Episodes

  • We meet Ashley Joiner, Founder & Director of QUEERCIRCLE a new public gallery space, library and home for LGBTQ+ Arts, Culture and Social Change.


    QUEERCIRCLE seeks to develop an ecology of artists, curators, writers, thinkers, community organisers, grassroots organisations and charities who collectively work together to strengthen links between culture, health and wellbeing.


    Set in the pioneering Design District in North Greenwich, their new gallery, library and project spaces enable us to action our ground-breaking community focused programme of exhibition commissions, collaborative artists residencies and year-long learning and participation opportunities. With the support of Greater London Authority, Outset's Studiomakers Initiative, and the generous contributions of private patrons, Queercircle is within a new site designed by award-winning David Kohn Architects.


    Since 2016, QUEERCIRCLE has hosted exploratory workshops and events with artists, curators, writers and community organisers to develop a programme that is befitting to the needs and aspirations of the LGBTQ+ community. Their new home first opened its door in June 2022, providing a holistic environment which celebrates queer identity, champions arts and culture, and supports the wellbeing of our community.


    Follow: @Queercircle on Instagram

    Visit https://Queercircle.org/


    Current show: MICHAELA YEARWOOD-DAN’S “LET ME HOLD YOU” 

    Queercircle's INAUGURAL EXHIBITION runs from JUNE 8 - SEPTEMBER 8 2022

     

    Michaela Yearwood-Dan’s “Let Me Hold You” sets the tone for our new home as we move forward - a safe space for the LGBTQ+ community. A sweeping curved mural embraces visitors, creating a sanctuary for visitors to confront their own true selves in a safe and holistic environment. Ceramic sculptures and furniture encourage visitors to rest, contemplate, and connect with others. We interviewed Michaela on Season 12 of Talk Art, so do check out her episode also!!!


    Utilising flora and fauna motifs, Yearwood-Dan refutes the concept that LGBTQ+ people are “unnatural”. Instead she visualises the interconnectedness of the human and non-human experience, all the while expanding our understanding of what it means to be queer and to love. 


    “The moment we choose to love we begin to move against domination, against oppression. The moment we choose to love we begin to move toward freedom, to act in ways that liberate ourselves and others. That action is the testimony of love as the practice of freedom.” - bell hooks


    As nature and marginalised communities continue to be exploited around the world - compounded by the effects of climate change disproportionately impacting marginalised communities - Michaela Yearwood-Dan provides a vital tonic; encouraging us to adopt love as an action against societal and ecological injustice.


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  • Talk Art Special Episode!!! We catch up on all things Art Basel with legendary Global Director Marc Speigler - Art Basel is the biggest art fair in the world where thousands of people flock to the city of Basel every year to discover and witness new art, new ideas and the changing of culture - this is art world insider magic.


    Marc Spiegler (born 1968) is an American/French art journalist and columnist since 1998. In 2012 he became global director of Art Basel. Marc leads the organization’s development, including all three shows and our expanding artworld activities. He is ranked in ArtReview's Power 100 among the top 25 most influential individuals in the art world. 


    Art Basel fair brings the international art world together. It features over 200 leading galleries and more than 4,000 artists from five continents. Many high-quality exhibitions take place concurrently in and around Basel, creating a region-wide art week (June 16 – 19, 2022).


    Follow @ArtBasel and @MarcSpeigler

    Visit: https://artbasel.com/


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  • New Talk Art! We meet leading artist Sonia Boyce. Boyce’s practice is fundamentally collaborative and inclusive, fostering a participatory approach that questions artistic authorship and cultural difference. Last month, she became the first Black female artist to represent Britain at the Venice Biennale, the world’s oldest international art exhibition. The work she presented in the British Pavilion won the prestigious prize, the Golden Lion. Six years before, she had been the first Black British woman to get elected to the Royal Academy of Arts.


    The British Council presents Feeling Her Way by Sonia Boyce at the British Pavilion for La Biennale di Venezia, running from 23 April – 27 November 2022. Boyce’s powerful exhibition explores the potential of collaborative play as a route to innovation. The installation brings together video works featuring five Black* female musicians (Poppy Ajudha, Jacqui Dankworth MBE, Sofia Jernberg, Tanita Tikaram and composer Errollyn Wallen CBE) who were invited to improvise, interact and play with their voices. The video works take centre stage among Boyce’s signature tessellating wallpapers and golden geometric structures, and the Pavilion’s rooms are filled with sounds – sometimes harmonious, sometimes clashing – embodying feelings of freedom, power and vulnerability.

    This new commission expands on Boyce’s Devotional Collection, built over more than two decades and spanning more than three centuries, which honours the substantial contribution of Black British female musicians to transnational culture.


    Artist and academic Sonia Boyce OBE RA (b. London, 1962) came to prominence in the early 1980s as a key figure in the burgeoning Black Arts Movement of that time with figurative pastel drawings and photo collages that addressed issues of race and gender in Britain. In 1987, she became one of the youngest artists of her generation to have her artwork acquired by Tate and the first Black-British female artist to enter the collection. Since the 1990s Boyce’s practice has taken a significant multi-media and improvisational turn by bringing people together in a dynamic, social practice that encourages others to speak, sing or move in relation to the past and the present. Incorporating film, photography, print and sound in multi-media installations, Boyce’s practice is fundamentally collaborative and inclusive, fostering a participatory approach that questions artistic authorship and cultural difference. At the heart of her work are questions about the production and reception of unexpected gestures, with an underlying interest in the intersection of personal and political subjectivities.


