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<channel>
	<title>Radio Papesse</title>
	<link>http://radiopapesse.org/podcasting</link>
	<description>RadioPapesse_la prima e unica radio di arte contemporanea italiana.</description>
	<pubDate>Wed, 26 Oct 2011 12:55:55 +0000</pubDate>
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		<copyright>&#xA9;Radio Papesse </copyright>
		<managingEditor>info@radiopapesse.org (Radio Papesse)</managingEditor>
		<webMaster>info@radiopapesse.org</webMaster>
		<category></category>
		<ttl>1440</ttl>
		<itunes:keywords></itunes:keywords>
		<itunes:subtitle></itunes:subtitle>
		<itunes:summary>RadioPapesse e' la prima e unica radio di arte contemporanea italiana.
Elettronica, sperimentale, jazz, rock, ambient...una radio freeform ricca di musica, ma non solo.
L'attenzione e' rivolta a tutte le espressioni sonore del contemporaneo.
Nel podcast di Radio Papesse si possono trovare paesaggi sonori e documentari, notizie dal mondo dell'arte contemporanea e suoni d'artista, audioguide, reading e lezioni d'arte...
Radio Papesse, una radio per dar voce a quello che non si puo' vedere.</itunes:summary>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:category text="Arts"/>
<itunes:category text="Society &amp; Culture"/>
<itunes:category text="Education"/>
		<itunes:owner>
			<itunes:name>Radio Papesse</itunes:name>
			<itunes:email>info@radiopapesse.org</itunes:email>
		</itunes:owner>
		<itunes:block>No</itunes:block>
		<itunes:explicit>no</itunes:explicit>
		<itunes:image href="http://www.radiopapesse.org/podcast/logo%20radio_144.jpg" />
		<image>
			<url>http://www.radiopapesse.org/podcast/logo%20radio_144.jpg</url>
			<title>Radio Papesse</title>
			<link>http://radiopapesse.org/podcasting</link>
			<width>144</width>
			<height>144</height>
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		<item>
		<title>GalleriaAUDIO:Josef Albers - Black Mountain College. tutta la storia</title>
		<link>http://radiopapesse.org/podcasting/archives/246</link>
		<comments>http://radiopapesse.org/podcasting/archives/246#comments</comments>
		<pubDate>Wed, 26 Oct 2011 12:55:55 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>Education</category>
	<category>audioguide</category>
	<category>modena</category>
	<category>galleriaAudio</category>
	<category>marco pierini</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/246</guid>
		<description><![CDATA[Galleria AUDIO:Josef Albers  e&#8217; una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell&#8217;artista, aperta dall&#8217;8 ottobre 2011 all&#8217;8 gennaio 2012.
Galleria AUDIO  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a casa e in mostra, come (...)]]></description>
			<content:encoded><![CDATA[<p><strong>Galleria AUDIO:Josef Albers</strong>  e&#8217; una produzione commissionata dalla <a target="_blank" href="http://www.comune.modena.it/galleria">Galleria Civica di Modena</a> in occasione della retrospettiva dell&#8217;artista, aperta dall&#8217;8 ottobre 2011 all&#8217;8 gennaio 2012.<br />
<strong>Galleria AUDIO</strong>  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a casa e in mostra, come e quando  vorrete.<br />
<strong>Black Mountain College. tutta la storia </strong>e&#8217; un documentario che - insieme a Marco Pierini, direttore della Galleria Civica e curatore della mostra - ripercorre la storia del college che segnato una rivoluzione nel panorama culturale americano e non solo. La storia della sua fondazione, i sogni e le utopie che lo hanno animato.</p>
<p><a target="_blank" href="http://radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1851/index.html?area=1">GalleriaAUDIO</a> e&#8217; una produzione di <a target="_blank" href="http://radiopapesse.org/">Radio Papesse</a> per la Galleria Civica di Modena
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/246/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/GalleriaAUDIO-BlackMountainCollege_Tutta_la_storia.mp3" length="36655223" type="audio/mpeg"/>
<itunes:duration>15:16</itunes:duration>
		<itunes:subtitle>Galleria AUDIO:Josef Albersnbsp; e' una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell'artista, aperta dall'8 ottobre 2011 all'8 gennaio 2012.
Galleria AUDIOnbsp; ...</itunes:subtitle>
		<itunes:summary>Galleria AUDIO:Josef Albersnbsp; e' una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell'artista, aperta dall'8 ottobre 2011 all'8 gennaio 2012.
Galleria AUDIOnbsp; offre strumenti di lettura per conoscere Josef Albers enbsp; approfondirne il lavoro di artista e insegnante; una serie dinbsp; contributi audio che potrete ascoltare a casa e in mostra, come e quandonbsp; vorrete.
Black Mountain College. tutta la storia e' un documentario che - insieme a Marco Pierini, direttore della Galleria Civica e curatore della mostra - ripercorre la storia del college che segnato una rivoluzione nel panorama culturale americano e non solo. La storia della sua fondazione, i sogni e le utopie che lo hanno animato.

GalleriaAUDIO e' una produzione di Radio Papesse per la Galleria Civica di Modena</itunes:summary>
		<itunes:keywords>Arts,,Education,,audioguide,,modena,,galleriaAudio,,marco,pierini</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>GalleriaAUDIO:Josef Albers - Bauhaus. tutta la storia</title>
		<link>http://radiopapesse.org/podcasting/archives/245</link>
		<comments>http://radiopapesse.org/podcasting/archives/245#comments</comments>
		<pubDate>Wed, 26 Oct 2011 12:44:07 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>Education</category>
	<category>audioguide</category>
	<category>modena</category>
	<category>galleriaAudio</category>
	<category>marco pierini</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/245</guid>
		<description><![CDATA[Galleria AUDIO:Josef Albers  e&#8217; una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell&#8217;artista, aperta dall&#8217;8 ottobre 2011 all&#8217;8 gennaio 2012.
Galleria AUDIO  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a casa e in mostra, come (...)]]></description>
			<content:encoded><![CDATA[<p><strong>Galleria AUDIO:Josef Albers</strong>  e&#8217; una produzione commissionata dalla <a target="_blank" href="http://www.comune.modena.it/galleria">Galleria Civica di Modena</a> in occasione della retrospettiva dell&#8217;artista, aperta dall&#8217;8 ottobre 2011 all&#8217;8 gennaio 2012.</p>
<p><strong>Galleria AUDIO</strong>  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a casa e in mostra, come e quando  vorrete.</p>
<p><strong>Bauhaus. tutta la storia </strong>e&#8217; un documentario che - insieme a Marco Pierini, direttore della Galleria Civica e curatore della mostra - ripercorre i momenti salienti della scuola fondata da Walter Gropius che ha contribuito a ridefinire il concetto stesso di design e architettura, quella scuola che ha avuto fra i suoi allievi e maestri artisti e intellettuali come: Paul Klee, Vasilij Kandinskij, Laszlo Moholy Nagy e lo stesso Josef Albers.<br />
<a target="_blank" href="http://radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1851/index.html?area=1">GalleriaAUDIO</a> e&#8217; una produzione di <a target="_blank" href="http://radiopapesse.org/">Radio Papesse</a> per la Galleria Civica di Modena
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/245/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/GalleriaAUDIO-Bauhaus_Tutta_la_storia.mp3" length="24495746" type="audio/mpeg"/>
<itunes:duration>10:12</itunes:duration>
		<itunes:subtitle>Galleria AUDIO:Josef Albersnbsp; e' una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell'artista, aperta dall'8 ottobre 2011 all'8 gennaio 2012.

Galleria AUDIOnbsp; ...</itunes:subtitle>
		<itunes:summary>Galleria AUDIO:Josef Albersnbsp; e' una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell'artista, aperta dall'8 ottobre 2011 all'8 gennaio 2012.

Galleria AUDIOnbsp; offre strumenti di lettura per conoscere Josef Albers enbsp; approfondirne il lavoro di artista e insegnante; una serie dinbsp; contributi audio che potrete ascoltare a casa e in mostra, come e quandonbsp; vorrete.

Bauhaus. tutta la storia e' un documentario che - insieme a Marco Pierini, direttore della Galleria Civica e curatore della mostra - ripercorre i momenti salienti della scuola fondata da Walter Gropius che ha contribuito a ridefinire il concetto stesso di design e architettura, quella scuola che ha avuto fra i suoi allievi e maestri artisti e intellettuali come: Paul Klee, Vasilij Kandinskij, Laszlo Moholy Nagy e lo stesso Josef Albers.
GalleriaAUDIO e' una produzione di Radio Papesse per la Galleria Civica di Modena</itunes:summary>
		<itunes:keywords>Arts,,Education,,audioguide,,modena,,galleriaAudio,,marco,pierini</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>GalleriaAUDIO - Josef Albers. tutta la storia</title>
		<link>http://radiopapesse.org/podcasting/archives/244</link>
		<comments>http://radiopapesse.org/podcasting/archives/244#comments</comments>
		<pubDate>Wed, 26 Oct 2011 09:38:00 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>audioguide</category>
	<category>modena</category>
	<category>galleriaAudio</category>
	<category>marco pierini</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/244</guid>
		<description><![CDATA[Galleria AUDIO: Josef Albers  e&#8217; una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell&#8217;artista, aperta dall&#8217;8 ottobre 2011 all&#8217;8 gennaio 2012.
Galleria AUDIO  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a (...)]]></description>
			<content:encoded><![CDATA[<p><strong>Galleria AUDIO: Josef Albers</strong>  e&#8217; una produzione commissionata dalla <a target="_blank" href="http://www.comune.modena.it/galleria">Galleria Civica di Modena</a> in occasione della retrospettiva dell&#8217;artista, aperta dall&#8217;8 ottobre 2011 all&#8217;8 gennaio 2012.</p>
<p><strong>Galleria AUDIO</strong>  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a casa e in mostra, come e quando  vorrete.</p>
<p><strong>Josef Albers. tutta la storia </strong>e&#8217; un documentario che - insieme a Marco Pierini, direttore della Galleria Civica e curatore della mostra - ripercorre  la vita di Josef Albers dalla sua nascita in Germania nel 1888, sino al suo ultimo lavoro terminato nel 1976 negli Stati Uniti.</p>
<p><a target="_blank" href="http://radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1851/index.html?area=1">GalleriaAUDIO</a> e&#8217; una produzione di <a target="_blank" href="http://radiopapesse.org/">Radio Papesse</a> per la Galleria Civica di Modena
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/244/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/GalleriaAUDIO-Josef_Albers_Tutta_la_storia.mp3" length="40975876" type="audio/mpeg"/>
<itunes:duration>17:04</itunes:duration>
		<itunes:subtitle>Galleria AUDIO: Josef Albers  e' una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell'artista, aperta dall'8 ottobre 2011 all'8 gennaio ...</itunes:subtitle>
		<itunes:summary>Galleria AUDIO: Josef Albers  e' una produzione commissionata dalla Galleria Civica di Modena in occasione della retrospettiva dell'artista, aperta dall'8 ottobre 2011 all'8 gennaio 2012.

Galleria AUDIO  offre strumenti di lettura per conoscere Josef Albers e  approfondirne il lavoro di artista e insegnante; una serie di  contributi audio che potrete ascoltare a casa e in mostra, come e quando  vorrete.

Josef Albers. tutta la storia e' un documentario che - insieme a Marco Pierini, direttore della Galleria Civica e curatore della mostra - ripercorre  la vita di Josef Albers dalla sua nascita in Germania nel 1888, sino al suo ultimo lavoro terminato nel 1976 negli Stati Uniti.

