shifting, adapting the image.” The result is a hybrid of drawing and film that has been highly praised for both its innovative manipulation of media and its ability to look at troubling social issues in a way that is neither sentimental nor aggrandized.   South Africa, where Kentridge was born and continues to work, is the focal point of his studio practice. Kentridge addresses apartheid and other social wounds without tackling the issues head-on, making them susceptible either to redemption that comes too easily or to a rendering of their history that is too spectacular. He enters into historical discussions through the lives of three fictional characters: Soho Eckstein, Mrs. Eckstein, and Felix Teitelbaum. Their individual lives are set against the wide, political landscape of South Africa as well as the deeper forces of life like renewal and destruction. The various vectors of thoughts, feelings, and inner turmoil of the characters, represented sometimes by animals or lines or other markings, spill across Kentridge's images and frames. The personal and public become critically mixed, neither free of guilt nor completely capable of redemption.  In Stereoscope, 1999 Soho Eckstein is portrayed as interconnected with both images of the social injustices and upheaval of South Africa and his own sort of primal, fractured existence. The stereoscope, a device used to unite split images into the illusion of a coherent visual field, represents exactly what Kentridge does not allow in the film. He instead uses his method of erasure to move between disparate images and situations, not a presentation of a unified field but a shifting scene of energetic connections and splits. The result is a work that can face the humanity of the individual without expunging guilt and address larger issues in society without trite, easy solutions. From https://www.thebroad.org/art/william-kentridge. For more information about William Kentridge:Previously on The Quarantine Tapes:William Kentridge: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-064-william-kentridge“William Kentridge: In Praise of Shadows”: https://www.thebroad.org/art/special-exhibitions/william-kentridge-praise-shadowsWilliam Kentridge: In Praise of Shadows: https://www.amazon.com/William-Kentridge-Shadows-Ed-Schad/dp/1636810667“Lexus L/Studio - Conversation Portrait, William Kentridge”: https://www.youtube.com/watch?v=jNx0lH090IM“A Show About Colonial Power, Born From the Freedom to Make Mistakes”: https://www.nytimes.com/2022/11/15/theater/houseboy-kentridge-lace-phala.html“William Kentridge: ‘The history of the 20th century shows us the danger of all claims to certainty'”: https://www.ft.com/content/5589fd2b-6fb1-4d77-a90d-ac44a1d2fd52“William Kentridge wows the world”: https://mg.co.za/friday/2022-11-11-william-kentridge-wows-the-world-and-his-centenarian-father/

It's hard to think of an artist with a more striking and ambitious range than William Kentridge; his work spans etching, drawing, collage, huge tapestries - as well as film, theatre, dance and opera. He was born in Johannesburg and brought up during the apartheid regime; his art is highly politically charged. His parents, both lawyers, were notable figures in the anti-apartheid movement – his father being Sir Sydney Kentridge, who represented Nelson Mandela. For forty years now William Kentridge has used his art to explore the legacy of colonialism, and the barbarity of war. He's probably best known for his charcoal sketches, which become stop-go animations, preserving almost every change and rubbing-out. But he has a keen eye for the absurdity of life too, so we watch typewriters turn into trees, birds flying off the pages of dictionaries, or a film titled “Portrait of the artist as a coffee pot”. In conversation with Michael Berkeley, William Kentridge talks about the importance of music in his work, and brings a playlist that reflects a lifetime of listening. We hear a famous 1937 recording of a Monteverdi madrigal; Janet Baker singing one of the songs from “Les Nuits d'ete” by Berlioz; a duet from The Magic Flute; a rare recording of the American guitarist Elizabeth Cotten; and a collaboration between the Kronos Quartet and a trio of musicians from Mali. He looks back to his childhood in South Africa, and what it was like to grow up under the cruel system of apartheid; and he reveals how important early failures were in enabling him to see the way forward. A Loftus Media production for BBC Radio 3 Produced by Elizabeth Burke

In the next instalment of our midterms series, we head to the suburbs of Atlanta in search of that rarest of political creatures: the swing voter. There aren't many of them, but they may well determine which party controls the Senate. Luxury brands are changing their outlooks and offerings as they seek new markets and younger consumers. And our culture correspondent visits a retrospective of William Kentridge's works.For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer Hosted on Acast. See acast.com/privacy for more information.