    Follow @SoniaBoyceArtist and @SimonLeeGallery. Visit https://www.simonleegallery.com/artists/277-sonia-boyce/ and https://venicebiennale.britishcouncil.org/feeling-her-way


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  • Talk Art SPECIAL EPISODE!!!! This week we talk to Rafael Lozano-Hemmer to discuss his new collaboration with Superblue (@superblue.art) and BMW i, “Pulse Topology” presented on the occasion of this year’s Art Basel (@artbasel). The participatory artwork is composed of 6.000 lightbulbs, suspended from the ceiling at different heights, that glimmer to the heartbeat of visitors detected by custom-made pulse sensors.


    The presentation is inspired by a shared vision for a sustainable future, and a desire to create experiences for retreat, reflection, joy, and social connection. Following an inspiring dialogue with BMW engineers and designers, Lozano-Hemmer’s team will use the same technology as in “Pulse Topology” to activate the BMW i7’s interior with passengers' heartbeats. This intervention can be seen as an extension of the i7’s use of light and new technology to emphasize the human-centric design of the new BMW i7.


    Stay tuned to see this immersive experience come to life.


    Follow @lozanohemmer on instagram to see more of his work. #PulseTopology #ThisIsForwardism


    Follow @BMWGroupCulture to learn more about BMW's commitment to art.


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  • New Talk Art!!! JUBILEE SPECIAL with an ACTUAL QUEEN!! We meet Rose Matafeo, the BAFTA nominated comedian, writer and actor from New Zealand. Self confessed "curious nerd" who has a passion for art, craft and photography.


    We discover Rose's joy for creating her own artworks including dioramas and miniature models, photography and Lomo cameras, her obsession with the Pepper's Ghost illusion technique, textile art, embroidery and crochet. We learn about her artistic family including her artist father and how she was encouraged to collect and live with art since childhood!! We explore her passion for comic book artists and fanzines!! We also discuss the work of New Zealand experimental artist Len Lye.


    Rose’s critically acclaimed show Horndog won the award (formerly the Perrier) for Best Show at The Edinburgh Fringe Festival and was nominated for Best Show at the Melbourne International Comedy Festival. She has since recorded the show as a special for HBO MAX. 


    Rose is a regular face on TV. Her own sitcom, Starstruck, which she has written and stars in was commissioned by BBC3 in the UK and HBO Max in the US. Season One premiered on BBC One and BBC Three in the UK where it became the channel’s best performing new comedy of the year with over three million requests on BBC iPlayer to date, and later on HBO Max in the US, the show was also pre-sold to over 50 territories including Australia (ABC) and New Zealand (TVNZ). The show is a critical and ratings success and has returned to BBC3 and HBO Max for a second series in 2022. 


    In the US, Rose has performed a stand up slot on Conan (TBS). In New Zealand Rose was the lead writer and star of the sketch show Funny Girls (TV3), and a regular on panel show 7 Days (Three Now NZ). 2020 saw her star to great acclaim in the feature Baby, Done (Piki Films). She also co-hosts the podcast Boners of the Heart with fellow comic Alice Snedden. 


    Follow @RoseMatafeo on Instagram. Watch Rose's TV show Starstruck, Series 1 and 2 (including Russell Tovey himself) at BBC iPlayer: https://www.bbc.co.uk/iplayer/episodes/p09djx02/starstruck


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  • Talk Art SPECIAL EPISODE!!!! We travel to Somerset to have an exclusive 5am visit to Stonehenge and an art adventure to Hauser & Wirth in Bruton. We visit Henry Moore's exhibition 'Sharing Form' for a guided tour with the artist's daughter Mary Moore and curator Hannah Higham. Hauser and Wirth Somerset present a comprehensive survey spanning six decades extends across all five gallery spaces, in addition to an open-air presentation of seminal works including: ‘The Arch’ (1963/69), ‘Large Interior Form’ (1953 – 1954) and ‘Locking Piece’ (1962 – 1963).


    The exhibition takes as its starting point the artist’s early fascination with the Neolithic site of Stonehenge, which Moore first encountered the prehistoric monuments under the moonlight as a young man in 1921, fifty-two years later he embarked on a series of lithographs on the subject. Moore was fascinated by the relationship between the towering masses of ancient stone, their size and siting in the landscape, and the mysterious ‘depths and distances’ evoked on his returning visits. For Moore, the power and intensity of such large forms set against land and sky precipitated career-long investigations into scale, material and volume and the juxtaposition of art and nature, which are presented throughout the exhibition.


    Alongside Moore’s most celebrated works, the viewer is immersed in a deeply personal selection of artworks and objects curated by Mary Moore, set within the centre of the exhibition. The collection contains almost 100 items from her father’s studio and home, providing an insight into the working life of the sculptor and intimate memories she holds through these objects. The unique experience brings together Moore’s visual library and the vocabulary of ideas that he developed during his working life. The exhibition was organised with support from the Henry Moore Foundation.


    Alongside Moore’s most celebrated works, the viewer is immersed in a deeply personal selection of artworks and objects curated by Mary Moore, set within the centre of the exhibition. The collection contains almost 100 items from her father’s studio and home, providing an immersive insight into the working life of the sculptor and intimate memories she holds through these objects. This exhibition was organised with support from the Henry Moore Foundation.