GalleriaAUDIO e' una produzione di Radio Papesse per la Galleria Civica di Modena</itunes:summary>
		<itunes:keywords>Arts,,audioguide,,modena,,galleriaAudio,,marco,pierini</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Keti Chukhrov_Lost Culture in Russia</title>
		<link>http://radiopapesse.org/podcasting/archives/241</link>
		<comments>http://radiopapesse.org/podcasting/archives/241#comments</comments>
		<pubDate>Mon, 25 Jul 2011 06:55:06 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/241</guid>
		<description><![CDATA[Keti Chukhrov is a writer, philosopher, a sharp art theorist and critic. She lives and works in Moscow where she is Associate Professor at the Russian State University for Humanities.
We met her in Faenza, on the occasion of the Contemporary Art Festival and we asked here to draw a portrait of her contemporary motherland, Russia. (...)]]></description>
			<content:encoded><![CDATA[<p>Keti Chukhrov is a writer, philosopher, a sharp art theorist and critic. She lives and works in Moscow where she is Associate Professor at the Russian State University for Humanities.<br />
We met her in Faenza, on the occasion of the Contemporary Art Festival and we asked here to draw a portrait of her contemporary motherland, Russia. This interview takes the cue from her recent paper on Afterall magazine, entitled Art after Primitive Accumulation: Or, on the Putin-Medvedev Cultural Politics with which she examines the political &#8216;technologies&#8217; used by the Russian government in the process of appropriating contemporary art&#8217;s territory. Addressing the overlap and the misunderstanding between democracy and oligarchy, the translation of the modernization in terms of elites production and the non-oppositionality of the cultural elites as key elements in the new russian scenario, we asked her a few questions about art and culture at large in Russia where the withdrawal of culture from society is the dangerous bias even activist groups as Voina are guilty of.<br />
>>this interview is in English<<
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/241/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/KC%20Podcast.mp3" length="20880848" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Keti Chukhrov is a writer, philosopher, a sharp art theorist and critic. She lives and works in Moscow where she is Associate Professor at the ...</itunes:subtitle>
		<itunes:summary>Keti Chukhrov is a writer, philosopher, a sharp art theorist and critic. She lives and works in Moscow where she is Associate Professor at the Russian State University for Humanities. 
We met her in Faenza, on the occasion of the Contemporary Art Festival and we asked here to draw a portrait of her contemporary motherland, Russia. This interview takes the cue from her recent paper on Afterall magazine, entitled Art after Primitive Accumulation: Or, on the Putin-Medvedev Cultural Politics with which she examines the political 'technologies' used by the Russian government in the process of appropriating contemporary art's territory. Addressing the overlap and the misunderstanding between democracy and oligarchy, the translation of the modernization in terms of elites production and the non-oppositionality of the cultural elites as key elements in the new russian scenario, we asked her a few questions about art and culture at large in Russia where the withdrawal of culture from society is the dangerous bias even activist groups as Voina are guilty of. 
this interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>54th Venice Biennial: Yael Bartana, join the movement</title>
		<link>http://radiopapesse.org/podcasting/archives/242</link>
		<comments>http://radiopapesse.org/podcasting/archives/242#comments</comments>
		<pubDate>Mon, 18 Jul 2011 07:39:56 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/242</guid>
		<description><![CDATA[It is the first time in the history of the Polish Pavillion that an artist of a nationality other than Polish is representing the country. This artist is Yael Bartana.
Playing at the ambiguous threshold between fiction and reality, adopting the imaginary and rhetoric of the populistic propaganda, Yael Bartana raises questions about the ideas of (...)]]></description>
			<content:encoded><![CDATA[<p>It is the first time in the history of the Polish Pavillion that an artist of a nationality other than Polish is representing the country. This artist is Yael Bartana.<br />
Playing at the ambiguous threshold between fiction and reality, adopting the imaginary and rhetoric of the populistic propaganda, Yael Bartana raises questions about the ideas of homeland and return, about the sense of belonging to a nation or even better to a community.<br />
By exploring the dinamics of geo-political conflicts in the Middle East, Yael Bartana&#8217;s works often dealt with the Israeli politics and culture but it is not stuck within the Israel borders. Throughout the Polish Trilogy - started in 2006 and ended up in Assassination (2011), the last video premiered at the Venice Biennial - she widens the spectrum of her investigation landing in Europe, proposing the return of 3.300.000 Jews in Poland.<br />
Further than fiction and identity constraits Yael Bartana recently founded a movement, called JRMIP - The Jewish Renaissance Movement in Poland: she invites people to join its political program that aims to rewrite history not only from the jewish perspective but with a multicultural approach.<br />
Lorenzo Fusi met Yael Bartana and Galit Eliat, one of the curator of the Polish Pavillion.<br />
This interview is in English.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/242/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Yael%20Bartana%20Podcast.mp3" length="19262510" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>It is the first time in the history of the Polish Pavillion that an artist of a nationality other than Polish is representing the country. ...</itunes:subtitle>
		<itunes:summary>It is the first time in the history of the Polish Pavillion that an artist of a nationality other than Polish is representing the country. This artist is Yael Bartana. 
Playing at the ambiguous threshold between fiction and reality, adopting the imaginary and rhetoric of the populistic propaganda, Yael Bartana raises questions about the ideas of homeland and return, about the sense of belonging to a nation or even better to a community.
By exploring the dinamics of geo-political conflicts in the Middle East, Yael Bartana's works often dealt with the Israeli politics and culture but it is not stuck within the Israel borders. Throughout the Polish Trilogy - started in 2006 and ended up in Assassination (2011), the last video premiered at the Venice Biennial - she widens the spectrum of her investigation landing in Europe, proposing the return of 3.300.000 Jews in Poland. 
Further than fiction and identity constraits Yael Bartana recently founded a movement, called JRMIP - The Jewish Renaissance Movement in Poland: she invites people to join its political program that aims to rewrite history not only from the jewish perspective but with a multicultural approach.
Lorenzo Fusi met Yael Bartana and Galit Eliat, one of the curator of the Polish Pavillion. 
This interview is in English.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>54th Venice Biennial: Olafur Olafsson_Your country doesn&#8217;t exist_a conversation with Lorenzo Fusi</title>
		<link>http://radiopapesse.org/podcasting/archives/243</link>
		<comments>http://radiopapesse.org/podcasting/archives/243#comments</comments>
		<pubDate>Tue, 12 Jul 2011 06:55:36 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/243</guid>
		<description><![CDATA[Libia Castro and Olafur Olafsson share with many other artists the experience of transnationality and therefore mobility. They represent Iceland at the 54th Venice Biennial and they address the notions of nationalism and national identity - within an institution that historically has been structured by nations - questioning - by the mean of a negative (...)]]></description>
			<content:encoded><![CDATA[<p>Libia Castro and Olafur Olafsson share with many other artists the experience of transnationality and therefore mobility. They represent Iceland at the 54th Venice Biennial and they address the notions of nationalism and national identity - within an institution that historically has been structured by nations - questioning - by the mean of a negative statement - an uneasy question: does your country exist? your country doen&#8217;t exist. Il tuo paese non esiste.<br />
Their practice often investigates political subject. As the title of the show in Venice - Under deconstruction - alludes to, one of their most common srategies is the subversion of the criteria of constructiviness of power structures and relations. </p>
<p>You are going to listen to the interview Olafur Olafsson had in Venice with Lorenzo Fusi, curator of the Liverpool Biennial.<br />
>>this interview is in English<<
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/243/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Olafur%20Olafsson%20Podcast.mp3" length="29337416" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Libia Castro and Olafur Olafsson share with many other artists the experience of transnationality and therefore mobility. They represent Iceland at the 54th Venice Biennial ...</itunes:subtitle>
		<itunes:summary>Libia Castro and Olafur Olafsson share with many other artists the experience of transnationality and therefore mobility. They represent Iceland at the 54th Venice Biennial and they address the notions of nationalism and national identity - within an institution that historically has been structured by nations - questioning - by the mean of a negative statement - an uneasy question: does your country exist? your country doen't exist. Il tuo paese non esiste.
Their practice often investigates political subject. As the title of the show in Venice - Under deconstruction - alludes to, one of their most common srategies is the subversion of the criteria of constructiviness of power structures and relations. 

You are going to listen to the interview Olafur Olafsson had in Venice with Lorenzo Fusi, curator of the Liverpool Biennial. 
this interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>54th Venice Biennial: Dani Gal, Nacht und Nebel</title>
		<link>http://radiopapesse.org/podcasting/archives/240</link>
		<comments>http://radiopapesse.org/podcasting/archives/240#comments</comments>
		<pubDate>Mon, 04 Jul 2011 08:20:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/240</guid>
		<description><![CDATA[&#8216;the mission was kept very secret; we could not even tell our families about that at the time. This is the way we were taught, that a secret can only be kept between two people if one of them was dead&#8217; - Michael Goldman
In 1961 Israel had no television service but the entire nation listened (...)]]></description>
			<content:encoded><![CDATA[<p>&#8216;the mission was kept very secret; we could not even tell our families about that at the time. This is the way we were taught, that a secret can only be kept between two people if one of them was dead&#8217; - Michael Goldman</p>
<p>In 1961 Israel had no television service but the entire nation listened to radio broadcast of the Eichman trial, the survivors&#8217; accounts and the horror that the nazi had endured during the war. The night between May the 31st and June 1st 1962 Adolf Eichmann&#8217;s ashes were dispersed somewhere in the ocean off Jaffa.<br />
Night and Fog by Dani Gal is a cinematic reenactment of that night when Michael Goldman garded, accompanied and dispersed Adolf Eichman&#8217;s ashes into the sea. The film is not a documentary but a psicological portrait of those who were in charge to keep that mission secret.<br />
Dani Gal talks about a few aspects of the production with Angelika Stepken, director of Villa Romana, the artists residence in Florence where Dani spent a few months in 2008.</p>
<p>>>the interview is in English<<
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/240/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Dani%20Gal%20and%20Angelika%20Stepken%20Podcast.mp3" length="17462778" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>'the mission was kept very secret; we could not even tell our families about that at the time. This is the way we were taught, ...</itunes:subtitle>
		<itunes:summary>'the mission was kept very secret; we could not even tell our families about that at the time. This is the way we were taught, that a secret can only be kept between two people if one of them was dead' - Michael Goldman

In 1961 Israel had no television service but the entire nation listened to radio broadcast of the Eichman trial, the survivors' accounts and the horror that the nazi had endured during the war. The night between May the 31st and June 1st 1962 Adolf Eichmann's ashes were dispersed somewhere in the ocean off Jaffa.
Night and Fog by Dani Gal is a cinematic reenactment of that night when Michael Goldman garded, accompanied and dispersed Adolf Eichman's ashes into the sea. The film is not a documentary but a psicological portrait of those who were in charge to keep that mission secret.
Dani Gal talks about a few aspects of the production with Angelika Stepken, director of Villa Romana, the artists residence in Florence where Dani spent a few months in 2008.

the interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Lo Spazio del Sacro - intervista a Vittorio Corsini - God save the People</title>
		<link>http://radiopapesse.org/podcasting/archives/237</link>
		<comments>http://radiopapesse.org/podcasting/archives/237#comments</comments>
		<pubDate>Sun, 02 Jan 2011 16:57:15 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/237</guid>
		<description><![CDATA[
курсовые сга руководство по эксплуатации w202 спортейдж руководство по эксплуатации
курсовая работа управление земельными ресурсами руководство по эксплуатации ваз 21061 руководство по монтажу кондиционеров
развитие права в россии курсовая
формы конкуренции курсовая samsung руководство по ремонту
государственная экологическая экспертиза курсовая
курсовые работы по лингвистике
лизинг курсовая работа руководство по вождению автомобиля форд фокус руководство по эксплуатации
хранение товаров курсовая руководство по ремонту (...)]]></description>
			<content:encoded><![CDATA[</p>
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</marquee>
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/237/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Vittorio%20Corsini%20Il%20sacro%20come%20percorso%20PODCAST.mp3" length="7740629" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle></itunes:subtitle>
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потребительск</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Lo Spazio del Sacro - intervista a Roberto Paci Dalo&#8217; - Sun Tzu</title>
		<link>http://radiopapesse.org/podcasting/archives/239</link>
		<comments>http://radiopapesse.org/podcasting/archives/239#comments</comments>
		<pubDate>Thu, 23 Dec 2010 12:12:25 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/239</guid>
		<description><![CDATA[SUN TZU è il titolo del lavoro che Roberto Paci Dalo&#8217; ha realizzato per la mostra Lo Spazio del Sacro: un arco di 7.50mt sospeso nella Palazzina dei Giardini, una delle sedi espositive della Galleria Civica di Modena.
L&#8217;arco  è un&#8217;arma e in questo caso la freccia è il suono. Il corpo del&#8217;arco  funge (...)]]></description>
			<content:encoded><![CDATA[<p>SUN TZU è il titolo del lavoro che Roberto Paci Dalo&#8217; ha realizzato per la mostra <u>Lo Spazio del Sacro</u>: un arco di 7.50mt sospeso nella Palazzina dei Giardini, una delle sedi espositive della Galleria Civica di Modena.<br />
L&#8217;arco  è un&#8217;arma e in questo caso la freccia è il suono. Il corpo del&#8217;arco  funge da cassa armonica e diffonde nello spazio un suono costante,  prodotto dal continuo vibrare della corda.<br />
In quest&#8217;opera <em>lo spazio del sacro</em>  assume una dimensione sonora, proponendo l’idea presente in quasi tutte  le mitologie del mondo secondo la quale prima della creazione, tutto è  rumore, suono.<br />
Nell&#8217;opera di Paci Dalo&#8217; l&#8217;arco e la sua freccia  sonora, rappresentano proprio il suono creatore e l&#8217;idea per cui  l&#8217;equilibrio del mondo si mantiene soltanto atttraverso uno scontro  costante, una guerra senza fine che porta distruzione e ricostruzione.</p>
<p><strong>L&#8217;intervista fa parte dell&#8217;audioguida alla mostra <u><a target="_blank" href="http://www.lospaziodelsacro.it/">Lo Spazio del Sacro</a></u>, alla Galleria Civica di Modena fino al  6 marzo 2011.</strong> Cliccando <u><a target="_blank" href="http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1722/index.html?area=1"><strong>qui</strong></a></u> potrete ascoltare e scaricare l&#8217;audioguida in versione integrale.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/239/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Lo_Spazio_del_Sacro-Roberto_Paci_Dalo-Sun_Tzu.mp3" length="11832867" type="audio/mpeg"/>
<itunes:duration>12:20</itunes:duration>
		<itunes:subtitle>SUN TZU egrave; il titolo del lavoro che Roberto Paci Dalo' ha realizzato per la mostra Lo Spazio del Sacro: un arco di 7.50mt sospeso ...</itunes:subtitle>
		<itunes:summary>SUN TZU egrave; il titolo del lavoro che Roberto Paci Dalo' ha realizzato per la mostra Lo Spazio del Sacro: un arco di 7.50mt sospeso nella Palazzina dei Giardini, una delle sedi espositive della Galleria Civica di Modena.
L'arco  egrave; un'arma e in questo caso la freccia egrave; il suono. Il corpo del'arco  funge da cassa armonica e diffonde nello spazio un suono costante,  prodotto dal continuo vibrare della corda.
In quest'opera lo spazio del sacro  assume una dimensione sonora, proponendo lrsquo;idea presente in quasi tutte  le mitologie del mondo secondo la quale prima della creazione, tutto egrave;  rumore, suono.
Nell'opera di Paci Dalo' l'arco e la sua freccia  sonora, rappresentano proprio il suono creatore e l'idea per cui  l'equilibrio del mondo si mantiene soltanto atttraverso uno scontro  costante, una guerra senza fine che porta distruzione e ricostruzione.

L'intervista fa parte dell'audioguida alla mostra Lo Spazio del Sacro, alla Galleria Civica di Modena fino al  6 marzo 2011. Cliccando qui potrete ascoltare e scaricare l'audioguida in versione integrale.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Audioguida Lo Spazio del Sacro - introduzione alla mostra della Galleria Civica di Modena</title>
		<link>http://radiopapesse.org/podcasting/archives/236</link>
		<comments>http://radiopapesse.org/podcasting/archives/236#comments</comments>
		<pubDate>Thu, 16 Dec 2010 09:53:04 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/236</guid>
		<description><![CDATA[Radio Papesse è media partner della Galleria Civica di Modena in occasione della mostra Lo Spazio del Sacro. Con questo breve ciclo di contributi audio, gli abbonati al podcast di Radio Papesse potranno ascoltare gli approfondimenti con il curatore della mostra, Paolo Nori e due degli artisti coinvolti. 
Iniziamo con Sacro e spazio del sacro, (...)]]></description>
			<content:encoded><![CDATA[<p>Radio Papesse è media partner della Galleria Civica di Modena in occasione della mostra <i>Lo Spazio del Sacro</i>. Con questo breve ciclo di contributi audio, gli abbonati al podcast di Radio Papesse potranno ascoltare gli approfondimenti con il curatore della mostra, Paolo Nori e due degli artisti coinvolti. </p>
<p>Iniziamo con <b>Sacro e spazio del sacro, come cambiano nel corso del XX secolo</b>, un&#8217;introduzione all&#8217;idea fondante dalla mostra, a partire da quanto diceva Mircea Eliade sul fatto che il sacro, nell’arte contemporanea, “è divenuto irriconoscibile; si è camuffato in forme, propositi e significati che sono apparentemente ‘profani’. Il sacro non è scontato, com’era per esempio nell’arte del Medioevo. Non si riconosce immediatamente e facilmente, perché non è più espresso attraverso il convenzionale linguaggio religioso”. </p>
<p>Ogni giovedì in podcast.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/236/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Sacro%20e%20spazio%20del%20sacro%20cambiamenti%20PODCAST.mp3" length="6281168" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Radio Papesse egrave; media partner della Galleria Civica di Modena in occasione della mostra Lo Spazio del Sacro. Con questo breve ciclo di contributi audio, ...</itunes:subtitle>
		<itunes:summary>Radio Papesse egrave; media partner della Galleria Civica di Modena in occasione della mostra Lo Spazio del Sacro. Con questo breve ciclo di contributi audio, gli abbonati al podcast di Radio Papesse potranno ascoltare gli approfondimenti con il curatore della mostra, Paolo Nori e due degli artisti coinvolti. 