In the next instalment of our midterms series, we head to the suburbs of Atlanta in search of that rarest of political creatures: the swing voter. There aren't many of them, but they may well determine which party controls the Senate. Luxury brands are changing their outlooks and offerings as they seek new markets and younger consumers. And our culture correspondent visits a retrospective of William Kentridge's works.For full access to print, digital and audio editions of The Economist, subscribe here www.economist.com/intelligenceoffer Hosted on Acast. See acast.com/privacy for more information.

Ben Luke talks to William Kentridge about his influences—from the worlds of literature, music, film and, of course, art—and the cultural experiences that have shaped his life and work. Kentridge was born in 1955 in Johannesburg, South Africa, and began his career making large-scale drawings. But his work has grown to encompass film and video installation, sculpture, tapestry, sound, performance, and puppetry. It teems with imagery and ideas, reflecting on his autobiography, on the inequities of Apartheid South Africa, but also on broader histories from colonialism to communism and beyond. He discusses being surrounded by Miró and Matisse as a child, his homages to Beckmann and Manet, the enduring power of composers like Shostakovich and early filmmakers like Georges Méliès, and the poetry of Vladimir Mayakovsky. Plus, he gives insight into life in his studio, and answers our usual questions, including the ultimate: what is art for?William Kentridge, Royal Academy of Arts, London, until 11 December; William Kentridge: Oh To Believe in Another World, Goodman Gallery, London, 1 October-12 November. William Kentridge: In Praise of Shadows, the Broad, Los Angeles, 12 November-9 April 2023. William Kentridge: That Which We Do Not Remember, M. K. Čiurlionis National Museum Of Art, Kaunas, Lithuania, until 30 November. William's series of short films, Self Portrait as a Coffee Pot, is shown at the ICA, London, as part of the BFI London Film Festival on 7 October. Hosted on Acast. See acast.com/privacy for more information.

Pietsch, Hanswww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Lily Cummins is an artist from the  Southern Highlands.  We had a great chat about studying and residencies.  Her practise examines both the self and the emotive bonds and attachments Lily feels that she attaining a Masters has given her practise a great deal of rigger, It really helped her grow as an artist and a person to keep studying and gain a masters. Lily studied at NAS and graduated from her masters in 2018 you can find Lily on her website http://www.lilycummins.comLily is inspired and likes a huge spectrum of artists - Folk and Outsider art  James Castle, Miro, Matisee, Rachel Whiteread, William Kentridge. Lily also works at the new art space in the southern highlands - The fantastic space called Ngununggula in Bowral.https://www.ngununggula.com

Lola Arias is a well-known and influential Latin American theatre director, writer and filmmaker. Her powerful stage pieces are created from real life testimony. She gathers material for these works by talking to and workshopping with people who have witnessed, or been part of a particular, sometimes traumatic, shared experience. These people then become her actors, performing their lives in the theatre. She tells Tina Daheley about her working methods and her works including ‘Minefield', where she brought together British and Argentinian veterans from the 1982 Falklands war, ‘The Day I Was Born' which included people from different political sides during the Chilean dictatorship of Augusto Pinochet and her latest piece, Lengua Madre, Mother Tongue, exploring motherhood in the 21st Century. This year Kaunas, Lithuania's second largest city, is one of the three European Capitals of Culture 2022. It's a place with a troubled past and one the topics being explored during this year of Culture is its forgotten or suppressed history. One of the artists who's exhibiting there is William Kentridge. His family emigrated to South Africa from Lithuania more than a century ago to escape antisemitism and the pogroms. For years, the internationally acclaimed artist admits he was reluctant to visit the land of his ancestors. Kentridge, who combines his trademark charcoal drawings with animation and sculpture, is well known for tackling difficult subjects such as racial and financial inequality. Lucy Ash met him at the National Art Museum in Kaunas at his exhibition called That Which We Do Not Remember. Sophie Jai's debut novel Wild Fires is set on the Caribbean island of Trinidad. When her main character Cassandra returns home from abroad for the funeral of her cousin Chevy, she's confronted by her intergenerational family, all living in different parts of the same house, together but separate, and the family secrets and hidden memories that have dominated their lives for decades. Sophie Jai herself was born and spent her early childhood in Trinidad until moving to Canada and she explains what drew her back to writing about Trinidad and the memories of her childhood. (Photo: An image from Lola Arias' Minefield. Credit: Tristram Kenton)

This week, Lucy Dallas and Alex Clark are joined by Joe Moran to explore the strange world of precognition, and Elizabeth Lowry is bowled over by the iconoclastic work of South African multimedia artist William Kentridge. Plus great news for Terry Pratchett fans, as an all-star cast records his much-loved Discworld series.'The Premonitions Bureau' by Sam Knight‘SYBIL' by William KentridgeProduced by Sophia Franklin See acast.com/privacy for privacy and opt-out information.

Stephen Wozniak interviews seasoned New York-based curator, writer and artist Dan Cameron on the April 20, 2022 episode of Art World: The Whitehot Magazine of Contemporary Art podcast. They discuss Dan's critical early New Museum of Contemporary Art exhibition, Extended Sensibilities, about gay and lesbian identity, his senior curatorship at the Orange County Museum of Art and his work as a writer of monographs and catalog essays on such important contemporary artists as Nicole Eiseneman, Peter Saul, David Wojnarowicz, Faith Ringgold, Carolee Schneemann, William Kentridge, Peter Saul and Paul McCarthy. Dan also talks about his upcoming projects, including Leandro Erlich's comprehensive sculpture exhibition at the Pérez Art Museum Miami in December of 2022 and Dan's July 2022 solo collage exhibition at The Dime in Chicago. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

Today I am joined by the delightful Rachel Gresswell. Rachel is a visual artist from Melbourne VIC, and a mum of 2. After initially training in painting in New Zealand, Rachel transitioned to drawing, and drawing for animation - creating moving image works out of drawings, or a series of drawings. She was particularly taken by the tequnique developed by William Kentridge.In this episode we deconstruct the concept of mum guilt and what it means to Rachel, how she uses her art practice to record the day to day moments of her children's' childhood how she find wonder and inspiration in the everyday mundane events of our lives and the shift that took place in her mindset in relation to how her art and her work and home life actually could co-exist, and even enhance each other.**This episode contains discussion around post natal anxiety**Rachel - website / Instagram Podcast - instagram / websiteMusic used with permission - Alemjo - When chatting to my guests I greatly appreciate their openness and honestly in sharing their stories. If at any stage their information is found to be incorrect, the podcast bears no responsibility for my guests' inaccuracies.

Emily: Hello, give me one second. Bobby: How do you think the sound is in here? Emily: Now we're standing on the third floor after exploring the William Kentridge piece. It's called Stair Procession and it's been here since 2000. Bobby: Once you're in this space, you have this large window that illuminates the walls and the walls are white. And then there's these black anamorphic figures. If you look closely, you can tell that it's made of construction paper, which again is a nod to [inaudible 00:00:40] being a school. Emily: William Kentridge grew up in South Africa, during the time of the apartheid. And his parents were lawyers that were working to help people and be able to free them from the horrors that were happening at that time. So that kind of really heavily influenced him and his artwork. Bobby: There's a theme of overlapping lines that kind of look like a cage. So this gate right here, which is normally used to divide the up and down, this fence, you kind of like looking at someone with a barrier between you. Emily: Really no matter what angle you look at the piece, you're looking at some characters through this caging of the staircase and it makes you see the dehumanization of these people during the apartheid and during this procession and movement. Bobby: Also, back in the day, I know it was back in school when I was a public schooler, it was divided by boys and girls. So boys had one staircase and girls had another staircase. What I really appreciate about the artist's interventions is that it really incorporate the space more than you think. It's not just artwork that's in a staircase, it's artwork that's in a staircase because it helps exemplify this feeling of segregation.

Jordan Bruner is an artist and filmmaker from Virginia Beach, VA. Growing up she learned how to paint from her artist mother and on her twelfth birthday received a video camera. Having developed a love for painting, illustration, and movie making from her time experimenting as a child and studying at the Governor's School for the Arts in high school, she continued her studies in animation and filmmaking at VCU in Richmond, VA. Inspired by filmmakers like William Kentridge, Martha Colburn, Yuri Norstein and Jan Svankmajer whose personal styles are central to their films, Jordan moved to New York City in 2007 to pursue a career in animation. Jordan has continued to create films and paintings while also working professionally as an animation director for clients such as the NYTimes, Google, Eve Ensler, Amazon, and This American Life. In 2013 she was the recipient of the Art Directors Club Young Guns Award which honors creative individuals under 30 worldwide for their collective portfolio. Her films have shown at festivals worldwide including Pictoplasma and the LA Film Festival, and her illustration work has been honored by the Society of Illustrators and American Illustration. Jordan currently lives in Richmond, VA with her partner Zack, cat Pablo, and dog Zucchini. In this episode we discuss balancing commercial work with the personal, challenging definitions of success, and the importance of leisure, boredom and reflection within creative process. --- Support this podcast: https://podcasters.spotify.com/pod/show/ongoingness/support