    BMW has been involved in cultural projects across varied genres for over 50 years creating unique content initiatives with key partners such as artists, galleries, passionate collectors, art fairs and digital art platforms (such as Talk Art!). As a long-term partner, creative freedom is key – and as essential for groundbreaking works as it is for major innovations within our company.


    Thanks to @BMWUK we had the opportunity to experience the all new fully-electric BMW i7 on our trip to Somerset. The car is BMW’s new flagship, demonstrating how an exclusive driving experience and the ultimate feeling of on-board wellbeing can be combined with an unwavering commitment to sustainability. 


    Follow @HauserWirthSomerset and visit: https://www.hauserwirth.com/hauser-wirth-exhibitions/36155-henry-moore-sharing-form/ for more details on this major exhibition #HenryMooreSharingForm! Follow @BMWGroupCulture to learn more about BMW's commitment to art.


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  • Talk Art season 13 continues with an art icon!!! We meet leading artist Tracey Emin to discuss her return to her hometown of Margate, her new art school, her current solo exhibition in the town's Carl Freedman Gallery as well as a further new solo show in Edinburgh at Jupiter Artland.


    'A Journey To Death' is a comprehensive solo exhibition of new prints, large-scale monotypes and bronze sculptures. The show runs until 19th June 2022 and has been widely critically acclaimed. Free entry, and we strongly recommend visiting Margate for this extraordinary exhibition of new works.

     

    Tracey Emin’s first Scottish show since 2008, 'I Lay Here For You' opens on 28th May and runs until 2nd October. It offers an intimate encounter with love and hope set against the domestic architecture and informal woodland of Jupiter Artland. Imbued with connotations of both warmth and vulnerability, resonating with Tracey Emin’s belief of the ‘personal as political’ the exhibition will feature brand new work by the artist reflecting on the possibility of love after hardship.


    Tracey Emin’s participation in Jupiter Artland’s 2022 season begins with the unveiling I Lay Here For You, a six metre bronze sited personally by the artist in an old-growth beech grove. Larger than life, powerful and at ease, the sculpture presents a radically different view of woman’s place in nature, as well as creating a dialogue with the new work presented by the artist across Jupiter’s indoor gallery spaces.


    Tracey Emin, CBE, RA is a British artist known for her autobiographical and confessional artwork. Emin represented Great Britain at the 52nd Venice Biennale in 2007 and was appointed Professor of Drawing at the Royal Academy of Arts, London in 2011. She was awarded the honour of Commander of the Most Excellent Order of the British Empire for her contributions to the visual arts in 2012. Tracey Emin’s art is one of disclosure, using her life events as inspiration for works ranging from painting, drawing, video and installation, to photography, needlework and sculpture.


    Emin reveals her hopes, humiliations, failures and successes in candid and, at times, excoriating work that is frequently both tragic and humorous. In 2020, a major solo exhibition entitled The Loneliness of the Soul, opened at the Royal Academy of Arts, London. The exhibition then toured to the new Munch Museum, Oslo in Summer 2021 to critical acclaim. This summer, Emin will unveil her largest artwork to date, The Mother, a permanent public commission for Oslo’s Museum Island. I Lay Here for You at Jupiter Artland will be Tracey Emin’s first solo exhibition in Scotland since her 2008 major retrospective at the Scottish National Gallery of Modern Art in Edinburgh.


    Tracey Emin was born in 1963 in London. She currently lives and works between London, the South of France, and Margate, UK.

     

    Visit: www.carlfreedman.com and www.jupiterartland.org

    Follow on Instagram: @TraceyEminStudio, @CarlFreedmanGallery, @JupiterArtland


    Thanks for listening!!!


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  • Talk Art series 13 continues!!! We meet British sculptor and contemporary visual artist Hew Locke. The artist shares the inspiration behind his decades of work and reflects on the process of making his new and exciting large-scale installation 2022 Tate Britain Commission, The Procession.


    A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of this ambitious new project. The Procession invites visitors to ‘reflect on the cycles of history, and the ebb and flow of cultures, people and finance and power.’ Tate Britain’s founder was art lover and sugar refining magnate Henry Tate. In the installation Locke says he ‘makes links with the historical after-effects of the sugar business, almost drawing out of the walls of the building,’ also revisiting his artistic journey so far, including for example work with statues, share certificates, cardboard, rising sea levels, Carnival and the military.


    Throughout, visitors will see figures who travel through space and time. Here, they carry historical and cultural baggage, from evidence of global financial and violent colonial control embellished on their clothes and banners, alongside powerful images of some of the disappearing colonial architecture of Locke’s childhood in Guyana.


    The installation takes inspiration from real events and histories but overall, the figures invite us to walk alongside them, into an enlarged vision of an imagined future.

    "What I try to do in my work is mix ideas of attraction and ideas of discomfort – colourful and attractive, but strangely, scarily surreal at the same time." Hew Locke.


    Locke was born in Edinburgh, UK, in 1959; lived from 1966 to 1980 in Georgetown, Guyana; and is currently based in London.  He obtained a B.A. Fine Art in Falmouth (1988) and an M.A. Sculpture at the Royal College of Art, London (1994). In 2000 he won both a Paul Hamlyn Award and an East International Award.