Iniziamo con Sacro e spazio del sacro, come cambiano nel corso del XX secolo, un'introduzione all'idea fondante dalla mostra, a partire da quanto diceva Mircea Eliade sul fatto che il sacro, nellrsquo;arte contemporanea, ldquo;egrave; divenuto irriconoscibile; si egrave; camuffato in forme, propositi e significati che sono apparentemente lsquo;profanirsquo;. Il sacro non egrave; scontato, comrsquo;era per esempio nellrsquo;arte del Medioevo. Non si riconosce immediatamente e facilmente, percheacute; non egrave; piugrave; espresso attraverso il convenzionale linguaggio religiosordquo;. 

Ogni giovedigrave; in podcast.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Laura Belém</title>
		<link>http://radiopapesse.org/podcasting/archives/234</link>
		<comments>http://radiopapesse.org/podcasting/archives/234#comments</comments>
		<pubDate>Tue, 14 Dec 2010 13:02:19 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/234</guid>
		<description><![CDATA[>>the interview is in english]]></description>
			<content:encoded><![CDATA[<p>>>the interview is in english<<<br />
From our <u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7' target='_blank'> Liverpool Biennial Dossier</a></u>.</p>
<p>1000 bells of translucent glass have been blow for the Liverpool Biennial and they do tell a story.</p>
<p>The legend of a temple built on a small island, a temple with a thousand bells sounding inthe wind; but one day this island sank into the ocean drawning the thousand bells into the water, where they did continue resounding.<br />
The legend tells the story of a sailor who went on a quest for the temple, guided by the sound of its bells over/under the seas.</p>
<p>For Touched the brasilian artsit Laura Belém tells this story with her work <i>Temple of a Thousand Bells</i> insatlled in the Oratory outside the Liverpool Cathedral..</p>
<p>Here it is our interview to Laura Belém.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/234/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Laura%20Belem%20Podcast.mp3" length="21826731" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>the interview is in english </itunes:subtitle>
		<itunes:summary>the interview is in english</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Will Kwan</title>
		<link>http://radiopapesse.org/podcasting/archives/230</link>
		<comments>http://radiopapesse.org/podcasting/archives/230#comments</comments>
		<pubDate>Fri, 26 Nov 2010 18:50:53 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/230</guid>
		<description><![CDATA[From our  Liverpool Biennial Dossier.>>the interview is in English]]></description>
			<content:encoded><![CDATA[<p>From our <u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7' target='_blank'> Liverpool Biennial Dossier</a></u>.<br />>>the interview is in English<<</p>
<p><i>Flame Test</i>, the work Will Kwan presents in Liverpool, was conceived during his residency at the Jan van Eyck Academie, in 2005, just after the controversies around the pubblication of a dozen of cartoons of Mohammed on the Danish newspaper Jyllands-Posten. It is:</p>
<p><i>about the circulation of images in a global context through photo journalism and how images are cropped to create a kind of standing language for protests, politics and the kind of confrontation between nations. The installation is about our association with this kind of images, our political relationship to them, in the sense that their power as rapresentations depends on how we interact with them.<br />&#8230;it&#8217;s not about bigger ideology but it&#8217;s about a kind of instinctive reaction to symbols that carry power standing for some kind of autority. </p>
<p>&#8230;the autority is only enacted and embodied in an image or an icon with the understanding that in order for it to have power it needs to be defaced.<br />I&#8217;m not interested in manipulating images or changing them but just in presenting their scope, reframing them in a way to create something where you can see a continuity and a dialogue between them&#8230;I&#8217;m interested in the images production, in the fact that these images exist and they are used as a language, so if it is about the media it is about that (the production of this kind of images) becoming part of the media landscape and syntacs and I think my engagement with images at this level&#8230;&#8221; </i></p>
<p>Will Kwan on <u><a href=' http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1703/index.html?area=5' target='_blank'>radiopapesse.org</a></u>, enjoy the listening!</p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/230/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Will%20Kwan%20Podcast.mp3" length="11074272" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>From our  Liverpool Biennial Dossier.the interview is in English </itunes:subtitle>
		<itunes:summary>From our  Liverpool Biennial Dossier.the interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Cristina Lucas</title>
		<link>http://radiopapesse.org/podcasting/archives/229</link>
		<comments>http://radiopapesse.org/podcasting/archives/229#comments</comments>
		<pubDate>Mon, 22 Nov 2010 07:45:52 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/229</guid>
		<description><![CDATA[>>the interview is in English]]></description>
			<content:encoded><![CDATA[<p>>>the interview is in English<<</p>
<p><i>I was thinking about revolutions.There are two main revolutions to be recalled to mind in order to understand the contemporary occidental world. One is the French Revolution for the human rights and the second one is the Industrial Revolution which is a British one. Liverpool and Manchester were very important spots for manifatturing factories and at the same time it was here that Karl Marx wrote &#8216;The Capital&#8217;, which opened the way for the unionist fights.<br />
When I visited the city I realized that there is an entire neighborhood that is now empty because it belonged to the manifatturing economy and is full of abbandoned buildings that looks as ghosts and they are still there as monuments to remaind us the economy that is now over.</i></p>
<p><i>Touch and go</i>, the video directed by Cristina Lucas, is a tailored production for Liverpool; to fully understand its premises, it is necessary to retrace the political and social history of one of those city that were drammatically weakened by the economical revolution of the last 30 years. The video shows a group of retired workers and unionists throwing stones to the windows of the LTD building. What seems to be a vandalic act that reminds the riots they used to be at the forefront of, is a political statement, inscribed in the broken windows and reading TOUCH an GO.<br />
What does &#8216;touch and go&#8217; mean? what&#8217;s the political value of rage and revolution today? how can art ethically face the present economical and social issues? that is what we ask Lucas.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/229/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Cristina%20Lucas%20Podcast.mp3" length="15586600" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>the interview is in English </itunes:subtitle>
		<itunes:summary>the interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Freee Collective</title>
		<link>http://radiopapesse.org/podcasting/archives/231</link>
		<comments>http://radiopapesse.org/podcasting/archives/231#comments</comments>
		<pubDate>Wed, 17 Nov 2010 08:46:06 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/231</guid>
		<description><![CDATA[From our  Liverpool Biennial Dossier.
>>the interview is in English]]></description>
			<content:encoded><![CDATA[<p>From our <u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7' target='_blank'> Liverpool Biennial Dossier</a></u>.<br />
>>the interview is in English<<</p>
<p>Among the artists invited for the <i>Re:thinking Trade</i> section curated by Lorenzo Fusi, the Freee Collective stands out for its critical approach to the commodification of the public sphere and the attempts to colonize the same communication means usually monopolized by advertising and commercial companies. And if advertising is very often anonymous and univocal, they are concerned with the kind of communication that claims for a critical confrontation and debate.<br />
In order to do that they use a wide variety of viral media and conceptual intervention, coining provocative slogans - a kind of language that was born political - with which they occupy public spaces.</p>
<p>In Liverpool they showcases eight slogans - among which &#8220;don&#8217;t let the media have the monopoly on the freedom of speech&#8221;,  &#8220;advertising wants to convert our desire for a better life into a desire to buy something&#8221;, &#8220;advertising for all or for nobody at all, reclaim public opinion&#8221; - that fill a whole row of windows along the ex Rapid Store building in Renshaw Street.</p>
<p>We met them and we talked about public sphere and public domain, about the beauty of commitment and slogans, about the differences between their use of this language and the kind of truisms and statements used by Barbara Kruger and Jenny Holzer, about the &#8216;manifesto&#8217; format, its formal complexity and how it can be balanced by the flexibility of those contents that very often are successfully turned into slogans.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/231/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Freee%20Collective%20Podcast.mp3" length="22117212" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>From our  Liverpool Biennial Dossier.
the interview is in English </itunes:subtitle>
		<itunes:summary>From our  Liverpool Biennial Dossier.
the interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Mingwei Lee</title>
		<link>http://radiopapesse.org/podcasting/archives/233</link>
		<comments>http://radiopapesse.org/podcasting/archives/233#comments</comments>
		<pubDate>Fri, 12 Nov 2010 13:22:19 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/233</guid>
		<description><![CDATA[Mingwei Lee, The Mending Project.
From our  Liverpool Biennial Dossier
>>the interview is in English]]></description>
			<content:encoded><![CDATA[<p>Mingwei Lee, <em>The Mending Project</em>.<br />
From our <u><a target="_blank" href="http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7"> Liverpool Biennial Dossier</a></u><br />
>>the interview is in English<<</p>
<p>The calm pace of Lee Mingwei&#8217;s voice and movements is only interrupted by his clear laughter.<br />
Dozens of thread rods are hanging form the walls, the threads crossing each other forming a coloured net in wich the artist invites the visitors to take him pieces of garment to be mended, garments that he then borrows until the end of the show.<br />
The mending project is a conversational work, intimate and of &#8216;emotional repair&#8217;.<br />
Together with the curator Lorenzo Fusi we met the artist and have been talking about his project for Liverpool, its origins and the relevance of small things.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/233/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Lee%20Mingwei%20Podcast.mp3" length="17521710" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Mingwei Lee, The Mending Project.
From our  Liverpool Biennial Dossier
the interview is in English </itunes:subtitle>
		<itunes:summary>Mingwei Lee, The Mending Project.
From our  Liverpool Biennial Dossier
the interview is in English</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Alfredo Jaar</title>
		<link>http://radiopapesse.org/podcasting/archives/228</link>
		<comments>http://radiopapesse.org/podcasting/archives/228#comments</comments>
		<pubDate>Sat, 06 Nov 2010 08:03:34 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/228</guid>
		<description><![CDATA[From our  Liverpool Biennial Dossier.
>>the interview is in English]]></description>
			<content:encoded><![CDATA[<p>From our <u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7' target='_blank'> Liverpool Biennial Dossier</a></u>.<br />
>>the interview is in English<<</p>
<p><i>the most revolutionary deed is and remains to state things as they are</i>. Rosa Luxemburg.<br />
<i>truth begins with an axiom of truth. It begins with a decision, a decision to say that the event has taken place.</i> Alain Badiou</p>
<p>The first time Alfredo Jaar went to Rwanda was in 1994, just a few months later the beginning of one of the most vicious genocide ever, the mass murdering of more than 800,000 people - most of them were Hutus.<br />
Since then to 2000, Jaar&#8217;s Ruanda Project counted 25 works, among which the most known still is The eyes of Gutete Emerita (1996). After 10 years he is eventually back on Rwandan tragedy, presenting the video <i>We wish to inform you that we didn&#8217;t know</i>, an eloquent and more than ever sharp comment on the shameful indifference of the western world in the face of the atrocities perpetrated in just 100 days. </p>
<p>We met him in Liverpool, here it is our conversation.<br />
<u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1685/index.html?area=5 ' target='_blank'>Alfredo Jaar on Radio Papesse.</a></u></p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/228/feed/</wfw:commentRSS>
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<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>From our  Liverpool Biennial Dossier.
the interview is in English </itunes:subtitle>
		<itunes:summary>From our  Liverpool Biennial Dossier.
the interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - TOUCHED - Tim Eitel</title>
		<link>http://radiopapesse.org/podcasting/archives/235</link>
		<comments>http://radiopapesse.org/podcasting/archives/235#comments</comments>
		<pubDate>Wed, 03 Nov 2010 12:51:22 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/235</guid>
		<description><![CDATA[>>the interview is in english]]></description>
			<content:encoded><![CDATA[<p>>>the interview is in english<<<br />
From our <u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7' target='_blank'> Liverpool Biennial Dossier</a></u>.</p>
<p>Tim Eitel explores everyday life with the tools of painting.<br />
What&#8217;s usually hidden with shame and prudery, is shown in his works and even if we can&#8217;t clearly identify any context, those scenes remain vulnerable and familiar.<br />
Tim Eitel&#8217;s is a photographic point of view, and this is also because it does come form photographies; in his paintings the artist invites the viewer directly into the scene but - in his words - there&#8217;s not one artwork, but as many as are the people looking at the painting and making it their own.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/235/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Eitel%20Podcast.mp3" length="15998249" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>the interview is in english </itunes:subtitle>
		<itunes:summary>the interview is in english</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Liverpool Biennial - Curator&#8217;s Cut - Lorenzo Fusi</title>
		<link>http://radiopapesse.org/podcasting/archives/232</link>
		<comments>http://radiopapesse.org/podcasting/archives/232#comments</comments>
		<pubDate>Fri, 29 Oct 2010 07:43:11 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/232</guid>
		<description><![CDATA[Dallo Speciale sulla Biennale di Liverpool.
L&#8217;intervista è in italiano.
Per il primo podcast della serie dedicata alla Biennale di Liverpool, l&#8217;appuntamento è con Lorenzo Fusi, curatore della sezione internazionale TOUCHED.
quando mi hanno chiamato per fare la mostra di arte pubblica ho pensato a quali fossero le aspettative e le scelte obbligate e lo sentivo come una (...)]]></description>
			<content:encoded><![CDATA[<p>Dallo <u><a href='http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1681/index.html?area=7' target='_blank'>Speciale</a></u> sulla Biennale di Liverpool.<br />
L&#8217;intervista è in italiano.<br />
Per il primo podcast della serie dedicata alla Biennale di Liverpool, l&#8217;appuntamento è con Lorenzo Fusi, curatore della sezione internazionale TOUCHED.</p>
<p><i>quando mi hanno chiamato per fare la mostra di arte pubblica ho pensato a quali fossero le aspettative e le scelte obbligate e lo sentivo come una limitazione di ordine intellettuale, creativo, artistico il dover rispondere letteralmente al concetto di arte pubblica, di operare nella sfera pubblica e allora ho pensato a quanto di più tradizionale - una mostra di puttura di sapore ottocentesco - e di sconfessare il fatto che per essere pubblici gli artisti hanno bisogno di operare attraverso dinamiche e strategie che hanno a che fare con l&#8217;arte relazionale, la dimensione monumentale, l&#8217;essere all&#8217;aperto.<br />
Accanto a questo, credo che buona parte della pittura figurativa degli ultimi anni stia facendo un&#8217;analisi molto interessante delle relazioni tra l&#8217;individuo e l&#8217;ambiente che lo circonda e nello specifico con l&#8217;ambiente costruito&#8230;</i> Lorenfo Fusi</p>
<p>Come siamo toccati dall&#8217;ambiente circostante, quali sono gli effetti collaterali dal punto di vista emotivo, delle convenzioni sociali, della politica della persona che l&#8217;ambiente impone o suggerisce? E&#8217; questa la domanda cardine della riflessione di <i>The Human Stain</i>, una delle sezioni della mostra internazionale della Biennale di Liverpool, la più classica in quanto a scelta formale, non meno forte tuttavia delle declinazioni più spettacolari, più performative, più concettuali visti in questa biennale.<br />
Ce ne parla Lorenzo Fusi. </p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/232/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/The%20Human%20Stain%20Podcast.mp3" length="16466822" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Dallo Speciale sulla Biennale di Liverpool.
L'intervista egrave; in italiano. 
Per il primo podcast della serie dedicata alla Biennale di Liverpool, l'appuntamento egrave; con Lorenzo Fusi, ...</itunes:subtitle>
		<itunes:summary>Dallo Speciale sulla Biennale di Liverpool.
L'intervista egrave; in italiano. 
Per il primo podcast della serie dedicata alla Biennale di Liverpool, l'appuntamento egrave; con Lorenzo Fusi, curatore della sezione internazionale TOUCHED.

quando mi hanno chiamato per fare la mostra di arte pubblica ho pensato a quali fossero le aspettative e le scelte obbligate e lo sentivo come una limitazione di ordine intellettuale, creativo, artistico il dover rispondere letteralmente al concetto di arte pubblica, di operare nella sfera pubblica e allora ho pensato a quanto di piugrave; tradizionale - una mostra di puttura di sapore ottocentesco - e di sconfessare il fatto che per essere pubblici gli artisti hanno bisogno di operare attraverso dinamiche e strategie che hanno a che fare con l'arte relazionale, la dimensione monumentale, l'essere all'aperto. 
Accanto a questo, credo che buona parte della pittura figurativa degli ultimi anni stia facendo un'analisi molto interessante delle relazioni tra l'individuo e l'ambiente che lo circonda e nello specifico con l'ambiente costruito... Lorenfo Fusi

Come siamo toccati dall'ambiente circostante, quali sono gli effetti collaterali dal punto di vista emotivo, delle convenzioni sociali, della politica della persona che l'ambiente impone o suggerisce? E' questa la domanda cardine della riflessione di The Human Stain, una delle sezioni della mostra internazionale della Biennale di Liverpool, la piugrave; classica in quanto a scelta formale, non meno forte tuttavia delle declinazioni piugrave; spettacolari, piugrave; performative, piugrave; concettuali visti in questa biennale.
Ce ne parla Lorenzo Fusi. 

</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Antony Gormley - 2X2 Sculpture Biennial of Carrara</title>
		<link>http://radiopapesse.org/podcasting/archives/226</link>
		<comments>http://radiopapesse.org/podcasting/archives/226#comments</comments>
		<pubDate>Mon, 26 Jul 2010 15:26:27 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/226</guid>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/226/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Antony%20Gormley%20Podcast.mp3" length="25496371" type="audio/mpeg"/>
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ragnar Kjartansson - Me and my mother</title>
		<link>http://radiopapesse.org/podcasting/archives/227</link>
		<comments>http://radiopapesse.org/podcasting/archives/227#comments</comments>
		<pubDate>Tue, 20 Jul 2010 14:08:52 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/227</guid>
		<description><![CDATA[>>The interview is in English]]></description>
			<content:encoded><![CDATA[<p>>>The interview is in English<<</p>
<p>In 2009 he represented Iceland at the Venice Biennial with a long lasting performance at the end of which the space he had acted in was messed up with the rests of six month of repetitive gestures, the room was melancholically littered with beer cans and cigarettes and more than 140 portraits on canvas of a bikini-clad young man, his good friend Páll Haukur Björnsson, were left accumulated around the studio.<br />
Early his year he filmed a new video - The man - outside Austin, Texan, which features the eldest living member of the Delta Blues musical movement, Pinetop Perkins. </p>
<p>He's now back to Italy, at the EX3 in Florence where beside <i>Death and the children</i> and <i>Satan is real</i> he&#8217;s premiering the third and most recent act of <b>Me and my mother</b>, a ritual that falls every five years, a video performance begun in 2000 and with which he not only stresses his own physical and psychological resistance, he&#8217;s not only examining the notion of loop, but also reflects upon the mother &#038; son relationship.<br />
Standing in front of a bookshelf, in a very domestic environment, Kjartansson and his mother are filmed while she repetitively spits on him.<br />
It&#8217;s not by chance that - he says - he&#8217;s presenting this work in Italy; he was aware of the close bond between italian men and their mothers and he was curious to see how italian men would react to his own ambivalent ritual.</p>
<p>We have talked about those performative and video practices he looks at in his research, from Gillian Wearing - whose video Sacha and Mum was inspirational to him - to Bruce Nauman and Vito Acconci; about collaborative works that more than to arty practice seem to refer to the search of great moments of male friendship, about the unification of art and life eventually.</p>
<p>Kjartansson has not only a rare crystalline attitude in examining and talking about emotional ties and affective bonds but is also great in narrating backstages and anecdotes - that is why it is worth listening to this interview.<br />
Enjoy the listening!</p>
<p>Ex3 Audio Diary is an audio production by Radio Papesse for EX3 Contemporary Art Center.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/227/feed/</wfw:commentRSS>
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<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>The interview is in English </itunes:subtitle>
		<itunes:summary>The interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Giorgio Andreotta Calò - Gerarchie Orizzontali</title>
		<link>http://radiopapesse.org/podcasting/archives/225</link>
		<comments>http://radiopapesse.org/podcasting/archives/225#comments</comments>
		<pubDate>Wed, 07 Jul 2010 13:06:13 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/225</guid>
		<description><![CDATA[&#8216;Per ogni lavoratore morto&#8217; e&#8217; la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calò tra le vie di Carrara, cittadina dei lavoratori del marmo, e gli anfratti delle cave circostanti trasformate nei secoli in voragini tanto profonde da incutere un paura irrefrenabile. E&#8217; tra questi due poli del contesto carrarese che l&#8217;artista (...)]]></description>
			<content:encoded><![CDATA[<p>&#8216;Per ogni lavoratore morto&#8217; e&#8217; la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calò tra le vie di Carrara, cittadina dei lavoratori del marmo, e gli anfratti delle cave circostanti trasformate nei secoli in voragini tanto profonde da incutere un paura irrefrenabile. E&#8217; tra questi due poli del contesto carrarese che l&#8217;artista porta a termine un lavoro processualmente complesso, sviluppato non solo in tempi diversi, ma anche in luoghi distanti l&#8217;uno dall&#8217;altro<br />[Mara Ambrozic sul lavoro di Andreotta Calò alla XIV Biennale di Carrara]</p>
<p>L&#8217;opera d&#8217;arte non deve avere bisogno di stampelle.<br />E&#8217; questa l&#8217;idea di Giorgio Andreotta Calò, idea che si rispecchia nel lavoro che l&#8217;artista veneziano ha realizzato per la XIV Biennale Internazionale di Scultura di Carrara.</p>
<p>L&#8217;impatto emotivo del lavoro e&#8217; forte e per vederlo bisogna avventurarsi in una chiesa abbandonata nel centro storico di Carrara: calcinacci sul pavimento, piccioni che entrano ed escono dall&#8217;apertura dove una volta era il rosone, il rumore del fiume che rimbomba sulle pareti spoglie della chiesa e al centro dello spazio un blocco di marmo. Esposto come se fosse un feretro a cui i visitatori rendono omaggio.</p>
<p>Per ogni lavoratore morto e&#8217; un monumento funebre ma e&#8217; anche una riflessione sul lavoro, sul rapporto con la natura, con il territorio e con l&#8217;arte.</p>
<p>&#8211;<br />la musica che accompagna l&#8217;intervista e&#8217; felk di <strong>nunun</strong> pubblicata dalla netlabel acustronica</p>
<p>la sigla di &#8217;speciale carrara&#8217; è l&#8217;internazionale suonata dal carrillon dell&#8217;installazione di Nemanja Cvijanovic per la XIV Biennale Internazionale di Scultura di Carrara</p>
<p><em>Lo speciale di Radio Papesse dalla Biennale di Carrara è stato realizzato grazie al supporto logistico di Maddalena Fossombroni, Pietro Torrigiani e Castello in Movimento al castello Malaspina di Fosdinovo.</em></p>
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]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/225/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Giorgio%20Andreotta%20Calo%20-%20gerarchie%20orizzontali%20(10%2046).mp3" length="10283911" type="audio/mpeg"/>
<itunes:duration>10:43</itunes:duration>
		<itunes:subtitle>'Per ogni lavoratore morto' e' la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calograve; tra le vie di Carrara, cittadina dei lavoratori ...</itunes:subtitle>
		<itunes:summary>'Per ogni lavoratore morto' e' la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calograve; tra le vie di Carrara, cittadina dei lavoratori del marmo, e gli anfratti delle cave circostanti trasformate nei secoli in voragini tanto profonde da incutere un paura irrefrenabile. E' tra questi due poli del contesto carrarese che l'artista porta a termine un lavoro processualmente complesso, sviluppato non solo in tempi diversi, ma anche in luoghi distanti l'uno dall'altro[Mara Ambrozic sul lavoro di Andreotta Calograve; alla XIV Biennale di Carrara]L'opera d'arte non deve avere bisogno di stampelle.E' questa l'idea di Giorgio Andreotta Calograve;, idea che si rispecchia nel lavoro che l'artista veneziano ha realizzato per la XIV Biennale Internazionale di Scultura di Carrara.L'impatto emotivo del lavoro e' forte e per vederlo bisogna avventurarsi in una chiesa abbandonata nel centro storico di Carrara: calcinacci sul pavimento, piccioni che entrano ed escono dall'apertura dove una volta era il rosone, il rumore del fiume che rimbomba sulle pareti spoglie della chiesa e al centro dello spazio un blocco di marmo. Esposto come se fosse un feretro a cui i visitatori rendono omaggio.Per ogni lavoratore morto e' un monumento funebre ma e' anche una riflessione sul lavoro, sul rapporto con la natura, con il territorio e con l'arte.--la musica che accompagna l'intervista e' felk di nunun pubblicata dalla netlabel acustronicala sigla di 'speciale carrara' egrave; l'internazionale suonata dal carrillon dell'installazione di Nemanja Cvijanovic per la XIV Biennale Internazionale di Scultura di CarraraLo speciale di Radio Papesse dalla Biennale di Carrara egrave; stato realizzato grazie al supporto logistico di Maddalena Fossombroni, Pietro Torrigiani e Castello in Movimento al castello Malaspina di Fosdinovo.increases tramadol efficacy
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b...</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Kader Attia - Archeology of modernism</title>
		<link>http://radiopapesse.org/podcasting/archives/224</link>
		<comments>http://radiopapesse.org/podcasting/archives/224#comments</comments>
		<pubDate>Thu, 17 Jun 2010 14:06:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/224</guid>
		<description><![CDATA[I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and the world we are living in is utopian more and more&#8230;what we missed in modernism is our identity&#8230;(Kader Attia)
Summary
1 (1&#8242;14&#8243;) Holy Land, relocation and site specificity, The History of a (...)]]></description>
			<content:encoded><![CDATA[<p>I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and the world we are living in is utopian more and more&#8230;what we missed in modernism is our identity&#8230;(Kader Attia)</p>
<p>Summary</p>
<p>1 (1&#8242;14&#8243;) Holy Land, relocation and site specificity, The History of a mith: the little dome of the rock, architecture and the sacred between history, memories and mythological perception.<br />2 (9&#8242;50&#8243;) ugliness and functionalities, Team Ten, Roland Simounet, Ugo La Pietra, Le Courbusier in Ghardaia<br />3 (15&#8242;47&#8243;) Open your eyes, universalisms, modernisms, translation, riappropriation, African and western culture, the aesthetic of the repair vs the research of perfection.</p>
<p>>>The interview is in English, except of a brief introduction in italian<<</p>
<p>For the uncut version of the text, www.radiopapesse.org.</p>
<p>Radio Papesse provides you free contents; publicness and sharing trigger all our activities. If you feel to contribute and help us assuring you updates, you may make a donation or join us and don&#8217;t forget to spread the word to your friends!.</p>
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]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/224/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Kader%20Attia%20Podcast%20.mp3" length="25620087" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and ...</itunes:subtitle>
		<itunes:summary>I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and the world we are living in is utopian more and more...what we missed in modernism is our identity...(Kader Attia)Summary1 (1'14") Holy Land, relocation and site specificity, The History of a mith: the little dome of the rock, architecture and the sacred between history, memories and mythological perception.2 (9'50") ugliness and functionalities, Team Ten, Roland Simounet, Ugo La Pietra, Le Courbusier in Ghardaia3 (15'47") Open your eyes, universalisms, modernisms, translation, riappropriation, African and western culture, the aesthetic of the repair vs the research of perfection.The interview is in English, except of a brief introduction in italian</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Lynne Cooke - Mixed Use, Manhattan</title>
		<link>http://radiopapesse.org/podcasting/archives/223</link>
		<comments>http://radiopapesse.org/podcasting/archives/223#comments</comments>
		<pubDate>Fri, 11 Jun 2010 15:13:37 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/223</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/223/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Short List - un&#8217;opera una storia - Cecilia Canziani commenta Walk with Contrapposto di Bruce Nauman</title>
		<link>http://radiopapesse.org/podcasting/archives/221</link>
		<comments>http://radiopapesse.org/podcasting/archives/221#comments</comments>
		<pubDate>Mon, 07 Jun 2010 06:56:44 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/221</guid>
		<description><![CDATA[Il commento di Cecilia Canziani è in italiano.
&#8220;Il monumento è qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si è riconfigurato per contrapposizione, non per produzione, piuttosto per mancanza, prendendo spesso le forme della rovina&#8221;.
Bruce Nauman, artista che non compare nella nostra ShortList, è stato spesso citato dai relatori intervistati. Cecilia (...)]]></description>
			<content:encoded><![CDATA[<p>Il commento di Cecilia Canziani è in italiano.</p>
<p><i>&#8220;Il monumento è qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si è riconfigurato per contrapposizione, non per produzione, piuttosto per mancanza, prendendo spesso le forme della rovina&#8221;.</i></p>
<p>Bruce Nauman, artista che non compare nella nostra ShortList, è stato spesso citato dai relatori intervistati. Cecilia Canziani ne traccia un chiaro ritratto e offre - a partire da Walk with Contrapposto del 1968 - una lettura interessante del suo lavoro e del lascito della sua ricerca in quella più attuale. Una riflessione, quella della Canziani, che interseca fortuna e sfortune del monumento nel XX secolo, la storia del camminare nelle pratiche artistiche della seconda metà del &#8216;900, la performance e la sua dimensione più politica.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/221/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Canziani%20podcast.mp3" length="7054758" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Il commento di Cecilia Canziani egrave; in italiano.