    His work is represented in many collections including those of the The Government Art Collection, The Pérez Art Museum Miami, The Tate Gallery, The Arts Council of England, The National Trust, The Metropolitan Museum of Art, New York, The Brooklyn Museum, New York, 21c, The New Art Gallery Walsall, The Victoria & Albert Museum, The Imperial War Museum, The British Museum and The Henry Moore Institute, Leeds.


    Follow @HewDJLocke on Instagram and visit his official website: http://www.hewlocke.net/

    Visit his galleries PPOW Gallery in New York and Hales Gallery in London. Learn more about his new installation at Tate, it's free to visit until 22nd January 2023: https://www.tate.org.uk/whats-on/tate-britain/hew-locke


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  • Talk Art is back for SEASON 13!!!! Woohooo!!!


    We meet leading artist Caroline Walker.


    Walker’s paintings reveal the diverse social, cultural and economic experiences of women living in contemporary society. Drawing on her own photographic source material, Walker provides a unique window into the everyday lives of women. 


    Blurring the boundary between objectivity and lived experience, Walker highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit. Walker explains: “The subject of my paintings in its broadest sense is women’s experience, whether that is the imagined interior life of a glimpsed shop worker, a closely observed portrayal of my mother working in the family home, or women I’ve had the privilege of spending time with in their place of work. From the anonymous to the highly personal, what links all these subjects is an investigation of an experience which is specifically female.”


    Caroline Walker was born in 1982 in Dunfermline, Scotland. She lives and works in London.

    Blurring the boundary between objectivity and lived experience, the artist highlights often overlooked jobs performed by women and the psychologically charged spaces they inhabit.


    Previously encompassing locations such as Los Angeles, Palm Springs and the UK, Walker’s scenes hint at the complexity of her subjects’ lives whilst completely avoiding narrative resolution. Recent works have seen Walker cast her eye to her immediate surroundings in East London, reflecting on her wider community and the significance of encounters with anonymous individuals who are nevertheless integral to our daily existence. Often exploring the notion of ‘women’s work’, the artist captures specific spaces such as pharmacies, tailors, beauty salons, laboratories, bathhouses and modernist apartments.

    Walker presented a new body of large-scale paintings at the historic Fitzrovia Chapel in February 2022. The works were created following her residency at University College Hospital's maternity wing, during which the artist shadowed female midwives, nurses, doctors and cleaners. Sketches from the series were displayed by UCLH Arts at Street Gallery, London and the project was accompanied by an illustrated catalogue.Examples will also be included as part of a two-person presentation with Laura Knight at Nottingham Castle in March 2022.


    KM21, The Hague hosted ‘Windows’, a significant solo exhibition of the artist’s work in August 2021. An expansive show of Walker’s preparatory studies and large-scale paintings titled ‘Women’s Work’ opened in May 2021 at Midlands Art Centre (MAC), Birmingham, UK. She features in the Hayward Gallery touring exhibition ‘British Art Show 9’ in 2022. Walker’s first solo show at Stephen Friedman Gallery, London will take place in April 2022, focussing on the artist’s sister-in-law Lisa and her experience of motherhood. 

    Walker obtained an MA in painting from Royal College of Art, London in 2009 and a BA (Hons) from Glasgow School of Art in 2004. Walker is also represented by GRIMM, Amsterdam / New York and Ingleby Gallery, Edinburgh.


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  • We meet Lily van der Stokker (b. ‘s-Hertogenbosch, Netherlands, 1954), one of the Netherlands’ most celebrated contemporary artists at the installation of her first institutional solo exhibition in London at Camden Art Centre.

    The exhibition brings together a group of works made by van der Stokker between 1989 and 2021, which address ideas of society, home, friendship, work, finances, illness and care; as well as speaking to this extraordinary contemporary moment. While some works have previously been realised in other contexts and spaces, others are presented across Camden Art Centre’s galleries for the first time. The exhibition will also include a number of original drawings on paper and works on canvas produced over the last 30 years.


    Van der Stokker draws her images with an exacting care and precision, configuring them against one another for the specifics of each space, before scaling them up and executing them directly onto the gallery walls. Her monumental wall paintings – with their distinctive colour palate and highly decorative motifs, including flowers, clouds, patterns and curlicues – play on apparently clichéd stereotypes of femininity, but her work has a depth and toughness that belies its saccharine aesthetic. For more than 30 years she has immersed herself in the supposedly mundane material of everyday life, taking seriously the intricacies of the small, the personal and the overlooked, while at the same time forging a radical feminist practice in a language she has made entirely her own. Behind its apparent softness and sincerity – once described as ‘so sweet it can kill’ – her work remains both provocative and radical.


    Optimism, joy, gossip and the petty trials and tribulations of everyday life are given a wide birth in most artistic practices, whilst work which centres the domestic and decorative has traditionally been seen as the antithesis of serious contemporary visual art. Van der Stokker’s work disrupts such hierarchical considerations, challenging conventional conceptions of artistic value and merit, whilst firmly positioning itself within the legacies of feminist, post-minimal and post-conceptual art. Despite its exuberance and frivolity, its disarming humour, and its bold celebration of the ugly, the sweet, the beautiful and the silly, her work takes itself and its subjects seriously; reclaiming themes and aesthetic languages that have been routinely devalued, derided and disparaged for centuries by a patriarchal culture that has consistently denigrated the feminine and feminised what it considered superfluous or ‘other’.