"Il monumento egrave; qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si egrave; riconfigurato ...</itunes:subtitle>
		<itunes:summary>Il commento di Cecilia Canziani egrave; in italiano.

"Il monumento egrave; qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si egrave; riconfigurato per contrapposizione, non per produzione, piuttosto per mancanza, prendendo spesso le forme della rovina".

Bruce Nauman, artista che non compare nella nostra ShortList, egrave; stato spesso citato dai relatori intervistati. Cecilia Canziani ne traccia un chiaro ritratto e offre - a partire da Walk with Contrapposto del 1968 - una lettura interessante del suo lavoro e del lascito della sua ricerca in quella piugrave; attuale. Una riflessione, quella della Canziani, che interseca fortuna e sfortune del monumento nel XX secolo, la storia del camminare nelle pratiche artistiche della seconda metagrave; del '900, la performance e la sua dimensione piugrave; politica.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Short List - un&#8217;opera una storia - Iwona Blazwick racconta Guernica</title>
		<link>http://radiopapesse.org/podcasting/archives/220</link>
		<comments>http://radiopapesse.org/podcasting/archives/220#comments</comments>
		<pubDate>Fri, 04 Jun 2010 08:07:27 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/220</guid>
		<description><![CDATA[The interview is in English
A partire da The Nature of the Beast, un progetto speciale commissionato dalla Whitechapel all&#8217;artista polacca Goshka Machuga, la Blazwich ci spiega perchè oggi, come allora, il sentimento antibellico trova in quest&#8217;opera la sua più famosa traduzione visiva e torna indietro al 1939, quando di fronte a Guernica, ospitata dalla Whitechapel (...)]]></description>
			<content:encoded><![CDATA[<p><b>The interview is in English</b></p>
<p>A partire da <i>The Nature of the Beast</i>, un progetto speciale commissionato dalla Whitechapel all&#8217;artista polacca Goshka Machuga, la Blazwich ci spiega perchè oggi, come allora, il sentimento antibellico trova in quest&#8217;opera la sua più famosa traduzione visiva e torna indietro al 1939, quando di fronte a Guernica, ospitata dalla Whitechapel su richiesta del Partito Comunista inglese, vennero lasciate più di 400 paia di scarpe che sarebbero poi state inviate a quanti, sul fronte spagnolo, combattevano la guerra civile. </p>
<p>Una forza politica quella di Guernica che non cede al tempo. Basti pensare che nel 2003, l&#8217;arazzo di Guernica di fronte al quale Colin Powell tenne il fatidico discorso sulle armi di distruzioni di massa irachene, fu coperto con un telo azzurro. L&#8217;arazzo era stato donato da Nelson Rockefeller alla sede centrale delle Nazioni Unite e esposta non a caso fuori dal Consiglio di Sicurezza come deterrente alla guerra.</p>
<p>&#8212;</p>
<p>Iwona Blazwick is the director of the Whitechapel Gallery in London, where in 1939, Guernica was showcased in order to make Londoners more aware of the brutality of the Spanish civil war. At that time, Picasso invited people, those who could afford it, to donate a pair of boots for the freedomfighters. At the end of the exhibit, more than 400 pairs of boots were left underbeneath Guernica. </p>
<p>At last, in 2009, thanks to the polish artist Goshka Machuga, Guernica (a tapestry copy) went back to the Whitechapel Gallery and starting from that project that involved the gallery as a discussion board, Iwona Blazwick singles out the reasons of the still present and impressive consistency with the antiwar message.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/220/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Iwona%20Blazwick%20podcast.mp3" length="8082143" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>The interview is in English


A partire da The Nature of the Beast, un progetto speciale commissionato dalla Whitechapel all'artista polacca Goshka Machuga, la Blazwich ci ...</itunes:subtitle>
		<itunes:summary>The interview is in English


A partire da The Nature of the Beast, un progetto speciale commissionato dalla Whitechapel all'artista polacca Goshka Machuga, la Blazwich ci spiega perchegrave; oggi, come allora, il sentimento antibellico trova in quest'opera la sua piugrave; famosa traduzione visiva e torna indietro al 1939, quando di fronte a Guernica, ospitata dalla Whitechapel su richiesta del Partito Comunista inglese, vennero lasciate piugrave; di 400 paia di scarpe che sarebbero poi state inviate a quanti, sul fronte spagnolo, combattevano la guerra civile. 

Una forza politica quella di Guernica che non cede al tempo. Basti pensare che nel 2003, l'arazzo di Guernica di fronte al quale Colin Powell tenne il fatidico discorso sulle armi di distruzioni di massa irachene, fu coperto con un telo azzurro. L'arazzo era stato donato da Nelson Rockefeller alla sede centrale delle Nazioni Unite e esposta non a caso fuori dal Consiglio di Sicurezza come deterrente alla guerra.

---

Iwona Blazwick is the director of the Whitechapel Gallery in London, where in 1939, Guernica was showcased in order to make Londoners more aware of the brutality of the Spanish civil war. At that time, Picasso invited people, those who could afford it, to donate a pair of boots for the freedomfighters. At the end of the exhibit, more than 400 pairs of boots were left underbeneath Guernica. 

At last, in 2009, thanks to the polish artist Goshka Machuga, Guernica (a tapestry copy) went back to the Whitechapel Gallery and starting from that project that involved the gallery as a discussion board, Iwona Blazwick singles out the reasons of the still present and impressive consistency with the antiwar message.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>RP Shorts 2: Damiano Meacci racconta il Tavolo della Terra</title>
		<link>http://radiopapesse.org/podcasting/archives/218</link>
		<comments>http://radiopapesse.org/podcasting/archives/218#comments</comments>
		<pubDate>Thu, 06 May 2010 15:38:02 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>music</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/218</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/218/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/RP%20shorts%202%20-%20the%20table%20of%20earth.mp3" length="3883284" type="audio/mpeg"/>
<itunes:duration>4:03</itunes:duration>
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		<itunes:keywords>Arts,,music,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>RP Shorts 1: Tempo Reale + David Moss - The Table of Earth</title>
		<link>http://radiopapesse.org/podcasting/archives/217</link>
		<comments>http://radiopapesse.org/podcasting/archives/217#comments</comments>
		<pubDate>Mon, 03 May 2010 09:44:33 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>music</category>
	<category>sound design</category>
	<category>sound art</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/217</guid>
		<description><![CDATA[Damiano Meacci è il compositore e sound designer che ha seguito The Table Of Earth, il progetto realizzato da Tempo Reale insieme al performer americano David Moss.
RP Shorts: una serie di brevi podcast per avvicinarsi insieme a Damiano Meacci a &#8216;The Table Of Earth&#8217; in attesa della sua prima mondiale a Firenze il 13 e (...)]]></description>
			<content:encoded><![CDATA[<p>Damiano Meacci è il compositore e sound designer che ha seguito <strong>The Table Of Earth</strong>, il progetto realizzato da Tempo Reale insieme al performer americano David Moss.</p>
<p><strong>RP Shorts</strong>: una serie di brevi podcast per avvicinarsi insieme a Damiano Meacci a &#8216;The Table Of Earth&#8217; in attesa della sua prima mondiale a Firenze il 13 e 14 maggio all&#8217;interno del cartellone di Fabbrica Europa.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/217/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/RP%20shorts%201%20-%20the%20table%20of%20earth.mp3" length="4445021" type="audio/mpeg"/>
<itunes:duration>4:38</itunes:duration>
		<itunes:subtitle>Damiano Meacci egrave; il compositore e sound designer che ha seguito The Table Of Earth, il progetto realizzato da Tempo Reale insieme al performer americano ...</itunes:subtitle>
		<itunes:summary>Damiano Meacci egrave; il compositore e sound designer che ha seguito The Table Of Earth, il progetto realizzato da Tempo Reale insieme al performer americano David Moss.

RP Shorts: una serie di brevi podcast per avvicinarsi insieme a Damiano Meacci a 'The Table Of Earth' in attesa della sua prima mondiale a Firenze il 13 e 14 maggio all'interno del cartellone di Fabbrica Europa.</itunes:summary>
		<itunes:keywords>Arts,,music,,sound,design,,sound,art</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Nedko Solakov - A Riffraff</title>
		<link>http://radiopapesse.org/podcasting/archives/216</link>
		<comments>http://radiopapesse.org/podcasting/archives/216#comments</comments>
		<pubDate>Mon, 29 Mar 2010 06:53:09 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/216</guid>
		<description><![CDATA[>>The interview is in English]]></description>
			<content:encoded><![CDATA[<p>>>The interview is in English<<</p>
<p>Nedko Solakov had already tried twice to combine early works and the most recent production. At the Galleria Continua the bulgarian artist is now attempting again to pieced together such artistic path from works as <i>The day shall come</i> (1988), <i>Family</i> and <i>Associates</i> (1991) and the newest pieces as the video <i>Silent (but as rich as only bulgarian language can be) F words</i> (2009).</p>
<p>We met Nedko Solakov the day before the opening of his new solo show at the Galleria Continua. We talked about his early works but also about his way to story-telling, his passionate interest in cinema and in the way movies built stereotypes, jokes, dychotomies; about iconography, winks and different layer of quotations in his works, about irony and public art and the way he has ventured in the field of publicness even in private space with the exhibition <i>Emotion (without masks)</i> at the Institut Mathildenhoehe in Darmstadt. </p>
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]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/216/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Nedko%20Solakov%20Podcast%20.mp3" length="26243264" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>The interview is in English </itunes:subtitle>
		<itunes:summary>The interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Shirin Neshat - Women without men</title>
		<link>http://radiopapesse.org/podcasting/archives/215</link>
		<comments>http://radiopapesse.org/podcasting/archives/215#comments</comments>
		<pubDate>Mon, 22 Mar 2010 09:42:33 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/215</guid>
		<description><![CDATA[Shirin Neshat about film making, censorship and new media in Iran&#8230;&#8220;what is amazing is that the culture of film making in Iran is not distant or elitist. So when young people get their telephones at hand and have the ability to shoot little footages, you have to undestand that they are coming from a very (...)]]></description>
			<content:encoded><![CDATA[<p>Shirin Neshat about film making, censorship and new media in Iran&#8230;<i>&#8220;what is amazing is that the culture of film making in Iran is not distant or elitist. So when young people get their telephones at hand and have the ability to shoot little footages, you have to undestand that they are coming from a very rich culture of film making and arts. It&#8217;s not just pure technology but a way Iranians know how to tap into everyday life and they become reporters&#8230;.&#8221;</i></p>
<p>S.N about fears&#8230;<i>&#8220;the idea of beeing courageous to take on the struggle of confronting fears and embracing change in a way is something that I tell myself everyday. Don&#8217;t be afraid, there are so many reasons why we shouldn&#8217;t be taking risks and it&#8217;s easier to be secure and confortable in whatever we are in even if it is not great. My message, in this film - and it goes with what i fundamentally believe in - is that it is much better when you take risks because nothing is more stagnant than mediocracy and accepting a life you shouldn&#8217;t&#8221;</i>.</p>
<p>We met Shirin Neshat in Florence, where she presented <i>Women without men</i>, the film she was awarded the Silver Lion for, at the Venice Film Festival last September.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/215/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Shirin%20Neshat%20Podcast%20.mp3" length="9397419" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Shirin Neshat about film making, censorship and new media in Iran..."what is amazing is that the culture of film making in Iran is not distant ...</itunes:subtitle>
		<itunes:summary>Shirin Neshat about film making, censorship and new media in Iran..."what is amazing is that the culture of film making in Iran is not distant or elitist. So when young people get their telephones at hand and have the ability to shoot little footages, you have to undestand that they are coming from a very rich culture of film making and arts. It's not just pure technology but a way Iranians know how to tap into everyday life and they become reporters...."

S.N about fears..."the idea of beeing courageous to take on the struggle of confronting fears and embracing change in a way is something that I tell myself everyday. Don't be afraid, there are so many reasons why we shouldn't be taking risks and it's easier to be secure and confortable in whatever we are in even if it is not great. My message, in this film - and it goes with what i fundamentally believe in - is that it is much better when you take risks because nothing is more stagnant than mediocracy and accepting a life you shouldn't".

We met Shirin Neshat in Florence, where she presented Women without men, the film she was awarded the Silver Lion for, at the Venice Film Festival last September. </itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Arcangelo Sassolino - qui e ora</title>
		<link>http://radiopapesse.org/podcasting/archives/214</link>
		<comments>http://radiopapesse.org/podcasting/archives/214#comments</comments>
		<pubDate>Fri, 05 Mar 2010 09:38:15 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/214</guid>
		<description><![CDATA[Immergendosi nell&#8217;immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalità dei materiali industriali, sulle sembianze animalesche delle benne meccaniche; reifica il pericolo in congegni meccanici in cui incanala una tensione propriamente fisica e attraverso i quali ci invita a riflettere sulla caducità, sul &#8220;qui e (...)]]></description>
			<content:encoded><![CDATA[<p>Immergendosi nell&#8217;immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalità dei materiali industriali, sulle sembianze animalesche delle benne meccaniche; reifica il pericolo in congegni meccanici in cui incanala una tensione propriamente fisica e attraverso i quali ci invita a riflettere sulla caducità, sul &#8220;qui e ora&#8221;.</p>
<p>Lo abbiamo incontrato in occasione della sua prima personale alla Galleria Continua. Da  <i>Rimozione</i> del 2004, in cui dimostrava un&#8217;attenzione anarchitettonica agli edifici sui quali interveniva, a <i>Momento</i> del 2006 - la cui massa silenziosa in equilibrio instabile concretizzava una tensione pronta ad esplodere - Sassolino spiega come sia arrivato ad incanalare la spinta di quei materiali stolidi, la forza latente interna a quei corpi, nei meccanismi più recenti presenti anche in mostra a San Gimignano; strutture meccaniche la cui estetica dipende solo dalla tecnologia usata ma che rimandano spesso, come <i>Piccolo animismo</i>, alla caducità umana, scandita da respiri e battiti cardiaci, alla fragilità del qui e ora.  Abbiamo quindi parlato di vulnerabilità, di confine tra senso di allerta e paura, di tempo inscenato e tempo di lavoro, di suono e masse stolide, di transitorietà dei materiali e della loro memoria.</p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/214/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Arcangelo%20Sassolino%20Podcast.mp3" length="17074076" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Immergendosi nell'immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalitagrave; dei materiali industriali, sulle sembianze ...</itunes:subtitle>
		<itunes:summary>Immergendosi nell'immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalitagrave; dei materiali industriali, sulle sembianze animalesche delle benne meccaniche; reifica il pericolo in congegni meccanici in cui incanala una tensione propriamente fisica e attraverso i quali ci invita a riflettere sulla caducitagrave;, sul "qui e ora".Lo abbiamo incontrato in occasione della sua prima personale alla Galleria Continua. Da  Rimozione del 2004, in cui dimostrava un'attenzione anarchitettonica agli edifici sui quali interveniva, a Momento del 2006 - la cui massa silenziosa in equilibrio instabile concretizzava una tensione pronta ad esplodere - Sassolino spiega come sia arrivato ad incanalare la spinta di quei materiali stolidi, la forza latente interna a quei corpi, nei meccanismi piugrave; recenti presenti anche in mostra a San Gimignano; strutture meccaniche la cui estetica dipende solo dalla tecnologia usata ma che rimandano spesso, come Piccolo animismo, alla caducitagrave; umana, scandita da respiri e battiti cardiaci, alla fragilitagrave; del qui e ora.  Abbiamo quindi parlato di vulnerabilitagrave;, di confine tra senso di allerta e paura, di tempo inscenato e tempo di lavoro, di suono e masse stolide, di transitorietagrave; dei materiali e della loro memoria.tramadol dosage in canines Stores. users number.
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Pamela Z - composing is like painting</title>
		<link>http://radiopapesse.org/podcasting/archives/213</link>
		<comments>http://radiopapesse.org/podcasting/archives/213#comments</comments>
		<pubDate>Thu, 11 Feb 2010 10:49:50 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/213</guid>
		<description><![CDATA[Ci sono domande che non hanno una risposta definita, univoca.Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.Le abbiamo chiesto cosa sia per lei la sound art, le abbiamo chiesto di presentare il suo lavoro.
Questa breve intervista si intreccia con alcuni estratti dal lavoro di Pamela z, registrazioni da studio, performances (...)]]></description>
			<content:encoded><![CDATA[<p>Ci sono domande che non hanno una risposta definita, univoca.<br />Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.<br />Le abbiamo chiesto cosa sia per lei la sound art, le abbiamo chiesto di presentare il suo lavoro.</p>
<p>Questa breve intervista si intreccia con alcuni estratti dal lavoro di Pamela z, registrazioni da studio, performances e alcuni suoni rubati dalla sua ultima apparizione italiana nello spettacolo <em>&#8216;hold it down&#8217;</em> del <em>Vijay Iyer &#038; Mike Ladd Ensemble</em> di cui Pamela fa parte.</p>
<p>I suoni che accompagnano l&#8217;intervista sono estratti da:  <strong>Badagada</strong>,<strong> bone music</strong> e <strong>The Muni Section</strong>.</p>
<p>Per ascoltare di più e conoscere il lavoro di Pamela Z <a target="_" href="http://www.pamelaz.com">www.pamelaz.com</a></p>
<p>&#8211;</p>
<p>Some questions just don&#8217;t have a strict and unique answer.<br />We asked Pamela Z some of those questions; she&#8217;s an artist, a performer, a composer.<br />We asked what is sound art to her but we did also asked her to introduce her work.</p>
<p>This short interview is edited with excerpts from Pamela Z&#8217;s work, studio recordings, performances and some sounds stolen from her last Italian performance in the show &#8216;hold it down&#8217; by the Vijay Iyer and Mike Ladd Ensemble (ensemble she&#8217;s part of).</p>
<p>Sound excerpts from: <strong>Badagada</strong>, <strong>Bone Music</strong> and <strong>The Muni Section</strong>.</p>
<p><a target="_" href="http://www.pamelaz.com">www.pamelaz.com</a></p>
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]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/213/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/pamela%20z%20-%20composing%20is%20like%20painting%20POD.mp3" length="24500792" type="audio/mpeg"/>
<itunes:duration>10:13</itunes:duration>
		<itunes:subtitle>Ci sono domande che non hanno una risposta definita, univoca.Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.Le abbiamo chiesto cosa ...</itunes:subtitle>
		<itunes:summary>Ci sono domande che non hanno una risposta definita, univoca.Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.Le abbiamo chiesto cosa sia per lei la sound art, le abbiamo chiesto di presentare il suo lavoro.Questa breve intervista si intreccia con alcuni estratti dal lavoro di Pamela z, registrazioni da studio, performances e alcuni suoni rubati dalla sua ultima apparizione italiana nello spettacolo 'hold it down' del Vijay Iyer #038; Mike Ladd Ensemble di cui Pamela fa parte.I suoni che accompagnano l'intervista sono estratti da:nbsp; Badagada, bone music e The Muni Section.Per ascoltare di piugrave; e conoscere il lavoro di Pamela Z www.pamelaz.com--Some questions just don't have a strict and unique answer.We asked Pamela Z some of those questions; she's an artist, a performer, a composer.We asked what is sound art to her but we did also asked her to introduce her work.This short interview is edited with excerpts from Pamela Z's work, studio recordings, performances and some sounds stolen from her last Italian performance in the show 'hold it down' by the Vijay Iyer and Mike Ladd Ensemble (ensemble she's part of).Sound excerpts from: Badagada, Bone Music and The Muni Section.www.pamelaz.comphentermine 37.5mg order online illegal shopping principles
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Mark Lewis - Afterall what remains is the image</title>
		<link>http://radiopapesse.org/podcasting/archives/212</link>
		<comments>http://radiopapesse.org/podcasting/archives/212#comments</comments>
		<pubDate>Wed, 11 Nov 2009 12:59:26 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/212</guid>
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		<item>
		<title>53 Biennale di Venezia - Carlos Casas &#038; Andrea Lissoni - Multinatural Blackout - dove andiamo a parare</title>
		<link>http://radiopapesse.org/podcasting/archives/211</link>
		<comments>http://radiopapesse.org/podcasting/archives/211#comments</comments>
		<pubDate>Mon, 02 Nov 2009 07:08:05 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/211</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
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		<title>Jorge Macchi - i&#8217;m not a conceptual artist</title>
		<link>http://radiopapesse.org/podcasting/archives/210</link>
		<comments>http://radiopapesse.org/podcasting/archives/210#comments</comments>
		<pubDate>Mon, 26 Oct 2009 08:19:25 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/210</guid>
		<description><![CDATA[Brief note in Italian
The Interview is in English 
We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San Gimignano. He is presenting an heterogeneous series of different works that fit perfectly - conceptually and visually – with those by Mona Hatoum who’s occupying with him the gallery space.
Rendez (...)]]></description>
			<content:encoded><![CDATA[<p>Brief note in Italian<br />
The Interview is in English </p>
<p>We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San Gimignano. He is presenting an heterogeneous series of different works that fit perfectly - conceptually and visually – with those by Mona Hatoum who’s occupying with him the gallery space.<br />
Rendez vous, which is the title of the show, is emblematic in this sense: an old wooden wardrobe is positioned precariously on a mirror at the end of the first flight of steps in the gallery. The wardrobe mirror and the gallery mirror meet, producing unexpected reflections.<br />
&#8220;The title of the exhibition, Rendez-vous, for me is very important because when two mirrors meet they multiply the images and senses and this is the way I have been thinking of this exhibition: how material, how concepts and objects come together and produce new readings of everyday life.&#8221;<br />
We have talked about, irony, black humor, accidental composition and some previous works for which he has collaborated with the composer Edgardo Rudnitzky. We have tried to understand his art practice, how it has changed since the involvement of sound and music, where the ideas come from, if they rise to his mind as an image or as a sound.<br />
Simply, that’s what he answered:</p>
<p>Everytime I start a new work I start with an image, that&#8217;s why I&#8217;m not a conceptual artist.
</p>
]]></content:encoded>
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			<enclosure url="http://radiopapesse.org/podcast/Jorge%20Macchi%20Podcast.mp3" length="15117191" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Brief note in Italian
The Interview is in English 

We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San ...</itunes:subtitle>
		<itunes:summary>Brief note in Italian
The Interview is in English 

We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San Gimignano. He is presenting an heterogeneous series of different works that fit perfectly - conceptually and visually ndash; with those by Mona Hatoum whorsquo;s occupying with him the gallery space. 
Rendez vous, which is the title of the show, is emblematic in this sense: an old wooden wardrobe is positioned precariously on a mirror at the end of the first flight of steps in the gallery. The wardrobe mirror and the gallery mirror meet, producing unexpected reflections. 
"The title of the exhibition, Rendez-vous, for me is very important because when two mirrors meet they multiply the images and senses and this is the way I have been thinking of this exhibition: how material, how concepts and objects come together and produce new readings of everyday life."
We have talked about, irony, black humor, accidental composition and some previous works for which he has collaborated with the composer Edgardo Rudnitzky. We have tried to understand his art practice, how it has changed since the involvement of sound and music, where the ideas come from, if they rise to his mind as an image or as a sound. 
Simply, thatrsquo;s what he answered:

Everytime I start a new work I start with an image, that's why I'm not a conceptual artist.</itunes:summary>
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		<itunes:author>Radio Papesse</itunes:author>
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		<title>Francesca Woodman - AUDIOGUIDA</title>
		<link>http://radiopapesse.org/podcasting/archives/209</link>
		<comments>http://radiopapesse.org/podcasting/archives/209#comments</comments>
		<pubDate>Mon, 12 Oct 2009 12:46:41 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
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		<item>
		<title>Rossella Caruso su Francesca Woodman - Camere con vista interna</title>
		<link>http://radiopapesse.org/podcasting/archives/208</link>
		<comments>http://radiopapesse.org/podcasting/archives/208#comments</comments>
		<pubDate>Tue, 06 Oct 2009 11:18:37 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
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		<title>Tom Nicholson - Lines towards another century</title>
		<link>http://radiopapesse.org/podcasting/archives/206</link>
		<comments>http://radiopapesse.org/podcasting/archives/206#comments</comments>
		<pubDate>Mon, 27 Jul 2009 11:27:06 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
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http://www.henrimag.com/ARTICLES/</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Alberto Tadiello - Shift</title>
		<link>http://radiopapesse.org/podcasting/archives/205</link>
		<comments>http://radiopapesse.org/podcasting/archives/205#comments</comments>
		<pubDate>Thu, 09 Jul 2009 13:02:09 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/205</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/205/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>53ma Biennale di Venezia - Alfredo Jaar - Le ceneri di Pasolini</title>
		<link>http://radiopapesse.org/podcasting/archives/204</link>
		<comments>http://radiopapesse.org/podcasting/archives/204#comments</comments>
		<pubDate>Mon, 22 Jun 2009 10:07:08 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/204</guid>
		<description><![CDATA[Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica e culturale italiana del dopo guerra, che corse i suoi rischi e per la quale - dice Jaar - è stato ucciso; &#8220;come sapete, non è ancora chiaro chi lo (...)]]></description>
			<content:encoded><![CDATA[<p>Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica e culturale italiana del dopo guerra, che corse i suoi rischi e per la quale - dice Jaar - è stato ucciso; <em>&#8220;come sapete, non è ancora chiaro chi lo abbia ucciso ma secondo me è abbastanza chiaro il perché e la ragione è stat la paura. Paura della sua voce, del suo stile di vita, delle sue idee, della sua opinione e del suo intelletto&#8221;</em>.</p>
<p>Con <em>Le ceneri di Pasolini</em> Jaar rende omaggio a una voce che non è stata rimpiazzata da nessuno in quanto a coraggio e tenace volontà di testimonianza.</p>
<p>Con Alfredo Jaar - tra gli artisti del Padiglione dell&#8217;Urgenza - abbiamo parlato di questo, di paura, del lascito pasoliniano, di responsabilità individuali e collettive, di necessarie utopie.</p>
<p>&#8212;</p>
<p><strong>Le ceneri di Pasolini/The ashes of Pasolini</strong> is an homage to one of the most extraordinary Italian intellectual, killed mysteriously in 1975. He was a poet, a journalist, a director, fully and deeply involved into the political and cultural debate. A complete intellectual whose free voice is today missed, a fearless man who took his risks, broke the rules and died because of fear. Alfredo Jaar says <em>” It is unclear who killed him but for me it always been clear why: it was because of fear. Fear of his voice, fear of his life style, fear of his ideas…”</em></p>
<p>We have questioned Jaar about fear, about Pasolini’s legacy, about individual and social responsabilities, about utopia, hopes and future.</p>
<p>The ashes of Pasolini is on screen at the Pabellon de la Urgencia.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/204/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Alfredo%20Jaar%20%20podcast%20.mp3" length="8181994" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica ...</itunes:subtitle>
		<itunes:summary>Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica e culturale italiana del dopo guerra, che corse i suoi rischi e per la quale - dice Jaar - egrave; stato ucciso; "come sapete, non egrave; ancora chiaro chi lo abbia ucciso ma secondo me egrave; abbastanza chiaro il percheacute; e la ragione egrave; stat la paura. Paura della sua voce, del suo stile di vita, delle sue idee, della sua opinione e del suo intelletto".

Con Le ceneri di Pasolini Jaar rende omaggio a una voce che non egrave; stata rimpiazzata da nessuno in quanto a coraggio e tenace volontagrave; di testimonianza.

Con Alfredo Jaar - tra gli artisti del Padiglione dell'Urgenza - abbiamo parlato di questo, di paura, del lascito pasoliniano, di responsabilitagrave; individuali e collettive, di necessarie utopie.

---

Le ceneri di Pasolini/The ashes of Pasolini is an homage to one of the most extraordinary Italian intellectual, killed mysteriously in 1975. He was a poet, a journalist, a director, fully and deeply involved into the political and cultural debate. A complete intellectual whose free voice is today missed, a fearless man who took his risks, broke the rules and died because of fear. Alfredo Jaar says rdquo; It is unclear who killed him but for me it always been clear why: it was because of fear. Fear of his voice, fear of his life style, fear of his ideashellip;rdquo;

We have questioned Jaar about fear, about Pasolinirsquo;s legacy, about individual and social responsabilities, about utopia, hopes and future.