    At a time when we have all been forced to make drastic and once unthinkable changes to our lives, van der Stokker’s longstanding engagement with the supposedly ‘little’ themes of family, relationships, work, home and the domestic, feel more appropriate, more timely and more important than ever.

    Lily van der Stokker 'Thank You Darling' is now open and runs until 18 September 2022 at Camden Art Centre. Free entry! Follow @CamdenArtCentre & @LilyVanDerStokker

    Visit: https://camdenartcentre.org/lily-van-der-stokker-thank-you-darling/


    Lily van der Stokker lives and works in Amsterdam & New York. Selected solo exhibitions: Migros Museum für Gegenwartskunst, Zurich (2019); Stedelijk Museum, Amsterdam (2018); Hammer Museum, Los Angeles (2015); New Museum, New York (2013); Museum Boijmans Van Beuningen, Rotterdam (2010); and Tate St. Ives (2010).

     

    Visit Lily's galleries Kaufmann Repetto, New York and to Air de Paris, Paris.


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  • New Talk Art!!! We meet London icon PHILIP SALLON at his home in St John's Wood!!! A legendary British club promoter, event organiser, socialite, style innovator, impresario, and clothing designer. He was born in London, England where he still lives and works today in his 70th year. He is particularly known for being a prominent member of the Punk sub-cultural and New Romantic pop cultural movements during the 1970s and 1980s.


    We discuss how he witnessed the birth of Punk, his friendship with Vivienne Westwood, the Blitz Kids and Boy George, more than 5 decades of his drawings, invitations and designs, supporting young graffiti artists back in 1983 all the way to more contemporary street artists like Stik and Ben Eine.


    Philip Sallon was born in London in 1951, the grandson of Polish Jewish immigrant tailors who moved to the UK in 1904. His father, Ralph Sallon, was a well-known caricaturist who married his mother Anna Simon in 1945. They had one son (Philip) and three daughters. He was educated at Harrow County School, later renamed Gayton school. In 1970 he enrolled on an arts foundation course at East Ham College. In 1975 he applied and was offered a place at Saint Martin's School of Art to study fashion.


    He then left St Martins to pursue a career in theatre and later club promotion. Sallon founded the Mud Club in Tottenham Court Road in the 1980s and is best known for his style and outgoing personality. Admirers describe how during one club night in the 1980s he wore a dress made entirely of pound notes; by the end of the evening, after fellow clubbers had helped themselves, he was practically naked.


    For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email [email protected]


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  • New Talk Art!!! We meet Sharon Walters, a London-based artist who creates hand-assembled collages celebrating black women. 'Seeing Ourselves', Sharon's ongoing series, is an exploration of under-representation in many arenas in particular, the arts and heritage sector and mainstream western media. The work encourages us to "'take up space', be seen and create our own spaces."


    Sharon's ongoing series ‘Seeing Ourselves' is an exploration of identity, beauty standards, and race through celebratory papercuts and hand-assembled collages, which are available in limited edition print form. These pieces are created using images from women’s magazines, as well as photographs taken by the artist herself, or provided by others. Each carefully constructed collage features a black woman, and is a celebration of natural afro hair and its beauty. 


    Sharon's celebratory approach extends through to her workshop and curatorial work, which continues to explore the representation of black women in many arenas, including arts, heritage and media. Sharon reframes these representations to share her experiences as a black woman in a celebratory, uplifting light. So often blackness is represented as 'other'. Sharon provokes an alternative narrative of empowerment. Each piece is a reaffirmation of the right to ‘take up space’ even when you don’t see yourself in certain settings.


    Since graduating with a degree in Fine Art from Central St Martins (University of the Arts) in 2011, Sharon has developed her practice and continued her work with community arts organisations and museums, using them as platforms to explore and collaborate with the voices of those who are often unheard.


    Follow Sharon on Instagram: @London_Artist1 and visit her official website: https://www.londonartist1.com/


    Sharon Walters: Seeing Ourselves major new solo exhibition is now open! The show runs until Sun 26th June at MAC Midlands Art Centre, Birmingham and Is FREE ENTRY!!!! So what you waiting for? Visit: https://macbirmingham.co.uk/exhibition/seeing-ourselves


    For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email [email protected]


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  • It's the Venice Biennale 2022!!! We meet Pavlo Makov who is representing Ukraine at the Ukrainian pavilion of the 59th Venice Biennale.


    Makov presents The Fountain of Exhaustion. Acqua Alta (1995–2022). This kinetic sculpture, which speaks to infrastructural ruins, cultural erasure, climate collapse, and war, is the focal point of the pavilion in Venice. Made possible with the support of the pavilion’s curators: Lizaveta German and Maria Lanko, co-founders of the Kyiv art space Naked Room, and Borys Filonenko, chief founder of IST Publishing. The Fountain of Exhaustion is currently paralleling the lives of those involved in its exhibition—rapidly adapting and responding to uncertain circumstances caused by war.


    Fountain of Exhaustion. Acqua Аlta project for the 59th Biennale di Venezia is first and foremost an attempt to address the present from within the Ukrainian context in order to retrace and reveal how a local concern eventually grows to echo the global conversation.

    The Pavilion exhibits the works of Pavlo Makov, whose artistic practices in the early 1990s focused on exploring the parallels between the human body and urban space and have since then largely shifted to elaborating the theme of “the world without us”. The artwork Fountain of Exhaustion is a serene and reflective project, which serves as a conscious extension of the original story of Fountain of Exhaustion (at once providing for the particularities of the exhibition location) and comes as a natural response to the theme Milk of Dreams.