The ashes of Pasolini is on screen at the Pabellon de la Urgencia.</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>53ma Biennale di Venezia - Tania Bruguera - Autosabotage</title>
		<link>http://radiopapesse.org/podcasting/archives/203</link>
		<comments>http://radiopapesse.org/podcasting/archives/203#comments</comments>
		<pubDate>Mon, 15 Jun 2009 08:11:14 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/203</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/203/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/53ma%20Biennale%20di%20Venezia%20-%20Tania%20Bruguera%20-%20Autosabotage.mp3" length="33102434" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>this interview is in ENGLISH Tania Bruguera is a cuban performing artist that decided not use use her body anymore since 1999, but she ...</itunes:subtitle>
		<itunes:summary>this interview is in ENGLISH Tania Bruguera is a cuban performing artist that decided not use use her body anymore since 1999, but she did actually perform at the 53rd Venice Biennial.Tania Bruguera is a political artist.We had a conversation with her right before her performance in Venice and we talked about art and politics, stereotypes, sabotage.Here you can listen to our conversation with her and on radiopapesse.org you can read the text Bruguera read during her performance [the *her* Bruguera is referring to at the end of the interview is cuban blogger Yoani Sanchez].The music that come with the interview is:Africa Bambataa by Bielous [ruzzi#124;NET]Fields Open, Wide The View by Klotzsch#038;Krey [12rec.net]Cargonauta by dadub [A Quiet Bump Label]http://www.mannymachadodesigns.com/pictures/?p=19 xirD
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http://www.m</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Faenza 2009 - Jota Castro intervistato da Denis Isaia - Survival Guide for Demonstrators</title>
		<link>http://radiopapesse.org/podcasting/archives/202</link>
		<comments>http://radiopapesse.org/podcasting/archives/202#comments</comments>
		<pubDate>Tue, 02 Jun 2009 14:35:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/202</guid>
		<description><![CDATA[Quale sia il ruolo politico e sociale dell&#8217;intellettuale è una delle domande che più ha animato e formato il dibattito culturale della seconda metà del XX secolo. Quale sia il ruolo dell&#8217;intellettuale oggi, di fronte al dramma dei nostri tempi è una domanda che influenza anche tutta la pratica artistica di Jota Castro, artista franco (...)]]></description>
			<content:encoded><![CDATA[<p>Quale sia il ruolo politico e sociale dell&#8217;intellettuale è una delle domande che più ha animato e formato il dibattito culturale della seconda metà del XX secolo. Quale sia il ruolo dell&#8217;intellettuale oggi, di fronte al dramma dei nostri tempi è una domanda che influenza anche tutta la pratica artistica di <strong>Jota Castro,</strong> artista franco peruviano che prima di dedicarsi all&#8217;arte ha lavorato per più di un decennio in diplomazia, lavorando per ONU e Unione Europea.</p>
<p>Il suo lavoro affronta i disequilibri politici, comunicativi e sociali che caratterizzano i nostri giorni e invita ad un&#8217;arte più critica; in tempi di &#8220;obamismo&#8221; e di un&#8217;arte gentile che si sta appiattendo su uno standard &#8220;iso 49 culturale&#8221; - dice - c&#8217;è bisogno di più critica, di più rabbia.</p>
<p>Con Denis Isaia, al Festival dell&#8217;Arte Contemporanea di Faenza, lo scorso maggio ha parlato di <strong>Survival Guide for Demonstrators</strong> e <strong>A drop in the ocean</strong>, del suo primo lavoro di strada - Desiderio di Integrazione e di lavori più recenti, <strong>Hucha de los Incas</strong>, <strong>La palabras de lo mutos, la Biennale della Cecenia.</strong> Ha parlato di urgenza, di modernità e contemporaneità, del prossimo impegno alla Biennale veneziana con <strong>The fear society</strong>- ultima tappa del Padiglione dell&#8217;Urgenza - dell&#8217;utilità e del divertimento di fare arte, di universalismo e della difficoltà di essere universali.</p>
<p>L&#8217;incontro tra Denis Isaia e Jota castro è accompagnato da <em>The Insidere Theme, Time to move and motivate</em> e <em>Tension is rising</em> da <em>The insider - All&#8217;s fair in Love of wax</em>, scaricabile dalla netlabel <strong>www.jamendo.com</strong>
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/202/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Jota%20Castro%20and%20Denis%20Isaia%20-%20Survival%20Guide%20for%20Demonstrators%20[34_37].mp3" length="33237016" type="audio/mpeg"/>
<itunes:duration>34:37</itunes:duration>
		<itunes:subtitle>Quale sia il ruolo politico e sociale dell'intellettuale egrave; una delle domande che piugrave; ha animato e formato il dibattito culturale della seconda metagrave; del ...</itunes:subtitle>
		<itunes:summary>Quale sia il ruolo politico e sociale dell'intellettuale egrave; una delle domande che piugrave; ha animato e formato il dibattito culturale della seconda metagrave; del XX secolo. Quale sia il ruolo dell'intellettuale oggi, di fronte al dramma dei nostri tempi egrave; una domanda che influenza anche tutta la pratica artistica di Jota Castro, artista franco peruviano che prima di dedicarsi all'arte ha lavorato per piugrave; di un decennio in diplomazia, lavorando per ONU e Unione Europea.

Il suo lavoro affronta i disequilibri politici, comunicativi e sociali che caratterizzano i nostri giorni e invita ad un'arte piugrave; critica; in tempi di "obamismo" e di un'arte gentile che si sta appiattendo su uno standard "iso 49 culturale" - dice - c'egrave; bisogno di piugrave; critica, di piugrave; rabbia.

Con Denis Isaia, al Festival dell'Arte Contemporanea di Faenza, lo scorso maggio ha parlato di Survival Guide for Demonstrators e A drop in the ocean, del suo primo lavoro di strada - Desiderio di Integrazione e di lavori piugrave; recenti, Hucha de los Incas, La palabras de lo mutos, la Biennale della Cecenia. Ha parlato di urgenza, di modernitagrave; e contemporaneitagrave;, del prossimo impegno alla Biennale veneziana con The fear society- ultima tappa del Padiglione dell'Urgenza - dell'utilitagrave; e del divertimento di fare arte, di universalismo e della difficoltagrave; di essere universali.

L'incontro tra Denis Isaia e Jota castro egrave; accompagnato da The Insidere Theme, Time to move and motivate e Tension is rising da The insider - All's fair in Love of wax, scaricabile dalla netlabel www.jamendo.com</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Faenza 2009 - Hector Zamora &#038; Denis Isaia - la ridefinizione dei luoghi</title>
		<link>http://radiopapesse.org/podcasting/archives/201</link>
		<comments>http://radiopapesse.org/podcasting/archives/201#comments</comments>
		<pubDate>Tue, 26 May 2009 10:16:03 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/201</guid>
		<description><![CDATA[Al festival dell&#8217;Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderà parte alla 53.ma Biennale di Venezia.
Con Denis Isaia ha parlato di Paracaidista av Revolucion 1608 bis, un progetto del 2004 realizzato per il Museo Carrillo Gil di Città del Messico e  di  Cicera, un lavoro del 2008 in cui (...)]]></description>
			<content:encoded><![CDATA[<p>Al festival dell&#8217;Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderà parte alla 53.ma Biennale di Venezia.</p>
<p>Con Denis Isaia ha parlato di <strong>Paracaidista av Revolucion 1608 bis</strong>, un progetto del 2004 realizzato per il Museo Carrillo Gil di Città del Messico e  di  <strong>Cicera</strong>, un lavoro del 2008 in cui Hector Zamora ha progettato la conversione di un edificio di San Paolo in residenza per artisti.<br />
Si è parlato anche di <strong>Every belgian is born with a brick in the stomach</strong>, un progetto &#8216;ambientale&#8217; commisionatogli nel 2008 dalla citta di Genk, e di <strong>Sustraccion/addicion - bar las divas</strong> il lavoro realizzato nel 2007 in occasione del &#8216;Encuentro Internacional de Medellín, Colômbia.</p>
<p>Si chiude con alcune riflessioni sulle biennali e su come un artista di prepari a eventi così importanti; sull'&#8217;importanza della progettazione, della comprensione di un ambiente e delle le sue dinamiche sociali e culturali, elementi fondamentali nella pratica artistica di Hector Zamora che tornano centrali nel lavoro che sta realizzando per la 53.ma Biennale di Venezia.</p>
<p>Quest&#8217;intervista è accompagnata dalle musiche di Ofelia Dorme. Il loro ep è disponibile dalla netlabel Musicaoltranza.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/201/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Hector%20Zamora%20intervistato%20da%20Denis%20Isaia%20[31_17]%20POD.mp3" length="52563031" type="audio/mpeg"/>
<itunes:duration>31:17</itunes:duration>
		<itunes:subtitle>Al festival dell'Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderagrave; parte alla 53.ma Biennale di Venezia.

Con Denis Isaia ha ...</itunes:subtitle>
		<itunes:summary>Al festival dell'Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderagrave; parte alla 53.ma Biennale di Venezia.

Con Denis Isaia ha parlato di Paracaidista av Revolucion 1608 bis, un progetto del 2004 realizzato per il Museo Carrillo Gil di Cittagrave; del Messico enbsp; dinbsp; Cicera, un lavoro del 2008 in cui Hector Zamora ha progettato la conversione di un edificio di San Paolo in residenza per artisti.
Si egrave; parlato anche di Every belgian is born with a brick in the stomach, un progetto 'ambientale' commisionatogli nel 2008 dalla citta di Genk, e di Sustraccion/addicion - bar las divas il lavoro realizzato nel 2007 in occasione del 'Encuentro Internacional de Medelliacute;n, Colocirc;mbia.

Si chiude con alcune riflessioni sulle biennali e su come un artista di prepari a eventi cosigrave; importanti; sull''importanza della progettazione, della comprensione di un ambiente e delle le sue dinamiche sociali e culturali, elementi fondamentali nella pratica artistica di Hector Zamora che tornano centrali nel lavoro che sta realizzando per la 53.ma Biennale di Venezia.

Quest'intervista egrave; accompagnata dalle musiche di Ofelia Dorme. Il loro ep egrave; disponibile dalla netlabel Musicaoltranza.</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Faenza 2009 - Angela Vettese intervista Daniel Birnbaum</title>
		<link>http://radiopapesse.org/podcasting/archives/199</link>
		<comments>http://radiopapesse.org/podcasting/archives/199#comments</comments>
		<pubDate>Thu, 21 May 2009 09:03:47 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/199</guid>
		<description><![CDATA[making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings -D.Birnbaum-
Il Festival dell&#8217;Arte Contemoporanea 2009 ha aperto i suoi lavori con un incontro di eccezione: Daniel Birnbaum intervistato da Angela Vettese.
Insieme hanno parlato della 53.ma Biennale di Venezia - di cui Birnbaum è (...)]]></description>
			<content:encoded><![CDATA[<p><em>making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings</em> -D.Birnbaum-</p>
<p>Il Festival dell&#8217;Arte Contemoporanea 2009 ha aperto i suoi lavori con un incontro di eccezione: Daniel Birnbaum intervistato da Angela Vettese.</p>
<p>Insieme hanno parlato della 53.ma Biennale di Venezia - di cui Birnbaum è il curatore - ma hannno anche parlato del ruolo del curatore, del significato delle biennali e di come queste aiutino a definire &#8216;l&#8217;arte di oggi&#8217;.</p>
<p>Cosa vuol dire <em>fare mondi</em>? Il curatore si può definire &#8216;autore&#8217;? cosa definisce l&#8217;obsolescenza nell&#8217;arte?<br />
Queste sono alcune delle domande che Angela Vettese ha posto a Daniel Birnbaum nel corso della loro conversazione in un dialogo serrato fra Italiano e Inglese.</p>
<p>Le musiche che accompagano questa conversazione sono <em>Big Gig</em> di <strong>Metùo</strong>, <em>You&#8217;re right, it&#8217;s ballin&#8217;</em> di <strong>Meanest Man Contest</strong> e <em>Spanny</em> di <strong>Mihi Lavish</strong> scaricabili con licenza Creative Commons dal sito <a target="_blank" href="http://www.nettare.org/"><strong><u>www.nettare.org</u></strong></a>
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/199/feed/</wfw:commentRSS>
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<itunes:duration>43:50</itunes:duration>
		<itunes:subtitle>making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings -D.Birnbaum-

Il Festival dell'Arte ...</itunes:subtitle>
		<itunes:summary>making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings -D.Birnbaum-

Il Festival dell'Arte Contemoporanea 2009 ha aperto i suoi lavori con un incontro di eccezione: Daniel Birnbaum intervistato da Angela Vettese.

Insieme hanno parlato della 53.ma Biennale di Venezia - di cui Birnbaum egrave; il curatore - ma hannno anche parlato del ruolo del curatore, del significato delle biennali e di come queste aiutino a definire 'l'arte di oggi'.

Cosa vuol dire fare mondi? Il curatore si puograve; definire 'autore'? cosa definisce l'obsolescenza nell'arte?
Queste sono alcune delle domande che Angela Vettese ha posto a Daniel Birnbaum nel corso della loro conversazione in un dialogo serrato fra Italiano e Inglese.

Le musiche che accompagano questa conversazione sono Big Gig di Metugrave;o, You're right, it's ballin' di Meanest Man Contest e Spanny di Mihi Lavish scaricabili con licenza Creative Commons dal sito www.nettare.org</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Loris Cecchini - Dotsandloops</title>
		<link>http://radiopapesse.org/podcasting/archives/198</link>
		<comments>http://radiopapesse.org/podcasting/archives/198#comments</comments>
		<pubDate>Wed, 08 Apr 2009 10:08:08 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/198</guid>
		<description><![CDATA[Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile 2009. Dotsandloops è il titolo della mostra, un titolo preso in prestito da un album degli Stereolab uscito nel 1997.
A partire dalla prima sala - uno spazio immersivo che ricorda (...)]]></description>
			<content:encoded><![CDATA[<p>Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile 2009. Dotsandloops è il titolo della mostra, un titolo preso in prestito da un album degli Stereolab uscito nel 1997.</p>
<p>A partire dalla prima sala - uno spazio immersivo che ricorda l&#8217;intervento realizzato nel 2002 per il Sonar - Cecchini ci accompagna in un percorso che toccherà i temi di ricerca, le aree di interesse, le tecniche e i processi produttivi che hanno segnato la sua intera carriera: dalla passione per la chimica e la fisica della materia al conseguente interesse per la sua natura modulare e modulabile; dalla messa in crisi della sicurezza degli oggetti, alla costruzione di spazi vivibili, utopici, poetici che tuttavia, a loro volta, destrutturano la nostra idea di permanenza nello spazio e invitano a una riflessione sulla mobilità e sulla flessibilità delle strutture architettoniche. Da Blau Blobbing alla nuova serie Le Capriate Arcobaleno, dall&#8217;osservazione della crescita degli elementi naturali alla proliferazione di moduli molecolari in acciaio o plastica.</p>
<p>Un&#8217;intervista ma anche e soprattutto una guida alla lettura dell&#8217;intera produzione artistica di Loris Cecchini.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/198/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Loris%20Cecchini%20-%20Dotsandloops%20podcast.mp3" length="26768639" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile ...</itunes:subtitle>
		<itunes:summary>Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile 2009. Dotsandloops egrave; il titolo della mostra, un titolo preso in prestito da un album degli Stereolab uscito nel 1997.