    Makov was born in 1958 in St. Petersburg, Russia. Lives and works in Kharkiv, Ukraine. He graduated from the Crimean Art College, Painting Department (Simferopol, Ukraine) in 1979, Saint Petersburg Academy of Arts in 1978 and Kharkiv Art and Industrial Institute (Graphic department) in 1984.

    Since 1988 he is a member of the National Union of Artists of Ukraine, since 1994 – is a member of the Royal Society of Painters-Printmakers (London, England) and a correspondent member of the Ukrainian Art Academy, since 2006.


    Pavlo Makov is a participant and winner of many graphic art exhibitions, among them “Biennale of Graphic Art" (Kaliningrad, Russia, 1990, 1992 and 1998), VI International Biennale of Print and Drawing (Taipei, Taiwan, 1993), “Osaka Triennale 94" (Osaka, Japan, 1994), “National Triennale of Print 97" (Kyiv, Ukraine, 1997), “International Print Triennale" and others. In 2009 he was awarded with the Silver Medal of the Ukrainian Art Academy. Author and participant of many projects in Ukraine and abroad. The artist's works are in museums collections in Ukraine, Russia, Hungary, Italy, Spain, Great Britain, the USA and other countries.


    Follow on Instagram @UkrainianPavilionInVenice

    Visit the Pavlo's website: makov.com.ua and visit the Ukraine Pavilion website: https://ukrainianpavilion.org/


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  • We meet leading artist Michaela Yearwood-Dan to discuss her solo show The Sweetest Taboo, which runs until 26th April at Tiwani Contemporary, London. Recently the artist has been thinking about the priorities for affirming spaces of self and collective actualisation, specifically BIPOC and queer space(s), community needs and desires, that include her own. 

     

    Projected and inscribed upon the large-scale paintings, extracts of Yearwood-Dan’s experiences, influences, personal thoughts and questions commingle with abstracted and botanical gestures and marks that border, lead towards and give way to speculative clearings; spaces and gaps that have the capacity to be filled with utopic imaginings. The works remain vested in holding and debating the real-life politics and cultural demands of femme, black and queer individuals in the world coming together as communities, manifesting and nurturing critical, safe and joyous environments. 

     

    Drawing solely from her own experiences, throughout this body of work, the artist continues to explore the multifaceted nature of love through a theoretical and uncomplicated lense, whilst holding space for elements of humour and nostalgic glances. The Sweetest Taboo is a semi-immersive experience that migrates from the canvases into the space of the gallery, creating a topographic installation of ceramic sculptures and furniture that encourages visitors to contemplate, project and spur plans to dream potential spaces into existence.

     

    Michaela Yearwood-Dan’s work reflects on subjectivity and individual identity as forms of self-determination. Whilst her work may be underpinned by an expansive and multivalent repertoire of cultural signifiers borrowing freely from blackness, healing rituals, flora, texting, acrylic-nails, gold-hoops, carnival culture, these reference points enable her to present and privilege the variance of her own individual experience. As such, her work refuses to be framed by narrow expectations of racial or gendered notions of collective identity and history. She defamiliarizes many of those reference points in her work resisting the clichés and strictures of representation.


    Michaela Yearwood-Dan lives and works in London. Follow @ArtistAndGal and her gallery and @TiwaniContemporary on Instragram.


    To view images of her new solo show visit: https://www.tiwani.co.uk/exhibitions/68-michaela-yearwood-dan-the-sweetest-taboo/overview/


    For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email [email protected]


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  • New Talk Art! We meet leading British artist Daisy Parris to discuss their recent solo show 'I See You In Everyone I Love'. We discuss text, rough gestural brushstrokes, large-scale canvases and their punk aesthetic that led to painterly abstraction.


    Daisy Parris is a painter of psychological space. Direct text-based works and abstract paintings are made up of a vernacular that has developed through experience, relationships and through the depths and the peaks of their human existence thus far. Parris brings intimacy, insight and integrity to their paintings with great psychological and emotional force. The work is imbued with the sensitivity of one who feels everything, taking us through unflinching narratives and moments of reflection and tenderness. An ode to human existence, their work is sometimes silent, sometimes savage, with paintings that construct self portraits of personal battles and triumphs in a fast moving yet contemplative assault on the canvas.


    Daisy Parris (b. 1993, Kent, UK) lives and works in London, UK and holds BA (Hons) Fine Art from Goldsmiths University, London. Recent exhibitions include Pain For Home, M+B, Los Angeles, USA (solo), Star-Studded Canopy, Sim Smith, London, UK (solo), Talk Like Strangers, with Nico Stone, Sebastian Helling and Jesse Littlefield, Part 2 Gallery, Oakland, California, What Kind Of Spirit Is This?, Sim Smith, London, UK and Poem, Las Palmas Project, Lisbon, Portugal.


    Follow @DaisyParris and their official website https://daisyparris.com/ Visit their gallery @SimSmith_ and https://www.sim-smith.com/


    For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email [email protected]


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  • We meet leading British-Nigerian artist Joy Labinjo to discuss her solo exhibition of self-portraits in Lagos at Tiwani Contemporary, her giant public mural for Brixton underground station and her major institutional solo show at Chapter Gallery, Cardiff.


    Joy Labinjo’s large-scale figurative paintings often depict intimate scenes of historical and contemporary life, both real and imagined and often based on figures appearing in personal and archival imagery that include family photographs, found images and historical material. In the past, she has explored themes including but not limited to identity, political voice, power, Blackness, race, history, community and family and their role in contemporary experience. 


    Exploring multiple modes of representation including abstraction, naturalism, flatness and graphic patterns, Labinjo’s ‘collage aesthetic’ comprises an eclectic visual vocabulary and mixed painterly techniques which echo her experience of multiple identities – growing up Black, British, Nigerian in the 90s and early 00s. 

     

    Comprising a series of nude self-portraits – her only works of such kind to date, the exhibition unfolds an interest in the significance of the nude in the history of visual art and contemporary public practices of sending nude digital imagery for example to lovers. These large scale works translate images that Labinjo took using her phone. Each work comprises loose geometric color blocks where her body can be likened to a variegated landscape. Capturing a range of poses, the works are resolutely frank and unapologetic. In this way, they assert an acceptance of self that is divergent from performative nudity and highlight self-love as erotic and feminine and at odds with patriarchy and sexism. Labinjo’s figure is emphasized by muted and simplified backgrounds, distinct from the dense compositions of her earlier paintings. Departing in colour and composition from previous works, these works present muted earth tones alongside a solitude that dominates each image and contrast with the vivid, saturated colours and social exchanges shown in earlier paintings. She continues to hone distorted renderings that percolate between abstraction and representation. Each work positions Labinjo’s body against a new beginning or a space to be populated by unforeseen content.  

     

    In the context of historical and contemporary events in Nigeria, the works also recall the significance of female nudity and its link to collective action in the West African country. In the early 20th century, numerous accounts emerged of women using their nude body to dissent against onerous taxation structures and unfair laws during the country’s colonial period. More recently, Nigerian women have threatened and used naked protest against a range of happenings in the country including the abduction of school girls in Chibok in the north-east and, in the north, anti-violence in Kaduna respectively. 

     

    As such, Labinjo’s work presents the body as a political agent and platform. By portraying herself nude, she invites the viewer to consider the artist’s position, and the cultural loads that cover the body. Labinjo obscures reference to place, time, and social affiliation and prioritizes her self-perspective, removing much of the representational content that took precedence in earlier work. These works imitate a personal relationship between Labinjo and her body and present a point through which the artist is able to build associations that inform her interpretations of her surroundings and crucially, her own body. 


    Follow @JoyLabinjo and @TiwaniContemporary.


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  • New Talk Art! We meet ARRAY COLLECTIVE. For this AWESOME new episode, we meet a record five guests - all members of the collective: Clodagh, Jane, Thomas, Sighle and Emma.


    Winners of the 2021 Turner Prize, Array Collective are a group of individual artists rooted in Belfast, who join together to create collaborative actions in response to the sociopolitical issues affecting Northern Ireland. Array’s studios and project space in the city centre acts as a base for the collective, however the participating artists are not limited to studio holders.


    Array are based in one of the last remaining inner-city studio buildings in Belfast, and have been working together since 2016. The group maintain independent practices but come together regularly to protest the most urgent social justice issues particular to Northern Ireland: mental health, language rights, abortion, workers’ rights, social housing, gentrification and LGBTQ+ rights.


    The Turner Prize jury awarded the prize to Array Collective for their hopeful and dynamic artwork which addresses urgent social and political issues affecting Northern Ireland with humour, seriousness and beauty. The jury were impressed with how Array Collective translate their activism and values into the gallery environment, creating a welcoming, immersive and surprising exhibition. The jury commended all five nominees for their socially engaged artworks, and how they work closely and creatively with communities across the breadth of the UK. The collaborative practices highlighted in this year’s shortlist also reflect the solidarity and generosity demonstrated in response to our divided times.


    Array Collective eleven members are: Sighle Bhreathnach-Cashell, Sinead Bhreathnach-Cashell, Jane Butler, Emma Campbell, Alessia Cargnelli, Mitch Conlon, Clodagh Lavelle, Grace McMurray, Stephen Millar, Laura O'Connor, Thomas Wells


    Read the Elephant Magazine article we mentioned in this episode at this link: https://elephant.art/does-the-turner-prize-deserve-better-art-no-but-array-collective-deserves-better-critics-15122021/


    Follow @ArrayStudios on Instagram. Learn more at: http://www.arraystudiosbelfast.com/


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  • Bonus Talk Art! We meet teacher, and Talk Art Book editor, Ella Parsons. This special episode of Talk Art is brought to you in partnership with Get Into Teaching.


    Ella was the inspiring editor of our Talk Art book in 2021, published by Octopus Publishing, and after our book became a Sunday Time's Bestseller, she decided to change career and become an English teacher. We find out why she decided to switch careers, her passion for education and why 'Every Lesson Shapes a Life'.


    If you’ve listened to this episode and are now inspired or thinking of a career where every lesson shapes a life - then search Get Into Teaching now to find out more!


    Follow @Get_Into_Teaching on Instagram. Learn more by visiting: https://getintoteaching.education.gov.uk/


    TALK ART BOOK is OUT NOW! Visit Waterstone's or The Margate Bookshop to buy our brand new book in the UK or Amazon or Bookshop.org in USA & Canada. Full list of links in our Linktree: https://linktr.ee/TalkArt


    For images of all artworks discussed in this episode visit @TalkArt. Talk Art theme music by Jack Northover @JackNorthoverMusic courtesy of HowlTown.com We've just joined Twitter too @TalkArt. If you've enjoyed this episode PLEASE leave us your feedback and maybe 5 stars if we're worthy in the Apple Podcast store. For all requests, please email [email protected]


    See acast.com/privacy for privacy and opt-out information.

  • We meet leading artist Elad Lassry (b. Tel Aviv, 1977) who defines his practice as consumed with “pictures”—generic images culled from vintage picture magazines and film archives. Tapping the visual culture of still and motion pictures, he engages traditions of story-building with images and the ghosts of history that persist in images long after they have been lifted out of their original contexts. Elad Lassry creates or rediscovers images from a vast array of sources, redeploying them in a variety of media, including photography, film, drawing and sculpture. Despite the diversity of his approach, Lassry has developed one of the most distinctive visual idioms in contemporary art and a rigorously focussed practice that investigates the nature of our perception and the meaning of the contemporary image. 


    Lassry describes his 'pictures', which are all exactly the same scale, as ‘something that’s suspended between a sculpture and an image’. The artist achieves this through a play of virtual and actual space. The image in each picture proposes a virtual space, while the frame, which is not a supplement to the image but an extension of it, carves out an actual space for the object to occupy. The images might be found – anything from a magazine snapshot to a Hollywood headshot – or photographed in studio conditions that reflect many of the concerns of traditional still life. Lassry then deploys the image as an ambiguous, free-floating signifier, which combines with the frame to create a new set of conditions. This hybrid entity becomes a kind of epistemological puzzle, engaging the viewer’s perceptual faculties. How does its objecthood affect our reading of the image? How does the subject matter of the image affect our perception of the object? 


    This disruptive play between image and object extends into his film and sculpture. In the 16mm film Zebra and Woman, the camera begins at the animal’s tail before panning across its striped hide, examining the nuances of colour and form as if it were a mid-century abstraction. Passing the animal’s head, the viewer is plunged, briefly, into blackness before the incongruous appearance of an attractive woman again dislocates the pictorial space. This set of conditions is typical of the artist’s concerns: close-looking, the indistinct space between abstraction and figuration, the combination of flatness and depth, all combining to examine how the mind reacts to different visual stimuli. Lassry brings this set of concerns to bear on a body of sculptural work based on cabinets that further explore a range of perceptual paradoxes. Produced on a scale that reflects the unchanging dimensions of his pictures, the cabinets look both utilitarian and ornamental, both a functional object and its representation.  


    Lassry lives & works in Los Angeles. He has exhibited internationally including solo shows at San Francisco Museum of Modern Art, California (2020); Le Plateau, Paris (2018); Vancouver Art Gallery, Canada (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Kunstnernes Hus, Oslo (2012) and Kunsthalle Zurich, Switzerland (2010).


    Follow Elad's galleries: @MassimoDeCarlo, @GalerieFrancescaPia, @WhiteCube & @303Gallery.

    Special thanks to Francesca Sabatini at Massimo de Carlo.


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  • We meet Berlin based artist Navot Miller on the eve of his first solo exhibition at WESERHALLE in Berlin. His new show presents 'Colourful, homo, great.', a series inspired by the artist’s recent travels interwoven with the artist’s multilayered identity. Navot makes large-scale, vibrant coloured canvases, electric compositions fueled by the flamboyant use of colours and the intensity of the exploration of flatness through the means of collage.


    Growing up, Miller experienced the many facets of life between the rural vastness of his hometown Shadmot Mehola in the north of Israel and the bustling metropolis—such as New York and Paris—where he travelled regularly to visit relatives. In his visual language his traditional religious upbringing as an orthodox jew and his contemporary life do not oppose each other but are brought to a sensible equilibrium.


    His work process starts with his own experiences documented as photographs or videos. Friends, acquaintances, lovers and everyday situations find their way onto his blank canvas, layered into a carefully composed collage of memories. For instance, the work Angelo & Sergio in Casa Biulú, focuses on two figures in a vibrant blue pool—strangers he got to know during his holidays in Mexico—while the background is drawn from a detail of another photograph from the same trip – the red and white stripes of a popcorn bag. Miller balances the components of space and colour to emit a sense of melancholy and voyeurism that charges the vibrant pieces with an unexpected intimacy. Miller describes how during his trip he was taking medications to treat a fungal infection on his face. Because of this, instead of taking part in social situations as he usually would, he played the role of an observer, watching and documenting interactions unfold. He explains further: “This vacation in Mexico was in many ways like the so-called “window shopping” where we see things we desire however, for a reason, cannot have for the moment.”


    With a strong interest in architecture, Miller has a naturally heightened consideration towards the arrangement of the individual elements and manages to bring the powerful characteristics of his dream-like scenarios and his own identity into balance that allow for delicate relations to unfold, which are often colourful, homo and pretty great.


    Navot Miller is a Berlin based artist from Israel. He studies at the Kunsthochschule Weißensee. His works have been exhibited most recently in Elektrohalle Rhomberg in Salzburg, Austria 2020 and at MISA in Berlin, Germany 2021.


    Follow @NavotMiller on Instagram. Visit Navot's solo @Weserhalle in Berlin, show runs from 18th March until 15th April 2022: https://Weserhalle.com/event/colourful-homo-great/


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