A partire dalla prima sala - uno spazio immersivo che ricorda l'intervento realizzato nel 2002 per il Sonar - Cecchini ci accompagna in un percorso che toccheragrave; i temi di ricerca, le aree di interesse, le tecniche e i processi produttivi che hanno segnato la sua intera carriera: dalla passione per la chimica e la fisica della materia al conseguente interesse per la sua natura modulare e modulabile; dalla messa in crisi della sicurezza degli oggetti, alla costruzione di spazi vivibili, utopici, poetici che tuttavia, a loro volta, destrutturano la nostra idea di permanenza nello spazio e invitano a una riflessione sulla mobilitagrave; e sulla flessibilitagrave; delle strutture architettoniche. Da Blau Blobbing alla nuova serie Le Capriate Arcobaleno, dall'osservazione della crescita degli elementi naturali alla proliferazione di moduli molecolari in acciaio o plastica.

Un'intervista ma anche e soprattutto una guida alla lettura dell'intera produzione artistica di Loris Cecchini.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Lorenzo Fusi presenta Jenny Holzer - For Siena</title>
		<link>http://radiopapesse.org/podcasting/archives/197</link>
		<comments>http://radiopapesse.org/podcasting/archives/197#comments</comments>
		<pubDate>Fri, 27 Mar 2009 14:59:34 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/197</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/197/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Ends&#038;Entries 8 - Chantal Dumas - MARSEILLE 1993</title>
		<link>http://radiopapesse.org/podcasting/archives/195</link>
		<comments>http://radiopapesse.org/podcasting/archives/195#comments</comments>
		<pubDate>Mon, 16 Mar 2009 15:42:07 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/195</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST Marseille 1993 -6&#8242;42- Chantal Dumas.
&#8220;In 1993 the Olympique de Marseille won the European Cup of football, Pavarotti performed at the opera and Chantal Dumas lived in Marseilles. It was the time before mobile phones. Marseille 1993 is something like a (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST Marseille 1993 -6&#8242;42- Chantal Dumas.<br />
<em>&#8220;In 1993 the Olympique de Marseille won the European Cup of football, Pavarotti performed at the opera and Chantal Dumas lived in Marseilles. It was the time before mobile phones. Marseille 1993 is something like a retro science-fiction documentary.&#8221;</em></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />
Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />
Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />
Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/195/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/ENDS%20AND%20ENTRIES%20-%20Marseille%20-%20Marseille%201993.mp3" length="7516226" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST Marseille 1993 -6'42- Chantal Dumas.
"In 1993 the Olympique de Marseille ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST Marseille 1993 -6'42- Chantal Dumas.
"In 1993 the Olympique de Marseille won the European Cup of football, Pavarotti performed at the opera and Chantal Dumas lived in Marseilles. It was the time before mobile phones. Marseille 1993 is something like a retro science-fiction documentary."

Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.
Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso lrsquo;esterno che integrate nel loro stesso paese.
Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.
Sono tutte cittagrave; sul limite: uscite e ingressi drsquo;Europa

Il progetto lsquo;EndsEtriesrsquo; egrave; presentato da Radio Grenouille nel quadro della residenza lsquo;Coming and Goingrsquo; a Livepool nel Novembre 2008.

Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Shilpa Gupta - Second Moon</title>
		<link>http://radiopapesse.org/podcasting/archives/193</link>
		<comments>http://radiopapesse.org/podcasting/archives/193#comments</comments>
		<pubDate>Tue, 24 Feb 2009 07:55:45 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/193</guid>
		<description><![CDATA[Shilpa Gupta è da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  www.blessed-bandwidth.net - un lavoro commissionatole dalla Tate nel 2003, un sito in cui si invitavano i visitatori a registrarsi, scegliere una religione e scaricare la benedizione direttamente on line – (...)]]></description>
			<content:encoded><![CDATA[<p>Shilpa Gupta è da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  <em>www.blessed-bandwidth.net</em> - un lavoro commissionatole dalla Tate nel 2003, un sito in cui si invitavano i visitatori a registrarsi, scegliere una religione e scaricare la benedizione direttamente on line – la Gupta ha alternato lavori di net art, progetti interattivi, interventi pubblici e azioni di comunicazione su più larga scala.</p>
<p>Abbiamo incontrato Shilpa Gupta in occasione di <strong>Second Moon</strong>, la sua prima personale italiana alla Galleria Continua di San Gimignano. Un percorso espositivo il suo, che intreccia aspettative personali – <em>I have many dreams</em> - e aspirazioni collettive, utopie disattese - <em>Tryst with Destiny</em> - e chiusure individualistiche - <em>Untitled Don’t See Don’t Hear Don’t Speak</em>, memoria e proiezione al cambiamento, controllo sociale e forze periferiche che inevitabilmente sono destinare a rompere le strutture sociali ed economiche attuali.</p>
<p>L&#8217;intervista è accompagnata da <em>One day I will hear this song stoned</em> di Pero, scaricabile dalla netlabel -N netlabel  e da <em>Like a Virgin</em> di The Apartment, scaricabile da www.comfortstand.com</p>
<p><strong>Grazie a Galleria Continua per la messa a disposizione degli audio di <em>I have many dreams</em> e di <em>Tryst with Destiny</em></strong>.</p>
<p>Questa intervista è realizzata nell&#8217;ambito del progetto &#8220;SIR - sistema informativo regionale per l&#8217;arte contemporanea&#8221;.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/193/feed/</wfw:commentRSS>
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<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Shilpa Gupta egrave; da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  ...</itunes:subtitle>
		<itunes:summary>Shilpa Gupta egrave; da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  www.blessed-bandwidth.net - un lavoro commissionatole dalla Tate nel 2003, un sito in cui si invitavano i visitatori a registrarsi, scegliere una religione e scaricare la benedizione direttamente on line ndash; la Gupta ha alternato lavori di net art, progetti interattivi, interventi pubblici e azioni di comunicazione su piugrave; larga scala.

Abbiamo incontrato Shilpa Gupta in occasione di Second Moon, la sua prima personale italiana alla Galleria Continua di San Gimignano. Un percorso espositivo il suo, che intreccia aspettative personali ndash; I have many dreams - e aspirazioni collettive, utopie disattese - Tryst with Destiny - e chiusure individualistiche - Untitled Donrsquo;t See Donrsquo;t Hear Donrsquo;t Speak, memoria e proiezione al cambiamento, controllo sociale e forze periferiche che inevitabilmente sono destinare a rompere le strutture sociali ed economiche attuali.

L'intervista egrave; accompagnata da One day I will hear this song stoned di Pero, scaricabile dalla netlabel -N netlabel  e da Like a Virgin di The Apartment, scaricabile da www.comfortstand.com

Grazie a Galleria Continua per la messa a disposizione degli audio di I have many dreams e di Tryst with Destiny.

Questa intervista egrave; realizzata nell'ambito del progetto "SIR - sistema informativo regionale per l'arte contemporanea".</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Marzia Migliora - 10 asterischi</title>
		<link>http://radiopapesse.org/podcasting/archives/192</link>
		<comments>http://radiopapesse.org/podcasting/archives/192#comments</comments>
		<pubDate>Fri, 20 Feb 2009 08:16:25 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/192</guid>
		<description><![CDATA[Tra gli artisti selezionati per il premio Emerging Talents promosso dalla Strozzina di Firenze, Marzia Migliora è senza dubbio tra quelli che a fatica possono essere considerati ancora emergenti. Il suo lavoro, in continua evoluzione, ha raggiunto una maturità di ricerca e una riconoscibilità artistica data dai temi presenti fin dai suoi primi interventi. Temi (...)]]></description>
			<content:encoded><![CDATA[<p>Tra gli artisti selezionati per il premio <strong>Emerging Talents</strong> promosso dalla Strozzina di Firenze, Marzia Migliora è senza dubbio tra quelli che a fatica possono essere considerati ancora emergenti. Il suo lavoro, in continua evoluzione, ha raggiunto una maturità di ricerca e una riconoscibilità artistica data dai temi presenti fin dai suoi primi interventi. Temi - le fobie, il mettersi alla prova fisicamente, la perdita, la cecità, l&#8217;errore, l&#8217;anomalia, il limite, il vincolo - che compongono lo scheletro della sua narrazione e del suo raccontare storie personali.</p>
<p>Abbiamo incontrato Marzia Migliora in occasione della lecture <em>Dieci asterischi. Una testimonianza sulla condizione dell‘artista nell‘Italia di oggi</em> che ha inaugurato la nuova serie di Lecture and Focus on Artists della Strozzina. Le abbiamo chiesto cosa sono i 10 asterischi ai quali fa riferimento il titolo del suo intervento, cosa voglia dire essere giovani artisti in Italia oggi, che effetto fa essere considerata ancora una &#8220;debuttante&#8221;, per quanto si è giovani, come si fa a rimanere artisti anche dopo la soglia dei 35 anni,  quali siano i vizi del sistema dell&#8217;arte del nostro paese.</p>
<p>L&#8217;intervista è accompagnata da <strong>Spion 0221</strong> e <strong>Du bist nicht zu jung</strong> di <em>Schaeng Pfui</em>, scaricabile dalla netlabel www.so-healthy-music.com.
</p>
]]></content:encoded>
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	</item>
		<item>
		<title>Lorenzo Fusi presenta Cyprien Gaillard</title>
		<link>http://radiopapesse.org/podcasting/archives/191</link>
		<comments>http://radiopapesse.org/podcasting/archives/191#comments</comments>
		<pubDate>Thu, 18 Dec 2008 11:06:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/191</guid>
		<description><![CDATA[Una personale - la prima in un&#8217;istituzione italiana - dedicata dall&#8217;SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1° marzo 2009
Dopo la retrospettiva dedicata all&#8217;opera di Gordon Matta Clark, si tratta di un&#8217;altra esposizione incentrata sullo spazio pubblico - una riflessione sul suo utilizzo e occupazione, sul paesaggio urbano, sui rapporti fra centro (...)]]></description>
			<content:encoded><![CDATA[<p>Una personale - la prima in un&#8217;istituzione italiana - dedicata dall&#8217;SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1° marzo 2009</p>
<p>Dopo la retrospettiva dedicata all&#8217;opera di Gordon Matta Clark, si tratta di un&#8217;altra esposizione incentrata sullo spazio pubblico - una riflessione sul suo utilizzo e occupazione, sul paesaggio urbano, sui rapporti fra centro e periferia, sulla convivenza metropolitana, le politiche abitative e l&#8217;urbanistica - con una particolare attenzione alle relazioni tra le pratiche artistiche degli anni settanta e quelle più attuali.</p>
<p><strong>Lorenzo Fusi</strong> - curatore della mostra - <strong>introduce il lavoro dell&#8217;artista</strong>, i quesiti sollevati e quelli cui cerca risposta. Dai legami con i movimenti artistici degli anni 70 all&#8217;interesse per l&#8217;estetica dell&#8217;architettura fallimentare, dal lavoro sul labile confine tra vandalismo di stato e atto illecito individuale all&#8217;attenzione ai paesaggi suburbani e alle demolizioni spettacolari. Un lavoro, dice Lorenzo Fusi, che non si confonde con l&#8217;operato degli architetti, che non cerca risposte politiche al fallimento delle utopie sociali e architettoniche ma che piuttosto pone attenzione all&#8217;estetica e alla bellezza della rovina e delle architetture disertate e cerca di cambiare il nostro approccio a quegli edifici che hanno un valore storico nonostante il loro fallimento. Una rieducazione al paesaggio e alle forze entropiche che lo ridefiniscono.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/191/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Lorenzo%20Fusi%20su%20Cyprien%20Gaillard.mp3" length="35105253" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Una personale - la prima in un'istituzione italiana - dedicata dall'SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1deg; marzo 2009

Dopo la retrospettiva ...</itunes:subtitle>
		<itunes:summary>Una personale - la prima in un'istituzione italiana - dedicata dall'SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1deg; marzo 2009

Dopo la retrospettiva dedicata all'opera di Gordon Matta Clark, si tratta di un'altra esposizione incentrata sullo spazio pubblico - una riflessione sul suo utilizzo e occupazione, sul paesaggio urbano, sui rapporti fra centro e periferia, sulla convivenza metropolitana, le politiche abitative e l'urbanistica - con una particolare attenzione alle relazioni tra le pratiche artistiche degli anni settanta e quelle piugrave; attuali.

Lorenzo Fusi - curatore della mostra - introduce il lavoro dell'artista, i quesiti sollevati e quelli cui cerca risposta. Dai legami con i movimenti artistici degli anni 70 all'interesse per l'estetica dell'architettura fallimentare, dal lavoro sul labile confine tra vandalismo di stato e atto illecito individuale all'attenzione ai paesaggi suburbani e alle demolizioni spettacolari. Un lavoro, dice Lorenzo Fusi, che non si confonde con l'operato degli architetti, che non cerca risposte politiche al fallimento delle utopie sociali e architettoniche ma che piuttosto pone attenzione all'estetica e alla bellezza della rovina e delle architetture disertate e cerca di cambiare il nostro approccio a quegli edifici che hanno un valore storico nonostante il loro fallimento. Una rieducazione al paesaggio e alle forze entropiche che lo ridefiniscono.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ends&#038;Entries 6 - Liverpool - Scouse Scouse</title>
		<link>http://radiopapesse.org/podcasting/archives/190</link>
		<comments>http://radiopapesse.org/podcasting/archives/190#comments</comments>
		<pubDate>Wed, 17 Dec 2008 08:19:15 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/190</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST Scouse Scouse -7’03- Vergil Sharkya’.  Scouse Scouse deals of the typical dish of Liverpool (&#8221;scouse&#8221;) and of the Liverpudlian accent (&#8221;scouse&#8221;). (With voices of Sharon Keogh, Joey Zeb, Mike Fields, John Cotgreave)
Etienne Noiseau ha invitato quindici artisti sonori a (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST <strong>Scouse Scouse</strong> -7’03- <strong>Vergil Sharkya’</strong>. <em> Scouse Scouse deals of the typical dish of Liverpool (&#8221;scouse&#8221;) and of the Liverpudlian accent (&#8221;scouse&#8221;). (With voices of Sharon Keogh, Joey Zeb, Mike Fields, John Cotgreave)</em></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool
