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<loc>https://www.studiointernational.com/index.php/arc-i-draw-for-you</loc>
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<video:title>ARC: I Draw for You. Drawn Together Performance</video:title>
<video:description><![CDATA[Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall. Documentations of the Drawn Together Performance ARC: I Draw for You, which took place on Thursday 21 January 2010 at The Centre for Drawing Project Space, Wimbledon College of Art, London. All images: Nick Manser.
Read more at studioinmternational.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/58902723</video:player_loc>
<video:duration>182</video:duration>
<video:publication_date>2013-02-04T12:00:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/beneath-the-surface-toby-ross-southall-and-giorgio-bruni</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/409563940-0878312f6e4610fd333039195908e071c1eafb532ba6182c518d7326399ba9a4-d_295x166</video:thumbnail_loc>
<video:title>Beneath The Surface, 2010.</video:title>
<video:description><![CDATA[Toby Ross-Southall and Giorgio Bruni’s exhibition Beneath the Surface announces the opening of a new North London art space Studio #205. Recent Central Saint Martin’s graduates, Ross-Southall and Bruni have shared studio space for a number of years working both independently and collaboratively, with “mutual respect … we criticise each other’s work”.
Read more at studiointernational.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/58968619</video:player_loc>
<video:duration>227</video:duration>
<video:publication_date>2013-02-05T07:17:11+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/hitting-a-wall-finding-a-shape-an-interview-with-gary-hill</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/409069764-5df44a06cfc09f96506ad7a5b15fefae7d1a43288ca22d4c01061d58098e522d-d_295x166</video:thumbnail_loc>
<video:title>Gary Hill. Wall Piece, 2000 (excerpt).</video:title>
<video:description><![CDATA[Gary Hill. Wall Piece, 2000 (excerpt). Single-channel video/sound installation. Edition of six and one artist's proof.
Read more at studioinmternational.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/58902722</video:player_loc>
<video:duration>65</video:duration>
<video:publication_date>2013-02-04T12:00:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/reality-check-two-performances-by-anindita-dutta-at-fukuoka-asian-art-museum-kyushu-japan</loc>
<video:video>
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<video:title>Anindita Dutta. Performance 1. Wrest in Peace.</video:title>
<video:description><![CDATA[Anindita Dutta. Performance 1. Wrest in Peace. Video. Performed by students from Kyushu Sangyo University's Fine Arts Department. Courtesy Anindita Dutta.
Read more at studioinmternational.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/58896055</video:player_loc>
<video:duration>151</video:duration>
<video:publication_date>2013-02-04T10:45:46+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/409021742-90831701f306c12626c359f818697dc19d828dc9451ff621c1bd3f9cfaa63f49-d_295x166</video:thumbnail_loc>
<video:title>Anindita Dutta. Performance 2. A Mazing, 2010.</video:title>
<video:description><![CDATA[Anindita Dutta. Performance 2. A Mazing, 2010. Video. Performed by students from Kyushu Sangyo University's Fine Arts Department. Courtesy Anindita Dutta.
Read more at studioinmternational.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/58896057</video:player_loc>
<video:duration>193</video:duration>
<video:publication_date>2013-02-04T10:45:46+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/misericord-cathie-pilkington-and-jay-cloth</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/6o5lBW4D4Wk/hqdefault.jpg</video:thumbnail_loc>
<video:title>Kate Bush - Kite - Live At Hammersmith</video:title>
<video:description><![CDATA[Kate Bush at her eccentric best in this clip...I wish I could have been there!]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/6o5lBW4D4Wk</video:player_loc>
<video:duration>396</video:duration>
<video:publication_date>2008-02-10T14:22:22+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/YCa5vlo-v0Q/hqdefault.jpg</video:thumbnail_loc>
<video:title>The Featherstonehaughs Draw on the Sketchbooks of Egon Schiele</video:title>
<video:description><![CDATA["It's a strong emotive piece, wholly remarkable..." Debra Craine, The Times, 2010

A trailer of the 2010 reworking of The Featherstonehaughs Draw on the Sketchbooks of Egon Schiele. With dynamic reworked choreography and a brand new score played live, this production toured the UK in 2010 and will tour in autumn 2011.

**** The Times
**** Independent

Choreography: Lea Anderson
Production Design: Simon Corder
Costume Design: Sandy Powell
Composition: Steve Blake and Will Saunders

Dancers: Inn Pang Ooi, Ryen Perkins-Gangnes, Jacob Ingram-Dodd, (Ronny) Ming-Hei Wong, Sebastian Kurth, Neil Callaghan
Musicians: Steve Blake & Will Saunders]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/YCa5vlo-v0Q</video:player_loc>
<video:duration>136</video:duration>
<video:publication_date>2010-11-24T20:03:33+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/dissent-popes-and-swandown-a-taste-of-cafe-gallery-projects</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/GHS8hj4TdT8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Richard Harris - MacArthur Park</video:title>
<video:description><![CDATA[Tribute to the Late Richard Harris and his performance of Jimmy Webb's 'MacArthur Park'.

Shot actually in Macarthur Park, Los Angeles early one May morning whilst on holiday in 2007.

The video was shot by me and is one continuous piece of footage.  Note the guy doing some early morning warm up exercises that is just caught in frame towards the end.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/GHS8hj4TdT8</video:player_loc>
<video:duration>448</video:duration>
<video:publication_date>2007-11-15T09:20:27+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/show-jerwood-encounters</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/3hcZ4s9cvpw/hqdefault.jpg</video:thumbnail_loc>
<video:title>Bonzo Dog Doo Dah Band - Canyons Of Your Mind (1968)</video:title>
<video:description><![CDATA["Colour Me Pop" (1968)]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/3hcZ4s9cvpw</video:player_loc>
<video:duration>179</video:duration>
<video:publication_date>2008-10-04T23:31:49+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ships-and-sirens-at-festival-time</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/329084519-fd5592572465117592baf820fdf9a42ad2dd629fc8dbc635984383e96f5c5f1d-d_295x166</video:thumbnail_loc>
<video:title>Susan Philipsz. Timeline 2012</video:title>
<video:description><![CDATA[Artist Susan Philipsz launching her work Timeline 2012 at The Edinburgh Arts Festival 2012. Recorded at The Old Calton Burial Ground, Edinburgh, 1 August 2012. Recording image and editing by MK Palomar for Studio International.
Read more ... http://www.studiointernational.co.uk/index.php/ships-and-sirens-at-festival-time]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/47299966</video:player_loc>
<video:duration>638</video:duration>
<video:publication_date>2012-08-10T06:48:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lichtenstein-a-retrospective</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/FByXmf7lei0/hqdefault.jpg</video:thumbnail_loc>
<video:title>Lichtenstein: A Retrospective. Tate Modern, 2013</video:title>
<video:description><![CDATA[Review of the Roy Lichtenstein Retrospective exhibition at Tate Modern, London, 21 February -- 27 May 2013.
The first major Lichtenstein retrospective for 20 years, displaying over 125 of his paintings and sculptures, gives both space and credence to the study of his work as seeking to examine the meaning of artistic representation in an age of burgeoning mass reproduction.
Written and presented by Anna McNay. Filmed by Martin Kennedy. For Studio International]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/FByXmf7lei0</video:player_loc>
<video:duration>234</video:duration>
<video:publication_date>2013-03-18T15:34:26+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/liane-lang-fallen</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/435924295-ca35e5862e986ad2e0dbda326944a7c3efa40481d44a992a6e2c03397ff8f370-d_295x166</video:thumbnail_loc>
<video:title>Liane Lang: Fallen | Art First, London | April 2013</video:title>
<video:description><![CDATA[Studio International talks to Liane Lang about her latest exhibition, Fallen, at Art First, London.
April 2013.
Presented by Anna McNay.
Film by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/64730803</video:player_loc>
<video:duration>239</video:duration>
<video:publication_date>2013-04-24T10:57:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/new-order-british-art-today</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/436041690-5cf8f00fc977ae8b54b27417515308caa947edf989249055290313d9c80f2aa3-d_295x166</video:thumbnail_loc>
<video:title>New Order: British Art Today</video:title>
<video:description><![CDATA[Saatchi Gallery, London, 26 April - 29 September 2013.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/65145829</video:player_loc>
<video:duration>49</video:duration>
<video:publication_date>2013-04-30T10:07:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/pae-white-too-much-night-again</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/436072891-3b8ba9653d2427d55e76cb9c7510fd2cd959a76b46330ed982378ce769d3ca62-d_295x166</video:thumbnail_loc>
<video:title>Pae White : Too Much Night, Again</video:title>
<video:description><![CDATA[Pae White at South London Gallery, 13 March - 12 May 2013.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/65168946</video:player_loc>
<video:duration>45</video:duration>
<video:publication_date>2013-04-30T14:47:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rock-on-top</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/436069204-dff04367f85bc0a6125f7274379f3fa1149a669cfb7ad4b40321779ca60641f7-d_295x166</video:thumbnail_loc>
<video:title>Rock on Top of Another Rock</video:title>
<video:description><![CDATA[Fischli/Weiss: Rock on Top of Another Rock.
Serpentine Gallery, London, 8 March 2013 - 6 March 2014.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/65166307</video:player_loc>
<video:duration>45</video:duration>
<video:publication_date>2013-04-30T14:13:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/may-2013-video-review</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/436064552-497334d38e8cff0496eb34bd8dbff999119ce2a707f834cb8b49b9c420819ee0-d_295x166</video:thumbnail_loc>
<video:title>New Order… Saatchi Gallery; Pae White - Too Much Night, Again… SLG; Rock on… at the Serpentine Gallery.</video:title>
<video:description><![CDATA[Video review of New Order: British Art Today at the Saatchi Gallery; Pae White: Too Much Night, Again at the South London Gallery; Rock on Top of Another Rock at the Serpentine Gallery.
Presented by Anna McNay.
Film by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/65161250</video:player_loc>
<video:duration>140</video:duration>
<video:publication_date>2013-04-30T13:13:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/patrick-hughes</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/436566574-d6ded2bd3ddb05b00588ad8710794fc4fcba8b6b95b1043315e5ef4f93af7c81-d_295x166</video:thumbnail_loc>
<video:title>Patrick Hughes: Superspectivism</video:title>
<video:description><![CDATA[Studio International speaks to Patrick Hughes about his exhibition, Superspectivism, at Flowers Cork Street, London, April 2013.
Presented by Anna McNay.
Film by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/65506989</video:player_loc>
<video:duration>392</video:duration>
<video:publication_date>2013-05-05T13:11:55+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/frieze-new-york-2013</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/kX1JAZ7XD7U/hqdefault.jpg</video:thumbnail_loc>
<video:title>Thomas Bayrle. Scheibenwischer (Dirigest), 2013. Galerie Mezzanin, Frieze New York, 2013.</video:title>
<video:description><![CDATA[Windscreen wiper, electric drive, metal construction, sound
224 x 235 x 70 cm.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/kX1JAZ7XD7U</video:player_loc>
<video:duration>7</video:duration>
<video:publication_date>2013-05-13T11:52:00+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/patrick-caulfield-and-gary-hume</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/440446492-5fecd9d8fa9883ab9051ff2837f5b0979da0d36d9bd99b0daf147a9c5043af26-d_295x166</video:thumbnail_loc>
<video:title>Patrick Caulfield &amp; Gary Hume, Tate Britain, London 2013</video:title>
<video:description><![CDATA[Two masters of British art, two mini retrospective exhibitions, but held together in Tate Britain’s Linbury Galleries, so that the visitor might compare the bold use of colour and shape by some of our native talent from across two generations.
Patrick Caulfield & Gary Hume
Tate Britain, Linbury Galleries
5 June – 1 September 2013
Presented by Anna McNay
Filmed by Giorgio Bruni and Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/68209479</video:player_loc>
<video:duration>183</video:duration>
<video:publication_date>2013-06-12T07:20:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/dennis-hopper-on-the-road</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/443745725-6d592fe723c23412f1569d932808127729b4d778b85d12eb8d5702307ddf617d-d_295x166</video:thumbnail_loc>
<video:title>Dennis Hopper: On The Road</video:title>
<video:description><![CDATA[Dennis Hopper: On the Road.
Museo Picasso Málaga, 29 April – 29 September 2013.
Before joining the leagues of his subjects, entering into the world of celebrity as a cult director and actor, Dennis Hopper was a successful photographer who captured the anti-establishment, countercultural spirit of the 1960s through images of such iconic figures as Andy Warhol, Jane Fonda, and Paul Newman.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/70490076</video:player_loc>
<video:duration>81</video:duration>
<video:publication_date>2013-07-17T11:43:31+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ibrahim-el-salahi-a-visionary-modernist</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/443934574-d365285f50f3e8e1a994acd580616ba76ea744dd6d09e6a918a26dabd1b292d1-d_295x166</video:thumbnail_loc>
<video:title>Ibrahim El-Salahi: Interview. Tate Modern, July 2013</video:title>
<video:description><![CDATA[Miguel Benavides talks to Ibrahim El-Salahi about his Sudanese heritage, his time in prison on unfounded suspicion of anti-government activities, politics, his career, having sympathy for the underdog, and what makes good art.
Tate Modern, London, 5 July 2013.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/70420465</video:player_loc>
<video:duration>831</video:duration>
<video:publication_date>2013-07-16T12:32:34+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/mayor-boris-johnson-unveils-large-blue-hahn-cock</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/444493929-1fbef2302cc0951a308968f47ce3021b6d60717ac69b63fe5ff5c44dc50afc4b-d_295x166</video:thumbnail_loc>
<video:title>Hahn/Cock by Katharina Fritsch</video:title>
<video:description><![CDATA[Mayor of London Boris Johnson unveils Hahn/Cock by German artist Katharina Fritsch, the latest sculpture to be installed on the Fourth Plinth in Trafalgar Square.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/71044987</video:player_loc>
<video:duration>70</video:duration>
<video:publication_date>2013-07-25T16:16:41+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bedwyr-williams-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/445491796-7bb38afa316d06a54bacffeb1762a767cd55771cddeb6bfce84fa92a99f788ca-d_295x166</video:thumbnail_loc>
<video:title>Bedwyr Williams: Interview. London, 11 July 2013.</video:title>
<video:description><![CDATA[Living in a small village in north Wales, Bedwyr Williams is the first to confess that most people there, including his partner, think he is a little strange. And indeed, there is no straight talking with this polymath-artist-come-standup comedian whose work spans photography, sculpture, drawing, film and performance.
Williams is currently representing Wales at the Venice Biennale with The Starry Messenger. He is also one of seven artists at Ceri Hand Gallery summer exhibition, Implausible Imposters, where we spoke to him about his work.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/71764286</video:player_loc>
<video:duration>359</video:duration>
<video:publication_date>2013-08-05T15:54:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/janet-cardiff</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/449159885-174aaff789627a9c7a7df4ae773c687240df31ddcb767dc0ce6df974ead17265-d_295x166</video:thumbnail_loc>
<video:title>Janet Cardiff. The Forty Part Motet, 2001 (sound excerpt).</video:title>
<video:description><![CDATA[Sound excerpt from Janet Cardiff's The Forty Part Motet (2001), a re-working of Spem in
alium (1556?/1573?) by Thomas Tallis.
Janet Cardiff: The Forty Part Motet.
Metropolitan Museum of Art, New York, 10 September – 8 December 2013.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/74720972</video:player_loc>
<video:duration>123</video:duration>
<video:publication_date>2013-09-17T09:25:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/oscar-murillo</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/450575996-47810d142dc3e03f9b3b2700b9d5b40b2a0f707e220f685aa17390edb43c784a-d_295x166</video:thumbnail_loc>
<video:title>Oscar Murillo, if I was to draw a line, this journey started approximately 400km north of the equator.</video:title>
<video:description><![CDATA[If I was to draw a line, this journey started approximately 400km north of the equator is the title of Oscar Murillo’s exhibition at the South London Gallery, his first major solo show in the UK.
Written and presented by MK Palomar.
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/75895547</video:player_loc>
<video:duration>285</video:duration>
<video:publication_date>2013-10-01T14:39:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/philomene-pirecki</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/451946975-f2330ab804efde72fa3c89644ebb355b3c7c48bebb268b5f2b76e4f2f2b05776-d_295x166</video:thumbnail_loc>
<video:title>Interview: Philomene Pirecki. London, October 2013.</video:title>
<video:description><![CDATA[Philomene Pirecki: Image Persistence at Supplement Gallery, London, October 2013.
Pirecki has been shortlisted for the Max Mara Art Prize for Women 2013-15.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/76900793</video:player_loc>
<video:duration>408</video:duration>
<video:publication_date>2013-10-14T16:11:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/daniel-silver</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/452008878-b254d78e9a05967c2b7b454d1c299f0d558859c9d5220ace69fb5f2f79235b5a-d_295x166</video:thumbnail_loc>
<video:title>Daniel Silver: Dig</video:title>
<video:description><![CDATA[We are standing in the one time multi-storey car park on the long derelict site of one of London’s largest Odeon cinemas, on Grafton Way, just off Tottenham Court Road. This dark, dank, deserted basement is currently host to the latest Artangel commission, Dig, by sculptor Daniel Silver.
The Odeon Site, 24 Grafton Way, London, 12 September – 3 November 2013.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/76980351</video:player_loc>
<video:duration>146</video:duration>
<video:publication_date>2013-10-15T14:14:17+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/kara-walker</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/452322233-aca0174794532ef58605b9bb9e30a24bb15aadb6f63d8917436ea309c9c48b03-d_295x166</video:thumbnail_loc>
<video:title>Kara Walker: Interview. Camden Arts Centre, London, 10 October 2013</video:title>
<video:description><![CDATA[At the opening of Kara Walker's first UK exhibition, we spoke to her about her work, which is a dark and, at times, sinister, exploration of race, gender, sexuality and violence in American history and society. Best known for her life-size black paper silhouettes, Walker’s work is often displayed in the form of cyclorama, with light projections causing visitors’ shadows to intermingle with the fictional – and factual – characters on the walls.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/77189983</video:player_loc>
<video:duration>634</video:duration>
<video:publication_date>2013-10-17T22:44:31+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/interview-with-anita-glesta</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/452804619-4ba1ce1342e689a944c263328c0b322de9e1c617b405f329ceb00fc15e8620df-d_295x166</video:thumbnail_loc>
<video:title>Gernika Beijing 2013</video:title>
<video:description><![CDATA[Anita Glesta: Gernika/Guernica
Dame Jillian Sackler International Artists Exhibition Program
Arthur M. Sackler Museum of Art and Archaeology at Peking University
September 27 to October 31, 2013]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/77559955</video:player_loc>
<video:duration>180</video:duration>
<video:publication_date>2013-10-22T22:25:58+00:00</video:publication_date>
<video:uploader>Miguel Benavides</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/interview-with-jonathan-gabb</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/453751826-d46d6ad38fce4b946bcfbf21f47c9affed62a2cafbd39e099fc219ccc5170750-d_295x166</video:thumbnail_loc>
<video:title>Interview with Jonathan Gabb, 10 October 2013.</video:title>
<video:description><![CDATA[At the opening of Jonathan Gabb's exhibition at A Brooks Art, we spoke to him about his work. Using a carefully balanced combination of PVA glue and acrylic paints – the precise measures of which only he knows – Jonathan Gabb is a painter with a difference. Starting out with vast sheets of pure colour in huge trays on his studio floor, his finished works are something between painting and sculpture,  a joyous celebration of colour and material.
Jonathan Gabb: Opera Rose, A Brooks Art, London, 3 October – 16 November 2013.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/78113374</video:player_loc>
<video:duration>313</video:duration>
<video:publication_date>2013-10-29T17:52:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nostalgic-for-the-future</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/456132319-d0c28a033390daaf2d5a29bc8e021be443b7232dc01d205fe1e4fe981acbf08a-d_295x166</video:thumbnail_loc>
<video:title>Nostalgic for the Future, Lisson Gallery</video:title>
<video:description><![CDATA[We are at the Lisson Gallery, London, to see the group exhibition Nostalgic for the Future, shown in São Paulo, Brazil in April this year. This exhibition displays works by 16 different artists, celebrating the multigenerational programme of the gallery, from the 1960s to the present day.
Written and presented by MK Palomar.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/80257590</video:player_loc>
<video:duration>294</video:duration>
<video:publication_date>2013-11-25T06:32:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jules-de-balincourt-itinerant-ones</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/456892902-9fa9fc3d71c22ecb058c26ec1c4e52cd3b2586b275747c14ef49bd3c4e887cff-d_295x166</video:thumbnail_loc>
<video:title>Jules de Balincourt, Victoria Miro Gallery, Wharf Road, London</video:title>
<video:description><![CDATA[Victoria Miro Gallery, 16 Wharf Road, London, 16 November - 20 December 2013.
Balincourt’s exhibition is titled - after one of the paintings in this show - Itinerant Ones. Itinerant is described in the dictionary as meaning a person who travels from place to place for duty or business – but Balincourt’s images – his compositions and the people in them - wander about in body and appear to wonder with inquisitive mind for a myriad of intriguing and different reasons. As the accompanying gallery text tells us Ballincourt is interested in both personal and social depictions of humanity.
Written and presented by MK Palomar.
Filmed and edited by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/80831867</video:player_loc>
<video:duration>250</video:duration>
<video:publication_date>2013-12-02T15:18:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bill-woodrow-at-the-ra</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/458347590-19ffcc535a8f83c861caa855d8f3eb5d91f56decb3503b52c9fce41adbbbb4b4-d_295x166</video:thumbnail_loc>
<video:title>Bill Woodrow talks to Studio International about his exhibition at The Royal Academy of Arts, London</video:title>
<video:description><![CDATA[Burlington Gardens, the Royal Academy of Arts’ new venue for contemporary art, is currently home to more than 60 works by the academician Bill Woodrow, who helped to redefine British sculpture through the appropriation, disassembling and reincarnation of domestic objects, and his investigation into 2D and 3D landscapes. Woodrow talks to Studio International about the work in the exhibition.
Presented by Anna McNay.
Filmed and edited by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/82056920</video:player_loc>
<video:duration>995</video:duration>
<video:publication_date>2013-12-16T20:05:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/table-of-contents-a-live-installation</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/460847006-d27f0af08723c0513fe985d19969ed6f8bf9dbc4ad2309152cb1f53dbf049b15-d_295x166</video:thumbnail_loc>
<video:title>Siobhan Davies Dance: Table of contents at the ICA, London</video:title>
<video:description><![CDATA[Siobhan Davies Dance: Table of contents. ICA, London.
Siobhan Davies is an award-winning British dancer and choreographer with a particular interest in the concept of how one might archive dance and other performance art. To welcome in the new year, she has collaborated with the ICA and five dance artists to produce an innovative and boundary-breaking part-improvised performance – or, as the gallery is billing it, a live installation – which will run for seven hours a day, from 8-19 January 2014. 
Presented by Anna McNay.
Filmed and edited by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/84077352</video:player_loc>
<video:duration>220</video:duration>
<video:publication_date>2014-01-13T17:00:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/republic-of-the-moon-the-arts-catalyst-bargehouse-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/461874406-510d258977e40d48ea6a6ab530df52cefd16cd86001a9d8feea0ebfd58caf062-d_295x166</video:thumbnail_loc>
<video:title>The Arts Catalyst presents: Republic of the Moon</video:title>
<video:description><![CDATA[Agnes Meyer-Brandis, Sue Corke and Hagen Betzwieser (AKA WE COLONISED THE MOON), Liliane Lijn, Katie Paterson, Leonid Tishkov and Moon Vehicle.
To mark the start of its 20th year, the Arts Catalyst, an organisation that puts a cultural spin on science and technology, has taken over the Bargehouse, declared it an Earth-based embassy for the Republic of the Moon, and filled it with artists and their fantastical works. 
Bargehouse, Oxo Tower Wharf, London, 10 January – 2 February 2014.
Presented by Anna McNay
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/84801422</video:player_loc>
<video:duration>194</video:duration>
<video:publication_date>2014-01-22T15:06:04+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/interview-with-tomas-saraceno</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/462449654-f9dd0723f6e751db37d439697f3dbe6296f6489dffcebcf186e40dbbd8da9f89-d_295x166</video:thumbnail_loc>
<video:title>Tomás Saraceno interview | Bargehouse | London, 16 January 2014</video:title>
<video:description><![CDATA[Tomás Saraceno’s work encompasses utopian architectural proposals exploring his ideas for a sustainable metropolis in the sky. His balloon-like biospheres are inspired by structures found in nature such as clouds, soap bubbles and spider webs. His interdisciplinary interests have led him to collaborate with an array of architects and scientists. Studio International spoke to him at the Bargehouse, Oxo Tower Wharf, London.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/85196544</video:player_loc>
<video:duration>465</video:duration>
<video:publication_date>2014-01-27T16:51:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/carrie-mae-weems-three-decades-of-photography-and-video</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/WabrgaaRTj8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Carrie Mae Weems</video:title>
<video:description><![CDATA[Renowned artist Carrie Mae Weems discusses her art, including the work featured in the exhibition Burning Down the House: Building a Feminist Art Collection, and her relationship to feminism. This event took place in the Forum of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum on January 24, 2009. Video courtesy of the Elizabeth A. Sackler Foundation.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/WabrgaaRTj8</video:player_loc>
<video:duration>5512</video:duration>
<video:publication_date>2010-04-28T18:07:37+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/earthy-transitions-india-art-fair-2014</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/464888251-bac97241003602db3a30f2dee926589c6853bd57dfd00f3e47f47ce9de342db3-d_295x166</video:thumbnail_loc>
<video:title>Anindita Dutta. Everything Ends and Everything Matters, 2014.</video:title>
<video:description><![CDATA[Presented here by Latitude 28, at India Art Fair 2014, Everything Ends and Everything Matters is a massive, earthy monumental structure that exudes silent energy and dynamism. Dutta has been able to imprint her personal history and the play of primordial human emotions within the clay through this work, and its spiralling earthy energy stills one into silent thought.
India Art Fair 2014 – sixth edition
NSIC Exhibition Grounds, New Delhi
30 January – 2 February 2014
Filmed by Anil Das
© Anindita Dutta]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/86911326</video:player_loc>
<video:duration>1272</video:duration>
<video:publication_date>2014-02-17T11:53:33+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/kurt-jackson-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/464719081-cbb52fff1f09610cba39343a41b2ef7687b016efb3bc998777ae991e9490e2e9-d_295x166</video:thumbnail_loc>
<video:title>Kurt Jackson: Interview. St Just, Cornwall, January 2014.</video:title>
<video:description><![CDATA[Kurt Jackson, one of Britain's most celebrated landscape painters, talks to Studio International about the inspiration he finds in Cape Cornwall, near St Just – the most westerly town in England. 
A keen environmentalist, Jackson has worked with Greenpeace and Friends of the Earth. Humanitarian and ecological concerns have shaped his artistic practice for more than 20 years, whether narrating the lives of fishermen, collaborating with a hospital surgeon, capturing the light and colour of the River Thames, or travelling to a remote part of Scotland to paint a writer’s house. 
Priest Cove, situated on the wild Atlantic coast, is where Jackson has created a key sequence of seascapes, and the place he selects to discuss the connection between his art and the community. Inland, he presents a future project space, talks about his favourite sculptures and opens the door to his studio, where he tells the stories behind his current paintings.
Interview by Nicola Homer.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/86696181</video:player_loc>
<video:duration>1026</video:duration>
<video:publication_date>2014-02-14T07:14:53+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lights-in-snowland</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/464892018-0a37158f5e0348cfe593592d9c6b95bb5903e36206094e63a16112d883cf124a-d_295x166</video:thumbnail_loc>
<video:title>Shinji Omaki. Liminal Air Space – Time Wave, 2014.</video:title>
<video:description><![CDATA[Shinji Omaki. Liminal Air Space – Time Wave, 2014. Fabric, fan, sound, 5 x 18 m.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/87006711</video:player_loc>
<video:duration>22</video:duration>
<video:publication_date>2014-02-18T12:00:00+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/464892030-7a0edb280e6568a820241fbc297041132165125861d2a504d5b90c398eb18231-d_200x150</video:thumbnail_loc>
<video:title>Takahiro Matsuo. Snow Dance, 2014.</video:title>
<video:description><![CDATA[Takahiro Matsuo. Snow Dance, 2014. LED, acrylic tube, 4.5 x 7.3 x 4 m .]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/87006712</video:player_loc>
<video:duration>22</video:duration>
<video:publication_date>2014-02-18T12:00:00+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/xu-bing-interview-phoenix-project-at-the-cathedral</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/467435234-b9fe7e506ab658754744b4c99b461c0760e659e6ced2bf72fda1d434a06d8a82-d_295x166</video:thumbnail_loc>
<video:title>Phoenix: Xu Bing at the Cathedral, 2014</video:title>
<video:description><![CDATA[Highlights of the opening ceremony of Phoenix: Xu Bing at the Cathedral, Saturday, March 1, 2014 at the Cathedral of St. John the Divine, Amsterdam Avenue, Manhattan.
With tightrope master and Cathedral Artist in Residence Philippe Petit, performing The Song of the Phoenix: a Walk in Humility, and pianist Diyi Tang performing A Hundred Birds Paying Respect to the Phoenix by Wang Jianzhong.
Filmed by Alex Ma.
Additional images and video clips courtesy Xu Bing Studio, The Cathedral Church of Saint John the Divine, Juan A. Benavides and Rosa Venegas. 
Edited by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/88781470</video:player_loc>
<video:duration>722</video:duration>
<video:publication_date>2014-03-11T13:08:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/liliane-lijn-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/467565212-3d44888971b8ca756a6785d80ff2bd58732217fd4c687a318182a6c54a46218b-d_295x166</video:thumbnail_loc>
<video:title>Liliane Lijn in her north London studio, February 2014</video:title>
<video:description><![CDATA[Artist Liliane Lijn gives Studio International a tour of some of her key works in her north London studio.
Lijn conducts a thorough studio tour, turning on each of the amazing and sometimes ominously towering works from across her long career, creating a gentle background whirr, and beginning with some early koans (imperial white rotating cones with slivers of colour slicing through them at angles) and a collection of Poemcons (cones with text carved into them, lit from within, similarly rotating), she progresses via fragmentations of the self (for example, My Body, My Self, 1996) and tales of singing to looming feminine creations (her Cosmic Dramas series from the 80s), to fragmentations of her Aerogel pieces, resulting from a residency with NASA in 2005.
Presented by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/88877673</video:player_loc>
<video:duration>735</video:duration>
<video:publication_date>2014-03-12T09:23:34+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/the-armory-show-2014-the-secondary-market</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/467717035-517a0d01684523dd575b3094daaec5e8595b2c106a3d754621f418dd24311098-d_295x166</video:thumbnail_loc>
<video:title>Wilmer Wilson IV. From My Paper Bag Colored Heart, 2012. Armory Show 2014.</video:title>
<video:description><![CDATA[Wilmer Wilson IV. From My Paper Bag Colored Heart, 2012. Armory Show 2014.
Performance filmed by Miguel Benavides.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/89092467</video:player_loc>
<video:duration>107</video:duration>
<video:publication_date>2014-03-14T06:55:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alex-warren-and-toby-ross-southall-directors-of-eleanor-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/468575541-08fbd016e7e28e4c663f282941ab90d08be0b69445c62348ba5000d15c8c60c3-d_295x166</video:thumbnail_loc>
<video:title>Eleanor, directed by Alex Warren and Tobias Ross-Southall: interview</video:title>
<video:description><![CDATA[An extraordinary collaborative enterprise (displayed at the Cob Gallery Camden as a three-screen installation), Eleanor is conceived and co-directed by actor/director Alex Warren and film-maker/director Tobias Ross-Southall. Not least in their achievement with this Creative England, BFI and IdeasTap-supported project is the fact that they have gathered together such a remarkable group of creative makers and shakers to contribute to this visionary work, inspired by the poems of WH Auden, Robert Frost and Leonard Cohen. 
Starring Ruth Wilson.
Interview by MK Palomar. 
Interview filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/89642138</video:player_loc>
<video:duration>450</video:duration>
<video:publication_date>2014-03-20T15:00:58+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/zhang-enli-interview-hauser-wirth-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/470623543-8301c1ba7c47b25a6d1e7a615c99d8fc8525e7223a29ad90c26b525a75c359b6-d_295x166</video:thumbnail_loc>
<video:title>Zhang Enli: interview. Hauser &amp; Wirth, London, January 2014</video:title>
<video:description><![CDATA[In November last year (2013) Shanghai based Chinese artist Zhang Enli immersed his audience into the luscious colours and gestural strokes of his Space Painting installation at the Institute of Contemporary Arts (ICA) in London. To be immersed into Zhang’s vibrant hues and tonal motions is to revisit a childhood sensibility when play and dreams transport us into altered states. 
We came to see Zhang’s current exhibition at Hauser & Wirth, Saville Row, London – there is a painted installation space for this show too, although much smaller than his ICA installation. It is more intimate, almost like a den, for all of us Alice’s to shrink into and hide away. 
We began by asking Zhang what kind of materials he uses in his work. 
Interview by MK Palomar.
Filmed by Martin Kennedy.
Translated by Alex Ma.
Voiceover by William Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/91309695</video:player_loc>
<video:duration>330</video:duration>
<video:publication_date>2014-04-07T10:49:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/from-gucci-to-gaultier-london-hosts-two-major-fashion-exhibitions</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/471900918-656a98c8c630f8aa6d0b95950d4221558971e44b74376bac2d294fae41bc04a0-d_295x166</video:thumbnail_loc>
<video:title>The Glamour of Italian Fashion 1945-2014 and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk</video:title>
<video:description><![CDATA[This month sees the opening in London of two major fashion exhibitions, The Glamour of Italian Fashion 1945-2014 at the V&A, London, 5 April – 27 July 2014 and The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the Barbican, London, 11 April – 25 Aug 2014.
Written and presented by Layla Cheshem-Panam.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/92044133</video:player_loc>
<video:duration>184</video:duration>
<video:publication_date>2014-04-15T11:00:28+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/diverse-maniere-piranesi-fantasy-and-excess-sir-john-soanes-museum</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/472806280-6146350de9d17578a51fab5c7f68c067ab336df588b0fc149333baf4767bb63c-d_295x166</video:thumbnail_loc>
<video:title>Diverse Maniere: Piranesi, Fantasy and Excess. Sir John Soane’s Museum, London, 2014</video:title>
<video:description><![CDATA[Sir John Soane’s Museum was conceived as a place of inspiration, learning and provocation for “amateurs and students” working within the field of architecture. The current exhibition, Diverse Maniere: Piranesi, Fantasy and Excess, more than responds to this remit. Curator Jerzy Kierkuć-Bieliński tells us more.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/92873716</video:player_loc>
<video:duration>532</video:duration>
<video:publication_date>2014-04-24T16:26:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lower-east-side-the-real-estate-show-redux</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/-w0NYSAMA9k/hqdefault.jpg</video:thumbnail_loc>
<video:title>Frank M</video:title>
<video:description><![CDATA[Delancey Free Speech; Essex Street Market via Cuchifritos Gallery Space.

Photo Cred: Viqi French and Punk Nomad]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/-w0NYSAMA9k</video:player_loc>
<video:duration>368</video:duration>
<video:publication_date>2014-05-09T21:22:10+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/united-visual-artists-vanishing-point</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/448708002-0db7136222a8ded0b39c2a1feda0f7c916c1fb701200c9ef3c3dad193ae25d4c-d_295x166</video:thumbnail_loc>
<video:title>Vanishing Point</video:title>
<video:description><![CDATA[Vanishing Point employs perspective as both tool and visual outcome to reshape, redefine and represent a space. Inspired by sketches of Leon Battista Alberti, Leonardo DaVinci and Albrecht Dürer, UVA sends lines into space from an arbitrary vanishing point, creating different volumes, divisions and rooms to be explored by the audience.

http://www.uva.co.uk/work/vanishing-point]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/74308529</video:player_loc>
<video:duration>142</video:duration>
<video:publication_date>2013-09-11T13:16:21+00:00</video:publication_date>
<video:uploader>UVA</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ben-johnson-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/476366560-b697cfd363982f2c0fcb2c0845178a531bfe95679a127cf0c5dc28c0e856a345-d_295x166</video:thumbnail_loc>
<video:title>Ben Johnson: interview. Alan Cristea Gallery, London, 13 May 2014</video:title>
<video:description><![CDATA[Studio International visited the Alan Cristea gallery to talk to the painter Ben Johnson. This is his second exhibition at the gallery, comprising five new paintings of half-real, half-imagined interiors. Born in Wales, a graduate of the Royal College of Art, Johnson has been making extraordinary hyper-real paintings for around four decades. We asked him about his new works.
Interview by MK PALOMAR
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/96204189</video:player_loc>
<video:duration>1170</video:duration>
<video:publication_date>2014-05-23T10:00:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/royal-academy-summer-exhibition-2014</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/478741427-e4782ede35c84df66989a0ef487618607156983784072be5f5aeff25d0e8b3d4-d_295x166</video:thumbnail_loc>
<video:title>Royal Academy of Arts Summer Exhibition, 2014.</video:title>
<video:description><![CDATA[Studio International visited this year’s Royal Academy Summer Exhibition, and talked to some key figures behind the scenes, responsible for this eclectic display of over 1,200 works of art. 
The recently appointed Royal Academy artistic director, Tim Marlow, spoke to us about his role and future plans for the Academy. Edith Devaney, head of Summer Exhibition and contemporary curator at the Royal Academy of Arts, gave us her thoughts on this year’s exhibition.
Royal Academician Cornelia Parker spoke about her thinking behind the black and white gallery that she’s curated for this exhibition, and artist, Royal Academician and director of this year’s selection and hanging committee, Hughie O’Donoghue, talked to us about the process of hanging the show, his thoughts on making and viewing paintings, and the condition of painting today. 
Presented by MK Palomar.
Filmed and edited by William Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/98066717</video:player_loc>
<video:duration>977</video:duration>
<video:publication_date>2014-06-12T15:04:55+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/marina-abramovic-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/899132796-e96f8ce172e1b49ea593d55b40bdc1ca8ac0d865afba4978b678fe57d733697f-d_295x166</video:thumbnail_loc>
<video:title>Marina Abramović: interview. 512 hours, Serpentine Gallery, London.</video:title>
<video:description><![CDATA[‘A performance can’t happen without audience … Chemistry between audience and performer is key’

Abramović spoke to Studio International about why, for her, presence is so important, and what she expects from this long-durational performance…

In 2010, Marina Abramović took over MOMA in New York for a 736 hour and 30 minute long performance, The Artist is Present, during which time visitors could sit opposite her, meeting her gaze and feeling her energy. 
For her new performance at London’s Serpentine Gallery, Abramović is taking things one step further, removing the chairs, and simply wandering around among the 160 capacity audience, sometimes touching, sometimes interacting, for a duration of 512 hours. 
We spoke to her ahead of the opening about why, for her, presence is so important, what she expects from this long durational performance, and why it leaves her feeling even more vulnerable than her early 1970s Rhythm works.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/98374685</video:player_loc>
<video:duration>485</video:duration>
<video:publication_date>2014-06-16T16:42:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/479173479-46e9a380d9e2518cba56e80c28aeda6def289aa7404ffb0d47f36110db54abc7-d_295x166</video:thumbnail_loc>
<video:title>Marina Abramović Press Conference, 512 Hours.</video:title>
<video:description><![CDATA[Serpentine Gallery, London, 9 June 2014.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/98446283</video:player_loc>
<video:duration>719</video:duration>
<video:publication_date>2014-06-17T11:20:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/richard-jackson-new-paintings-hauser-and-wirth</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/479927654-f94f9e3993d0f2599df14859f758ae841658eaaa16e953fe0a4cbda4cc4be9b6-d_295x166</video:thumbnail_loc>
<video:title>Richard Jackson: New Paintings. Hauser &amp; Wirth, London</video:title>
<video:description><![CDATA[Hauser & Wirth, North Gallery, London, 23 May – 26 July 2014.
Richard Jackson (born 1939) has been a pre-eminent figure on the American art scene since the 1970s and, in his current exhibition at Hauser & Wirth, he certainly leaves his mark. Influenced by both Abstract Expressionism and action painting, this show is a playful, yet disturbing synthesis of the two.
Written and presented by Anna McNay.
Filmed by William Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/99020792</video:player_loc>
<video:duration>167</video:duration>
<video:publication_date>2014-06-24T06:59:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ben-quilty-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/482256582-f9e74a41baed06dedadb99f091da07a9eae505b5db19c150b240252c745bf302-d_295x166</video:thumbnail_loc>
<video:title>Ben Quilty: interview. Saatchi Gallery, London, 4 July 2014</video:title>
<video:description><![CDATA[Ben Quilty’s first solo London show opened at the Saatchi Gallery on 4 July, celebrating his winning of the inaugural Prudential Eye Award, 2014. Quilty’s work confronts Australian history and identity through a series of Rorschach-inspired paintings. These include Fairy Bower Rorschach (2012), which layers colonial landscape with past atrocities against Aboriginal people, and Self Portrait Smashed Rorschach (2009), in which images of past debauchery coincide with a surface whose textures recall trees and abstract patterns. His Inhabit series, meanwhile, challenges ideas of Australian colonialism and identity, through paintings of Captain Cook evolving from a devil and into portraits of the artist.
Christiana Spens went to the Saatchi Gallery to talk to Quilty about his exhibition, as well as his past work as an official war artist, embedded in the Australian Defence Force in Afghanistan, and his wider ideas about history, identity and brutality. 
Ben Quilty is at the Saatchi Gallery, London, from 4 July – 3 August 2014. 
Interview by Christiana Spens
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/100535405</video:player_loc>
<video:duration>1106</video:duration>
<video:publication_date>2014-07-11T14:59:16+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sapporo-international-art-festival-hokkaido-japan-2014-ryuichi-sakamoto</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/484894673-1d2a86c732d3d968b6ca42dfc2133678df0395ff748d78420f94fd514d02dbf0-d_295x166</video:thumbnail_loc>
<video:title>Ryuichi Sakamoto and YCAM InterLab. Forest Symphony, 2013-14.</video:title>
<video:description><![CDATA[Sapporo International Art Festival 2014. Read the review of works at http://www.studiointernational.com/index.php/sapporo-international-art-festival-hokkaido-japan-2014-ryuichi-sakamoto]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/102816690</video:player_loc>
<video:duration>15</video:duration>
<video:publication_date>2014-08-07T05:18:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/484894780-6e12a1cbaf2a32d91335c805890d31df3084212c019234741ac40eedd9a9c07f-d_295x166</video:thumbnail_loc>
<video:title>So Kanno and yang02. Senseless Drawing Bot, 2014.</video:title>
<video:description><![CDATA[So Kanno and yang02. Senseless Drawing Bot at the Sapporo International Art Festival 2014.
Read the review of works at http://www.studiointernational.com/index.php/sapporo-international-art-festival-hokkaido-japan-2014-ryuichi-sakamoto]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/102816691</video:player_loc>
<video:duration>20</video:duration>
<video:publication_date>2014-08-07T05:18:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rose-wylie-artist-interview-studio-kent</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/484927340-bda79c13cfafa324b4bc971fef4dd0fe9a32c72ff7bf935e4b2303d9a41954a8-d_640</video:thumbnail_loc>
<video:title>Rose Wylie: interview (part one), Kent, 7 July 2014.</video:title>
<video:description><![CDATA[Studio International visited the painter Rose Wylie in her studio in Kent, to see the new paintings she’s working on. Wylie, who is 80 this year, and has painted all her life, has also taught in further education, and, with her husband, the painter Roy Oxlade, in adult education. In the past 10 years, she has won awards and prizes, and her works have received increasingly greater attention within the fine art world and been included in exhibitions across the globe.
Wylie explained: “It used to be that the house was full of paintings stacked against the walls – now they go out and away.”
Surrounded by her wall-sized canvases and small graphite drawings (stored in paint-splattered plastic leaves), Wylie talked about her drawing, painting and thinking process, and the things that inspire and influence her work.
Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/102841258</video:player_loc>
<video:duration>1555</video:duration>
<video:publication_date>2014-08-07T11:05:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/484555667-482d40de70ee407e01933608dd4b7dc65ca764f7626149e4e31bce99338b7120-d_640</video:thumbnail_loc>
<video:title>Rose Wylie, interview,  (part two), Kent, 7 July 2014</video:title>
<video:description><![CDATA[Rose Wylie interview (part two).]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/102533019</video:player_loc>
<video:duration>1383</video:duration>
<video:publication_date>2014-08-04T11:02:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/drawn-together-artist-as-selector-jerwood-hastings</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/485118565-7dc3b470d6fe6a9effcae8d1f3b01b409c266fd634670016746e056cb72839a0-d_295x166</video:thumbnail_loc>
<video:title>Drawn Together: Artist as Selector, Jerwood Gallery hastings. Curated by Anita Taylor.</video:title>
<video:description><![CDATA[The Jerwood Gallery Hastings invited Anita Taylor, dean of Bath School of Art and Design at Bath Spa University and the founder of the Jerwood drawing prize project, to curate an exhibition of drawings by artists who have been on the selecting panel for the Jerwood drawing show, which began in 1994 and is now approaching its 20th anniversary. 
Taylor took us round the exhibition Drawn Together: Artist as Selector and spoke about a number of drawings in the show, including works by Ken Currie, Stephen Farthing, Michael Craig-Martin, Lisa Milroy, Avis Newman and Cornelia Parker.

Presented by MK Palomar.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/102993630</video:player_loc>
<video:duration>1020</video:duration>
<video:publication_date>2014-08-09T05:12:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anita-taylor-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/485118493-cd90a932a3c0c31c5a2fec2f7b1afcd0f0439ebf9ca72f22dab247be71f89574-d_295x166</video:thumbnail_loc>
<video:title>Anita Taylor: interview, Jerwood Gallery Hastings, 17 July 2014</video:title>
<video:description><![CDATA[Anita Taylor, dean of Bath School of Art and Design at Bath Spa University and the founder of the Jerwood drawing prize project, talked to Studio International about her own drawing practice, the importance of drawing in education, and the development of the Jerwood drawing prize. 
Interview by MK Palomar.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/102948190</video:player_loc>
<video:duration>1600</video:duration>
<video:publication_date>2014-08-08T13:46:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ed-atkins-ribbons-serpentine-sackler-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/486013396-b0283ccf7b64ab5e18cd24163b48473a20a0ab37a478f6c9b40957a9ad740ed5-d_640</video:thumbnail_loc>
<video:title>Ed Atkins: interview | London | 1 August 2014</video:title>
<video:description><![CDATA[Since graduating from the Slade School of Art in 2009, artist and film-maker Ed Atkins has been busy. He’s been selected for New Contemporaries and short-listed for the Jarman award. He’s co-curated at the ICA, been commissioned by Frieze Film and Channel 4, and had a solo show at Tate Britain – among other things. 
Read more at: http://www.studiointernational.com/index.php/ed-atkins-ribbons-serpentine-sackler-london
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/103679862</video:player_loc>
<video:duration>1006</video:duration>
<video:publication_date>2014-08-17T23:59:42+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alastair-upton-creative-foundation-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488624117-7cdfa667e9ca80cc3aec2319f46c0d915dda40cdfa508cb56e6ca2cf184f79fd-d_295x166</video:thumbnail_loc>
<video:title>Alastair Upton: interview, Folkestone Triennial 2014.</video:title>
<video:description><![CDATA[Alastair Upton is chief executive of The Creative Foundation, an independent visionary arts charity seeking to rejuvenate Folkestone through creative activity. As well as restoring more than 90 buildings in the Creative Quarter and building the Quarterhouse arts venue, they are also the people behind the Triennial and its lasting legacy of permanent artworks around town. Upton speaks to us about the changes he has seen in Folkestone, thanks to the Foundation, and about how community projects and artworks, such as the creation of Payers Park, leave their mark.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105705115</video:player_loc>
<video:duration>448</video:duration>
<video:publication_date>2014-09-09T17:55:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lewis-biggs-curator-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488624140-87073c41771b90f113aa71325426e7146c426653f48d35c5deb99b7722c61f2a-d_295x166</video:thumbnail_loc>
<video:title>Lewis Biggs: interview. Curator, Folkestone Triennial 2014.</video:title>
<video:description><![CDATA[Lewis Biggs is this year’s curator of the Folkestone Triennial, invited to join after 11 years as chief executive and artistic director of the Liverpool Biennial. He was also director of Tate Liverpool from 1990-2000. Biggs speaks to us about the challenges of working with “real life” and how he sees his role as curator.
Folkestone Triennial, 30 August – 2 November 2014.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105705116</video:player_loc>
<video:duration>465</video:duration>
<video:publication_date>2014-09-09T17:55:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alex-hartley-vigil-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488412703-b15e958f06b226c14b04a6ffdb5ca4be9f25f321bcc0461ce5c45da8d7a9093d-d_295x166</video:thumbnail_loc>
<video:title>Alex Hartley: interview. Vigil, Folkestone Triennial 2014.</video:title>
<video:description><![CDATA[Fresh from his incredible journey with Nowhereisland, Alex Hartley speaks to us from his lookout atop the Grand Burstin Hotel. With a vigil being held for the duration of the Folkestone Triennial, we were lucky enough to experience the view on a beautiful, sunny day.
Folkestone Triennial, 30 August – 2 November 2014.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105405490</video:player_loc>
<video:duration>221</video:duration>
<video:publication_date>2014-09-05T21:16:34+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jyll-bradley-green-light-for-mr-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488412678-fcc16f12eb4b63d24fda630d4142fbf2675017a7d6dd68c77fa9aa9d0b3d4cbf-d_295x166</video:thumbnail_loc>
<video:title>Jyll Bradley: interview. Folkestone Triennial 2014.</video:title>
<video:description><![CDATA[Jyll Bradley, a native of Folkestone, has returned to the town to create a wonderful homage to the Kentish hop gardens with which she grew up. Her work invites viewers to walk among the strings and green Plexiglas and neon poles and to enjoy three very different views across town. Constructed on the site of the old gasworks, the circular form also makes reference to the gasometer that once stood in this place.
Jyll Bradley, Green Light (for M.R.).
Folkestone Triennial, 30 August – 2 November 2014
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105418076</video:player_loc>
<video:duration>388</video:duration>
<video:publication_date>2014-09-06T04:02:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/pablo-bronstein-beach-hut-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488412463-14ee4c26a756380b2b5f73f126fd2987ab9046b0c6b2513ef5fb057a94530935-d_295x166</video:thumbnail_loc>
<video:title>Pablo Bronstein: interview, Folkestone Triennial 2014</video:title>
<video:description><![CDATA[Pablo Bronstein, whose Sketches for Regency Living graced the walls of the ICA in London this summer, has brought to life a sculpture based on the ideas of 18th-century architect Nicholas Hawksmoor. Bronstein’s creation is a grey beach hut, next to an empty container, with a non-functioning lighthouse extending above – and he explains to us why he hates beach huts and all things about them.
Pablo Bronstein, Beach Hut in the Style of Nicholas Hawksmoor.
Folkestone Triennial, 30 August – 2 November 2014.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105422753</video:player_loc>
<video:duration>213</video:duration>
<video:publication_date>2014-09-06T06:56:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/emma-hart-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488411912-5bedc14fdec0cde17b4e7a88c5d4b26870da1308c1145afe6db49ffd0ae7f2eb-d_295x166</video:thumbnail_loc>
<video:title>Emma Hart: interview, Folkestone Triennial 2014</video:title>
<video:description><![CDATA[Emma Hart’s work is full of anxiety. Located in an empty domestic space on Tontine Street, Folkestone, it fills the rooms with outlines of glasses, remnants of a party, and video screens that scream out, both in desolation and invitation. Hart feels under pressure, but takes the time to talk to us about how this manifests.
Emma Hart, Giving It All That.
Folkestone Triennial, 30 August – 2 November 2014.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105435083</video:player_loc>
<video:duration>254</video:duration>
<video:publication_date>2014-09-06T12:36:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rootoftwo-whithervanes-folkestone-triennial-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/488448814-ddb74f636746e40a33900dafd50d717aa4cca136ec80f1c01bc074697abb4137-d_295x166</video:thumbnail_loc>
<video:title>rootoftwo (John Marshall and Cezanne Charles): interview, Folkestone Triennial 2014</video:title>
<video:description><![CDATA[The work of rootoftwo also responds to anxiety, but by measuring social media and people’s response to, and production of, fear on the internet. Five Whithervanes, at locations across town, spin and light up in different colours, according to the messages they are picking up. The artists explain to us how the system works and how visitors – and even those across the globe – can interact and have an impact on the Whithervanes’ activity. 
rootoftwo, Whithervanes.
Folkestone Triennial, 30 August – 2 November 2014.
Interview by Anna McNay.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/105577498</video:player_loc>
<video:duration>446</video:duration>
<video:publication_date>2014-09-08T13:39:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rafael-lozano-hemmer-new-media-art-digital-technology-sphere-packing</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/489335901-7a6b54a3c195c40d2d26a6a5e4ef6190e7adc5696b908063938833cad7e1d7da-d_295x166</video:thumbnail_loc>
<video:title>Rafael Lozano-Hemmer, Under Scan, Brayford University Campus, Lincoln, UK, 2005.</video:title>
<video:description><![CDATA[Under Scan. East Midlands Development Agency, Brayford University Campus, Lincoln, United Kingdom, 2005.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/106272231</video:player_loc>
<video:duration>605</video:duration>
<video:publication_date>2014-09-16T07:29:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/489335174-a7e53e0df5eb275ca5398980a37a8e56e956246e05cfac5816e7f3f5641212c5-d_295x166</video:thumbnail_loc>
<video:title>Rafael Lozano-Hemmer. Voice Array (Matriz de Voz), featuring beatboxer LK, Casa Daros Rio, 2013</video:title>
<video:description><![CDATA[Rafael Lozano-Hemmer. Performance with the piece Voice Array (Matriz de Voz) , featuring beatboxer LK, Casa Daros Rio, Rio de Janeiro, Brazil, 2013.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/106272232</video:player_loc>
<video:duration>230</video:duration>
<video:publication_date>2014-09-16T07:29:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/vania-mignone-scenarios-sao-paulo-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/489318366-21487bff5f49769fc8b16e00fca5bad90cead193984997095ed5c3ea6c6f6627-d_295x166</video:thumbnail_loc>
<video:title>Vânia Mignone: interview. Scenarios, Museum of Contemporary Art of the University of São Paulo (MAC-USP), Brazil</video:title>
<video:description><![CDATA[In this conversation with Studio International about her first retrospective, titled Scenarios, at the Museum of Contemporary Art of the University of São Paulo, the painter Vânia Mignone explains her creative process, discloses her major influences, and tells us how she incorporates elements from her daily routine into her visual compositions. 
Interviewed by Caroline Menezes.
Filmed by Jonattas Poltronieri and Danilo Carneiro.
Original Music by Fabiano Marques.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/106186527</video:player_loc>
<video:duration>580</video:duration>
<video:publication_date>2014-09-15T11:10:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/agathe-sorel-retrospective-london-print-works-sculpture</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/496306901-4c3b1649a58440362b0dff98c880f159a1a9c80756c4c126917635be5fa6f435-d_295x166</video:thumbnail_loc>
<video:title>Agathe Sorel: studio tour, London 15 October 2014</video:title>
<video:description><![CDATA[Agathe Sorel was born in 1935 in Budapest in pre-revolution Hungary. Moving to Paris, via London, to study under Stanley William [Bill] Hayter, she encountered contemporary art and abstraction for the first time. Her work has been principally interested in the line, and its 3D – or even 4D – properties, which she has explored in print works and sculpture. She now has work represented in 43 major museums worldwide. Sorel talks to Anna McNay about the work in her retrospective exhibition at the Studio of Contemporary Art, Forest Hill, London.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/111591370</video:player_loc>
<video:duration>549</video:duration>
<video:publication_date>2014-11-11T20:47:26+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nadav-kander-photographer-dust-flowers-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/489859574-b6b00e4c31cf7e835af28c5086f99dfc6acbae2018fd4fc4d19b66b1fb34e350-d_295x166</video:thumbnail_loc>
<video:title>Nadav Kander: interview, Flowers Gallery, London, 12 September 2014.</video:title>
<video:description><![CDATA[Nadav Kander is an award-winning photographer with an international reputation. He has photographed politicians, film stars, royalty and Olympic athletes, as well as turning his attention to some ambitious landscape projects.
Whatever the subject matter, his work is instantly recognisable by its pervading unease and a propensity towards minimalism. For his most recent exhibition, simply entitled Dust, Kander travelled to the borders of Russia to photograph the radioactive ruins of two towns used for weapons-testing during the cold war.
Studio International went to Flowers Gallery in east London to talk to Kander about his influences and what draws him to photograph the darker side of human experience.
Nadav Kander: Dust
Flowers Gallery, Kingsland Road, London, 10 September – 11 October 2014
Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/106665231</video:player_loc>
<video:duration>968</video:duration>
<video:publication_date>2014-09-20T07:24:16+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nanda-vigo-interview-zero-chronotopes-fontana-ponti-manzoni</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/491288300-d1c42d4207217a00548ba6b4686d8247bc7754d7710eabf513173fd58c120f70-d_295x166</video:thumbnail_loc>
<video:title>Nanda Vigo: interview, Milan, 4 September 2014</video:title>
<video:description><![CDATA[A pioneer in modern Italian art, Nanda Vigo has continually skirted the confines of design, architecture and installation to compelling effect, in her own practice, as well as in her collaborations with other radical figures such as Lucio Fontana and Giò Ponti.
    Often characterised by an attention to the phenomenological effects of light and space, Vigo's oeuvre ranges from mind-bending interiors, enigmatic light sculptures and futuristic cemetery designs.
    On the occasion of her London exhibition of Chronotopes at the Mayor Gallery, and in anticipation of the forthcoming Zero survey at the Guggenheim New York, Studio International spoke to Vigo about her singular career, intense relationship with Piero Manzoni and enduring spirit of research.
Nanda Vigo: Chronotopes, The Mayor Gallery, London, 10 September – 24 October 2014
Interview by ANGERIA RIGAMONTI dI CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/107738610</video:player_loc>
<video:duration>1885</video:duration>
<video:publication_date>2014-10-01T14:21:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yuri-pattison-free-traveller-cell-project-space-internet-technology</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/500448301-2ed35355aee635dcd83a5f01e2ce345f0dbcba34c76f7452d4edc23e35ddac9a-d_295x166</video:thumbnail_loc>
<video:title>outsourced views, visual economies    |  Yuri Pattison</video:title>
<video:description><![CDATA[10 minute excerpt 
v09.14.01]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/84604849</video:player_loc>
<video:duration>600</video:duration>
<video:publication_date>2014-01-20T12:54:02+00:00</video:publication_date>
<video:uploader>Yuri Pattison</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/glenn-ligon-interview-call-and-response-camden</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/492833595-b551262315ef24939dccb7f4d569eeded3916d7dc27a1bd91943db7d16aca411-d_295x166</video:thumbnail_loc>
<video:title>Glenn Ligon: interview, Camden Arts Centre, London, 9 October 2014</video:title>
<video:description><![CDATA[Glenn Ligon, who was born in 1960, is famed for his thought-provoking works, which combine text, silkscreen painting, neon and video, and explore themes of identity, racism, sexuality and civil rights. 
His first solo exhibition in the UK, now on show at Camden Arts Centre, presents new works based on the plight of the Harlem Six – six black youths arrested for committing a murder during the Harlem riot in 1964 – and using footage of the comedian Richard Pryor. 
Ligon spoke to Studio International before the opening of his exhibition.
Glenn Ligon: Call and Response, Camden Arts Centre, London, 10 October 2014 – 11 January 2015.
Interview by Anna McNay
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/108946599</video:player_loc>
<video:duration>725</video:duration>
<video:publication_date>2014-10-14T16:52:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/aleah-chapin-maiden-mother-child-crone-flowers-bp-portrait-award</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/492971636-2ef3d3cc9406cb5e9247828886716257521d2b2d4ff852052f1cfae6b74e307b-d_295x166</video:thumbnail_loc>
<video:title>Aleah Chapin: interview, Flowers Gallery, London, 10 October 2014</video:title>
<video:description><![CDATA[American artist Aleah Chapin has had huge success early in her career. On graduating from the New York Academy of Art she was made a postgraduate fellow and went on to become one of the youngest artists to win the BP portrait award in 2012.
Her latest exhibition entitled Maiden, Mother, Child &amp; Crone explores each stage of a woman’s life and the relationships between generations, placing an emphasis on neo-paganism and a connectedness with nature. The largest work on display in this exhibition, entitled It Was the Sound of Their Feet, is a compositionally complex piece celebrating the mature body. The women in this painting play a game, forming a tunnel with their legs, through which each will crawl. Although advanced in years they play with the joyful abandon of youth. Age, Chapin shows us, is a state of mind.
Maiden, Mother, Child & Crone, Flowers Gallery, Cork Street, London, 8 October – 8 November 2014.
Interview by EMILY SPICER.
Filmed by MARTIN KENNEDY.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/109056194</video:player_loc>
<video:duration>476</video:duration>
<video:publication_date>2014-10-15T16:01:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anselm-kiefer-retrospective-royal-academy-of-arts-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/495276327-ef0f0221ac83d4ebc8235430e987bc5b720c4a4fd4e8a1cfc8b4aad7f4346ad1-d_295x166</video:thumbnail_loc>
<video:title>Anselm Kiefer, Royal Academy of Arts, London, 2014</video:title>
<video:description><![CDATA[Anselm Kiefer, who was born in Germany in 1945, studied law before beginning his art education in Karlsruhe and then Düsseldorf. Now seen as one of the most successful artists of his generation, he represented his country at the 39th Venice Biennale in 1980 and was elected an honorary member of London’s Royal Academy in 1996. The Royal Academy’s current exhibition, which showcases more than 40 years of his career, is the first major retrospective of his work to be held in the UK. 
Royal Academy of Arts, London
27 September – 14 December 2014
Written and presented by Anna McNay
Filmed by William Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/110808742</video:player_loc>
<video:duration>208</video:duration>
<video:publication_date>2014-11-03T13:32:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/christian-thompson-australian-indigenous-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/TVz19O8rhBc/hqdefault.jpg</video:thumbnail_loc>
<video:title>Christian Thompson - 'Gamu Mambu' Live Katzen Art Center Washington DC, USA.</video:title>
<video:description><![CDATA['Gamu Mambu' Live at the Katzen Art Center Washington DC, USA.

www.christianthompson.net]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/TVz19O8rhBc</video:player_loc>
<video:duration>161</video:duration>
<video:publication_date>2009-09-19T16:55:53+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/adeline-de-monseignat-home-creatures-ronchini-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/496770977-3454f7af87d44fee750d05a1761d3f70659b73797bfe8c66d4fad0e7cccebe14-d_295x166</video:thumbnail_loc>
<video:title>Adeline de Monseignat: interview, London, 2 October 2014</video:title>
<video:description><![CDATA[Dutch-Monagesque artist Adeline de Monseignat’s work is greatly influenced by Sigmund Freud’s concept of the uncanny. For her current exhibition, Home at the Ronchini Gallery, she has created a large-scale installation exploring childhood memories. 
Adeline de Monseignat: Home
Ronchini Gallery, London
14 November 2014 – 17 January 2015
Interview by Anna McNay
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/111953743</video:player_loc>
<video:duration>608</video:duration>
<video:publication_date>2014-11-15T20:20:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/allen-jones-royal-academy-london-pop-art</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/497200526-5819536e82b629e3416f6a8467c8812b10853637e96d3d5dee850f06b02604a3-d_295x166</video:thumbnail_loc>
<video:title>Allen Jones RA, Royal Academy of Arts, London, 2014</video:title>
<video:description><![CDATA[Risking the wrath of many, London’s Royal Academy of Arts is playing host to a long-overdue thematic overview of the controversial works of British pop artist Allen Jones.
Best known for his iconic furniture pieces – Table, Hat Stand and Chair (all 1969) – the latter of which was attacked with paint stripper by feminist campaigners in 1986, Jones’s work encompasses far more than just these furore-inducing sculptures. From beautifully crafted drawings to vibrant large-scale fauve-style paintings to painted steel sculptures, his range of media is wide, but his focus and subject matter remain consistent.
Allen Jones RA
Royal Academy of Arts, Burlington Gardens, London
13 November 2014 – 25 January 2015
Written and presented by Anna McNay
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/112269551</video:player_loc>
<video:duration>201</video:duration>
<video:publication_date>2014-11-19T06:40:17+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/steven-appleby-interview-loomus-guardian</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/498040534-d4e7c09a59551c512a899de1c70aa0ca9df9fd912d6e43e0f1756633a36efeab-d_295x166</video:thumbnail_loc>
<video:title>Steven Appleby interview (part one). Background and influences. November 2014.</video:title>
<video:description><![CDATA[Studio International visited the artist Steven Appleby's studio in south London. Appleby, whose work is sometimes described as absurdist, is primarily known for his weekly cartoon strip, Loomus, in the Guardian. 
Interview and film by MK Palomar.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/112795256</video:player_loc>
<video:duration>1146</video:duration>
<video:publication_date>2014-11-25T05:28:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/498035741-a8e03ba65c0fd21c4f87ac890dd81d977f6ebd0123173da8d1492ef814a4c977-d_295x166</video:thumbnail_loc>
<video:title>Steven Appleby interview (part two). Captain Star, Loomus, The Good Inn. November 2014.</video:title>
<video:description><![CDATA[Studio International visited the artist Steven Appleby's studio in south London. Appleby, whose work is sometimes described as absurdist, is primarily known for his weekly cartoon strip, Loomus, in the Guardian. 
Interview and film by MK Palomar.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/112899881</video:player_loc>
<video:duration>1318</video:duration>
<video:publication_date>2014-11-26T04:46:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/new-orleans-biennial-prospect-3-notes-for-now-review-tavares-strachan-lisa-sigal</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/498165933-0b3f5f4160752ef806b5039551295f4a16b48a59f7289b88da534b90bc29742e-d_295x166</video:thumbnail_loc>
<video:title>Tavares Strachan. You belong here, 2014.</video:title>
<video:description><![CDATA[Blocked out Neon. 30 x 80 ft. Courtesy of the artist. This project has been made possible, in part, by Canal Barge Company, Inc.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/112997308</video:player_loc>
<video:duration>17</video:duration>
<video:publication_date>2014-11-27T04:43:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alberto-biasi-interview-mayor-gallery-optical-dynamic-art</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/498758800-885e001be06a3e0f460224d0e8efb621899d1b41a822ab044c291c52f201f4af-d_295x166</video:thumbnail_loc>
<video:title>Alberto Biasi interview (part one), Mayor Gallery, London, 29 October 2014</video:title>
<video:description><![CDATA[In conversation with Studio International, Alberto Biasi reveals the singular motivations behind his work and its sometimes unexpected origins. He also sheds light on the processes involved in the creation of visually dynamic objects and how his infinitesimally precise manipulation of material and light evoke an intangible yet startlingly real dimension, to hypnotic effect. 
Alberto Biasi, Optical/Dynamic 1959-2012, The Mayor Gallery, London, 29 October – 19 December 2014.
Interview: ANGERIA RIGAMONTI di CUTÒ.
Filmed by: MARTIN KENNEDY.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/113382152</video:player_loc>
<video:duration>1772</video:duration>
<video:publication_date>2014-12-02T07:13:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/498835353-85c2d031fdb7e620eb1e7905373e2ed24e182167584452fa5b20b95815746a7a-d_295x166</video:thumbnail_loc>
<video:title>Alberto Biasi interview (part two), Mayor Gallery, London, 29 October 2014</video:title>
<video:description><![CDATA[In conversation with Studio International, Biasi reveals the singular motivations behind his work and its sometimes unexpected origins. He also sheds light on the processes involved in the creation of visually dynamic objects and how his infinitesimally precise manipulation of material and light evoke an intangible yet startlingly real dimension, to hypnotic effect. 
Alberto Biasi, Optical/Dynamic 1959-2012, The Mayor Gallery, London, 29 October – 19 December 2014.
Interview: ANGERIA RIGAMONTI di CUTÒ.
Filmed by: MARTIN KENNEDY.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/113484095</video:player_loc>
<video:duration>1933</video:duration>
<video:publication_date>2014-12-03T05:33:54+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/marie-jacotey-dolly-review-bloomberg-new-contemporaries</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/500120812-34ff6711beb7d5bb516362ddccf9ee8416b7f84abfc574aa972b42e79e2e7be4-d_295x166</video:thumbnail_loc>
<video:title>Marie Jacotey, interview, Hannah Barry Gallery, London, 27 November 2014.</video:title>
<video:description><![CDATA[One of this year’s Bloomberg New Contemporaries, 26-year-old, Paris-born Marie Jacotey is exhibiting 58 drawings on plaster in this, her first solo exhibition at the Hannah Barry Gallery.
Interview by Harriet Thorpe.
Filmed by Martin Kennedy.
Photographs of the artworks by Damian Griffiths.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/114416942</video:player_loc>
<video:duration>712</video:duration>
<video:publication_date>2014-12-13T04:52:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/trish-wylie-painter-video-interview-cowboys</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/500440919-d7701875ec37976b0aee99bd181d1dd5b6b15ec0b8db39ab6328cf131e29d375-d_295x166</video:thumbnail_loc>
<video:title>Trish Wylie, interview, London, December 2014.</video:title>
<video:description><![CDATA[Studio International has come to north west London to visit the painter Trish Wylie in her studio.
A graduate of Camberwell College of Arts, Wylie has been engaged in making images from an early age – and, by watching her father working in leather, she began to see and understand how materials could be made into something by just using your hands.
Although Wylie is drawn to a broad range of creative disciplines – literature, dance, performance and music – she chooses to work, as a painter because of its immediacy and its solitary practice.
Wylie's recent works focus on the cowboy as a potent symbol in popular culture.
In his 2010 forward to Cowboys, Wylie’s forthcoming Belgravia Gallery exhibition, writer and broadcaster Sir Christopher Frayling writes: “Wylie's paintings mediate the viewer’s relationship with contemporary figures of myth, providing in the process a hotline to the gods of the silver screen.”
Trish Wylie – Cowboys will run at the Belgravia Gallery, London, from 12 January to 12 February 2015.
Interview and film by MK Palomar.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/114570010</video:player_loc>
<video:duration>1243</video:duration>
<video:publication_date>2014-12-15T11:43:31+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/brian-bress-art-basel-miami-beach-2014-interview-video-painting-performance</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/501089834-dc31043bd81df8a4e44d64621f24de30b200eefb1e3f9ea12b25424b73edd870-d_295x166</video:thumbnail_loc>
<video:title>Brian Bress, Doctor/Patient #2 (on orange and yellow grids), 2014.</video:title>
<video:description><![CDATA[Brian Bress
Doctor/Patient #2 (on orange and yellow grids)
2014
High definition dual-channel video (colour), high definition monitors and players, wall mounts, framed, 2-part
37.75 x 48 x 4 in (95.89 x 121.92 x 10.16 cm) installed, 18 min 07 sec loop. 
Courtesy Cherry and Martin, Los Angeles, CA.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/115159098</video:player_loc>
<video:duration>56</video:duration>
<video:publication_date>2014-12-22T05:04:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/dan-coombs-interview-jerwood-encounters-suspicion</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Kk8FW9atXuw/hqdefault.jpg</video:thumbnail_loc>
<video:title>Suspicion (1941) - glass of milk scene (with bit of rus voiceover)</video:title>
<video:description><![CDATA[http://www.imdb.com/title/tt0034248/
one of the most powerful Hitchcock scenes. 
Lina is convinced that her lovely husband Johnnie is planning to poison her, but still somewhat refuses to believe it. 

note the glass of milk is practically glowing - the director used a hidden light inside. 


*** spoiler down here - read after watching ***
this is the most badass killer i can imagine: "good night, Lina", kiss on the lips, stands up and goes out of the room. 

also the contrast between her world where he's the cold-blooded murderer and his - normal, regular life with his dear wife feeling not very well from time to time.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Kk8FW9atXuw</video:player_loc>
<video:duration>106</video:duration>
<video:publication_date>2010-08-23T13:55:46+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/wojciech-fangor-colour-light-space-kasia-kulczyk-michaela-de-pury-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/501917773-c35f4839314851ea21aaa9ef8db2582a0e614b1c76ca44bdbd8b9a29e394e1bc-d_295x166</video:thumbnail_loc>
<video:title>Wojciech Fangor: Colour-Light-Space. Interview with curators Kasia Kulczyk and Michaela de Pury.</video:title>
<video:description><![CDATA[In an interview with Studio International at the opening of an exhibition of Fangor’s early works, as part of the new cultural programme at 3 Grafton Street, Mayfair, a Georgian town house owned by Kulczyk’s family, Kasia Kulczyk explains why it is so important for her to bring Fangor’s work back out into the public. Michaela de Pury, who has curated the exhibition along with her husband Simon, also speaks to us about the attraction of Fangor’s work and how she would like to take it further afield. 
Wojciech Fangor: Colour-Light-Space
3 Grafton Street 
9 December 2014 – 9 January 2015

Interviews by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/115768676</video:player_loc>
<video:duration>496</video:duration>
<video:publication_date>2015-01-01T16:32:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/charles-richardson-interview-bloomberg-new-contemporaries-2014-ica-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/500254120-8d6267dd58dbea8546744fa3772c162ae28cfb2b70543021757177f5bb608546-d_295x166</video:thumbnail_loc>
<video:title>Charles Richardson, interview at Bloomberg New Contemporaries 2014, ICA, London</video:title>
<video:description><![CDATA[Recent Slade graduate Charles Richardson has hit the ground running. This year, in addition to his inclusion in Bloomberg New Contemporaries, he won the coveted New Sensations prize. Richardson’s work is an intricate mix of mediums and ideas and has recently culminated in a project that sees his own likeness digitally rendered in 3D. The eerie result resembles a hollow, rotating death mask, melded with the detritus of everyday life. We spoke to Richardson about his artistic processes, the concepts behind his work, and how he hopes to continue experimenting.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/114233573</video:player_loc>
<video:duration>325</video:duration>
<video:publication_date>2014-12-11T07:04:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/milou-van-der-maaden-bloomberg-new-contemporaries-2014-ica-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/499720160-dca6bae8a0888dab258ce10eaeb591f1dad53857a11dad1722dca93ec9d35191-d_295x166</video:thumbnail_loc>
<video:title>Milou van der Maaden, interview at Bloomberg New Contemporaries 2014, ICA, London</video:title>
<video:description><![CDATA[Dutch artist Milou van der Maaden graduated from the Slade School of Fine Art this year and instantly caught the attention of the panellists selecting for Bloomberg New Contemporaries with her entry From A Head to A Head, a video piece exploring a range of cultural and social issues centring on the complexities of colonial history, repatriation and diplomatic relations. We spoke to Van der Maaden about her work and what it means for an emerging artist to be included in such a high-profile, highly selective exhibition.
Institute of Contemporary Arts, London
26 November 2014 – 25 January 2015
Interview by Emily Spicer
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/113963169</video:player_loc>
<video:duration>304</video:duration>
<video:publication_date>2014-12-08T17:02:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/matt-copson-interview-bloomberg-new-contemporaries-2014-ica-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/499720463-96bbf8bce1831f658e39b72d8e487f97a339cd223d35cff29b38fecc8b013fbf-d_295x166</video:thumbnail_loc>
<video:title>Matt-Copson, interview at Bloomberg New Contemporaries 2014, ICA, London</video:title>
<video:description><![CDATA[Emerging artist Matt Copson’s alter ego is a vengeful fox named Reynard. Using ancient European folklore as inspiration, Copson has created a character that is both hateful and pitiful. Reynard has many manifestations, but at this year’s Bloomberg New Contemporaries exhibition he takes the form of a stylised drawing that changes colour hypnotically, accompanied by a voice-altered diatribe performed by Copson himself. With Reynard growling menacingly in the background, we spoke to Copson about his work and influences. 
Institute of Contemporary Arts, London
26 November 2014 – 25 January 2015
Interview by Emily Spicer
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/113963168</video:player_loc>
<video:duration>363</video:duration>
<video:publication_date>2014-12-08T17:02:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/basim-magdy-interview-many-colors-of-the-sky-radiate-forgetfulness-egyptian-artist</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/504311964-cf6b441e4036bc5b81493233dece6fbdecbfd7d85c132f7d9c2c2bab8bc92baf-d_295x166</video:thumbnail_loc>
<video:title>Basim Magdy interview, Cecilia Brunson Projects, London, 17 January 2015</video:title>
<video:description><![CDATA[Basim Magdy reveals a world of colour in his films and photographs. The critically acclaimed Egyptian artist uses a poetic language of image, text and sound in his narratives of collective memory and forgetfulness. Science, futurology and the natural world are among the interests spotlighted in his first solo exhibition in London. 
Curated by Regine Basha at Cecilia Brunson Projects, the show features one of his most recent films, The Many Colors of the Sky Radiate Forgetfulness (2014), to be screened this month at the Rotterdam International Film Festival 2015. Basim Magdy talks to Studio International about the subject and process of his filmmaking.
Basim Magdy: The Many Colours of the Sky Radiate Forgetfulness
Cecilia Brunson Projects, London, 17 January – 27 February 2015
Interview by Nicola Homer
Filmed by William Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/117345404</video:player_loc>
<video:duration>943</video:duration>
<video:publication_date>2015-01-20T20:39:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/frederick-wiseman-national-gallery-film-zipporah</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Nq1UqU2u1hs/hqdefault.jpg</video:thumbnail_loc>
<video:title>Listen to Britain (1942)</video:title>
<video:description><![CDATA[National Archives and Records Administration

LISTEN TO BRITAIN

Office for Emergency Management. Office of War Information. Overseas Operations Branch. New York Office. News and Features Bureau. (12/17/1942 - 09/15/1945)

ARC Identifier 38651 / Local Identifier 208.18 . Consists of miscellaneous British scenes and sounds that illustrate her wartime activities. These scenes and sounds include singing by women ambulance drivers and by service men at a canteen, war production at factories, lunchtime symphony concerts, and airplane detection units at work.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Nq1UqU2u1hs</video:player_loc>
<video:duration>1177</video:duration>
<video:publication_date>2010-06-13T11:48:24+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Yu7b-jGANr8/hqdefault.jpg</video:thumbnail_loc>
<video:title>National Gallery Official Trailer 1 (2014) - Documentary HD</video:title>
<video:description><![CDATA[Subscribe to TRAILERS: http://bit.ly/sxaw6h
Subscribe to COMING SOON: http://bit.ly/H2vZUn
Subscribe to INDIE & FILM FESTIVALS: http://bit.ly/1wbkfYg
Like us on FACEBOOK: http://goo.gl/dHs73
Follow us on TWITTER: http://bit.ly/1ghOWmt
National Gallery Official Trailer 1 (2014) - Documentary HD

National Gallery takes the audience behind the scenes of a London institution, on a journey to the heart of a museum inhabited by masterpieces of Western art from the Middle Ages to the 19th century. National Gallery is the portrait of a place, its way of working and relations with the world, its staff and public, and its paintings. In a perpetual and dizzying game of mirrors, film watches painting watches film.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Yu7b-jGANr8</video:player_loc>
<video:duration>113</video:duration>
<video:publication_date>2014-10-30T18:18:08+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/morehshin-allahyari-interview-digital-media-3d-printing-internet-iran</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/rIXzp7jokAQ/hqdefault.jpg</video:thumbnail_loc>
<video:title>TEDxDU Morehshin Allahyari -- Collaborative art in countries of conflict</video:title>
<video:description><![CDATA[Art activist Morehshin Allahyari teams artists from the US and Iran in a creative exchange designed to build bridges between the countries. She urges us to take action and think about how we can use our own talents to extend what collaboration can look like.
See complete bio and all TEDxDU Talks at www.tedxdu.com

About TEDx, x = independently organized event
In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.* (*Subject to certain rules and regulations)]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/rIXzp7jokAQ</video:player_loc>
<video:duration>484</video:duration>
<video:publication_date>2011-05-23T18:37:52+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lynda-benglis-video-interview-hepworth-wakefield</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/507203012-ce607af56dd82899b77355b1045f1c3b4616308785955ce4b42f7b6db6edd684-d_295x166</video:thumbnail_loc>
<video:title>Lynda Benglis interview, The Hepworth Wakefield, February 2015</video:title>
<video:description><![CDATA[Lynda Benglis is perhaps best-known for the full-colour advertisement she placed in Artforum magazine in 1974, consisting of a nude photograph of herself posing with a large latex dildo. A reaction to the phallocentrism of the contemporary art world, it certainly caused a stir.
Her oeuvre, however, is much wider than merely overt feminist gestures, as visitors to this enthralling 50-work survey show at the Hepworth Wakefield – the first to take place in a UK institution – will discover. 
Describing her 3D sculptural pieces as paintings that have escaped from the frame of the canvas, Benglis was heralded in the 60s as the “heir to Pollock”, when she began creating her so-called Fallen Paintings, pouring liquid plastic on to the floor and against the walls. She is a lover of a wide range of materials – bronze, polyurethane, glitter, paper and film, to name but a few – and she has studios across the globe in New York, New Mexico, Greece and India. 
Throughout her career, Benglis has made a concerted effort to push against any definition and to resist categorisation. “I think artists create their own rules,” she says. “Or break them.”
She spoke to Studio International at the opening of her exhibition.
Lynda Benglis
The Hepworth Wakefield
6 February – 1 July 2015
Interview by Anna McNay
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/119684066</video:player_loc>
<video:duration>714</video:duration>
<video:publication_date>2015-02-15T10:21:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cornelia-parker-video-interview-sculptor-installation-artist-whitworth-manchester</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/508035190-b84d6656b0c60db978d531a6d99ab663e7a3a20cb806622c75b0ed4c018dfa15-d_295x166</video:thumbnail_loc>
<video:title>Cornelia Parker interview, The Whitworth, Manchester, 11 February 2015</video:title>
<video:description><![CDATA[Known for her explosive works that cross the line between science and art, Parker spoke to us at the opening of her exhibition at The Whitworth, Manchester about why she wouldn’t necessarily call herself an artist and where her inspiration comes from.
Cornelia Parker’s works derive from a variety of starting points: a garden shed, The Little Mermaid, Auguste Rodin’s The Kiss, a sleeping Tilda Swinton, the chancellor’s red budget box and cracks in a pavement, to name but a few. 
To mark the reopening of Manchester’s Whitworth Gallery on 14 February, she has created a new work, which she describes as “a Blakean pyrotechnic display and meteorite shower”. Scientist Kostya Novoselov, who won the Nobel prize for the discovery of graphene, extracted graphite from the drawings of artists held in the Whitworth collection, including William Blake, and made it into graphene. Parker then used this to make the work of art, and a sensor activated by Novoselov’s breath will set off the “firework display”.
The newly refurbished gallery is also playing host to her largest exhibition to date, showcasing such iconic works as Cold Dark Matter: An Exploded View (1991) and The Distance (a kiss with string attached) (2003). Known for her explosive works, crossing the line between science and art, Parker spoke to us about why she wouldn’t necessarily call herself an artist and where her inspiration comes from.
The Whitworth, Manchester, 14 February – 31 May 2015
Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/120274643</video:player_loc>
<video:duration>697</video:duration>
<video:publication_date>2015-02-22T02:15:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sheila-hicks-video-interview-foray-into-chromatic-zones-hayward-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/509225475-8c3265ddf7d656e83cc80897b83f5fb32cf3684bb8d74c88dc60325c05f10b5b-d_295x166</video:thumbnail_loc>
<video:title>Sheila Hicks, interview, Hayward Gallery, Project Space, London</video:title>
<video:description><![CDATA[The American-born artist Sheila Hicks invited us to join her on her brightly coloured pigmented bales in her site-specific installation at the Hayward Gallery Project Space, where she asked us if we knew the difference between a carrot and a radish
    Despite having turned 80 last summer and boasting a successful 50-year career, Sheila Hicks (born Nebraska, 1934) still considers herself an “outsider” artist. In fact, as she talks about this status, it is clear that it is something she wears like a badge of honour and is keen to hold on to for the freedom it gives her.
    Hicks studied in Yale under Josef Albers and then won a Fulbright Scholarship (1957-8) to travel in South America. During her travels, both here and later in life, Hicks observed people working with fibres – wool, yarn, thread, and so on – as both a pastime and a way of life. She observed the vibrancy of different cultures and ways of life, of different terrains and cityscapes. She observed people making things. All of these influences can be found in her work today.
    For her first solo exhibition in a UK public art institution, Hicks has filled Dan Graham’s Waterloo Sunset Pavilion in the Hayward Gallery Project Space with huge pigmented bales – in an attempt, she says, to create something as exciting as London zoo. Accompanying this is a selection of her more museum-friendly works, including some of her intimate minimes (small studies) and fibre-based drawings. 
    In a conversation very much led by Hicks, and accompanied by the Hayward’s chief curator Stephanie Rosenthal, she explains more about where her inspiration came from, the importance of photography to her when she was travelling alone, and the difference between carrots and radishes.

Sheila Hicks: Foray into Chromatic Zones
Hayward Gallery Project Space, London
23 February – 19 April 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121141218</video:player_loc>
<video:duration>1060</video:duration>
<video:publication_date>2015-03-03T09:39:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/andrea-mason-video-interview-literary-kitchen-philippe-bradshaw</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/510094624-9759d38b2b2f8704228babecfbf04daeebcc9dc92a1774264e8fbe832d3c2889-d_295x166</video:thumbnail_loc>
<video:title>Andrea Mason, interview (part one), London, February 2015.</video:title>
<video:description><![CDATA[Artist and writer Andrea Mason talked to us from her studio in Camberwell, south London about Literary Kitchen, the creative writing enterprise she founded, her collaboration with Philippe Bradshaw and the inspirations behind her current research and writing as art practice.
    Andrea Mason, who is currently undertaking a PhD in creative writing at Goldsmiths, began her career as a visual artist, in collaboration with her then partner Philippe Bradshaw, whom she met in 1986. At the time, Bradshaw was studying fine art at Goldsmiths and Mason was studying German and Russian at King’s College London.
    Mason’s collaborative and solo works have been exhibited throughout the UK; she has contributed to conferences and publications, and recently founded the creative writing enterprise Literary Kitchen. Awarded the UCL Advances Bright Ideas award in 2011, Literary Kitchen has grown out of Mason’s own practice, providing courses, events and mentoring to develop new writing. In 2014, she organised the inaugural Literary Kitchen Festival in Peckham, south London, which is now an annual event.
Interview and film by MK Palomar.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121372402</video:player_loc>
<video:duration>1510</video:duration>
<video:publication_date>2015-03-05T11:20:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/509650034-847d5039a550d0d5207c727b7927008ce8d777159343472ad404d4b060fc7917-d_295x166</video:thumbnail_loc>
<video:title>Andrea Mason, interview (part two), London, February 2015.</video:title>
<video:description><![CDATA[Artist and writer Andrea Mason talked to us from her studio in Camberwell, south London about Literary Kitchen, the creative writing enterprise she founded, her collaboration with Philippe Bradshaw and the inspirations behind her current research and writing as art practice.
Interview and film by MK Palomar.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121387068</video:player_loc>
<video:duration>1986</video:duration>
<video:publication_date>2015-03-05T13:38:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/birds-of-metal-in-flight-evening-poetry-phoenix-xu-bing-cathedral-st-john-divine-new-york</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/510106165-a45c94056856ca512b658cfb894ea2e247178e2df6f5861b7a77de1bb6ed43d7-d_295x166</video:thumbnail_loc>
<video:title>Xu Bing, An Evening of Poetry - Welcoming Remarks by The Very Reverend Dr. James A. Kowalski and Prof. Lydia H. Liu</video:title>
<video:description><![CDATA[BIRDS OF METAL IN FLIGHT
An Evening of Poetry with 5+5

Welcoming Remarks by The Very Reverend Dr. James A. Kowalski, Cathedral of St. John the Divine and Prof. Lydia H. Liu, Columbia University

Phoenix: Xu Bing at the Cathedral
Cathedral of St John the Divine, New York City]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121666372</video:player_loc>
<video:duration>531</video:duration>
<video:publication_date>2015-03-09T08:51:58+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/510190148-d636429dba221fb5f808f9a80b2e3a09a74797e793140bb7addc4399c391ba3d-d_295x166</video:thumbnail_loc>
<video:title>Xu Bing, An Evening of Poetry: Bei Dao</video:title>
<video:description><![CDATA[BIRDS OF METAL IN FLIGHT
An Evening of Poetry with 5+5

Poetry Reading by Bei Dao

Phoenix: Xu Bing at the Cathedral
Cathedral of St John the Divine, New York City]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121671475</video:player_loc>
<video:duration>462</video:duration>
<video:publication_date>2015-03-09T09:51:58+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/510190466-9e2b3bc5cf3a1069acf4443d4fb84d3a17f57f8ae486a8785aba93561153de9e-d_295x166</video:thumbnail_loc>
<video:title>Xu Bing, An Evening of Poetry: Afaa Weaver</video:title>
<video:description><![CDATA[BIRDS OF METAL IN FLIGHT
An Evening of Poetry with 5+5

Poetry Reading by Afaa Weaver

Phoenix: Xu Bing at the Cathedral
Cathedral of St John the Divine, New York City]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121672252</video:player_loc>
<video:duration>420</video:duration>
<video:publication_date>2015-03-09T09:59:36+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/510190815-2c3b4a898b86a739eda67ee908faae6b9290fa21b32121cd46be65b15255f9fc-d_295x166</video:thumbnail_loc>
<video:title>Xu Bing, An Evening of Poetry: Zhai Yongming</video:title>
<video:description><![CDATA[BIRDS OF METAL IN FLIGHT
An Evening of Poetry with 5+5

Poetry Reading by Zhai Yongming

Phoenix: Xu Bing at the Cathedral
Cathedral of St John the Divine, New York City]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121672953</video:player_loc>
<video:duration>630</video:duration>
<video:publication_date>2015-03-09T10:06:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/510191086-05ea8a73b009f2c8a2b5d8ff0bcf49aa4499cb083261439b221df7f5b58a8b49-d_295x166</video:thumbnail_loc>
<video:title>Xu Bing, An Evening of Poetry: Pierre Joris</video:title>
<video:description><![CDATA[BIRDS OF METAL IN FLIGHT
An Evening of Poetry with 5+5

Poetry Reading by Pierre Joris

Phoenix: Xu Bing at the Cathedral
Cathedral of St John the Divine, New York City]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/121674351</video:player_loc>
<video:duration>536</video:duration>
<video:publication_date>2015-03-09T10:19:31+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jo-melvin-five-issues-of-studio-international-at-raven-row-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/511971568-f8d27cd197fac12e72fe0035b4504ea8d49a8a4f5f19940dc5da79fff2d49e70-d_295x166</video:thumbnail_loc>
<video:title>Interview with Jo Melvin, curator of Five Issues of Studio International, at Raven Row, London, March 2015</video:title>
<video:description><![CDATA[Studio international visited Raven Row in East London to talk to writer and curator Jo Melvin about the exhibition she has curated titled Five Issues of Studio International.
    The five issues of Studio International around which the exhibition is built were produced under the editorship of Peter Townsend between the mid-1960s and the mid-70s, a time when the role of sculpture directed a profound change in art. There was a revolutionary shift from post-constructivism and kineticism, through the abstract formalism at Saint Martin’s School of Art, to post-minimalism and, most recently, conceptualism. 
    Melvin’s exhibition displays some of the works, as well as some documentation of works written about in the five issues. The exhibition is constructed in such a way as to conjure into Raven Row’s gallery spaces, a contemporary conversation on making and thinking between then and now. 
    Studio International should acknowledge that visiting this exhibition gives us a unique and unusual opportunity for self-reflection – one that, clearly, cannot be completely objective.

Interview by MK PALOMAR 
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/122835971</video:player_loc>
<video:duration>1830</video:duration>
<video:publication_date>2015-03-21T10:06:05+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tina-keane-video-interview-film</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/513557104-99ed00f9e6f4686775a742585e006284e8c0bd4c7fa82498b250cd831ba4d721-d_295x166</video:thumbnail_loc>
<video:title>Tina Keane, interview, March 2015.</video:title>
<video:description><![CDATA[“Film takes up a particular space but only for a particular time… what I like about it is the way it comes together…  there’s something very exciting about it… you never quite know what you're going to get."
Multimedia artist Tina Keane talks about her early work, the influences that have developed her practice, and her primary concerns as an artist making work today.
    Tina Keane's work spans more than four decades and is identified by the theorist Jean Fisher, in her introduction to the book Electronic Shadows: the Art of Tina Keane, as exerting an immeasurable influence and contributing to our understanding of artistic invention and political engagement. We asked Keane to talk to us about her early work, the influences that have developed her practice, and her primary concerns as an artist making work today.
Interview and film by MK Palomar.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/123997943</video:player_loc>
<video:duration>1331</video:duration>
<video:publication_date>2015-04-02T20:00:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/making-it-sculpture-in-britain-1977-1986-jon-wood-jill-constantine-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/514048457-babc4f973853e3dee025eb87833069f7d0469814b31b6810daf35faea49ee571-d_295x166</video:thumbnail_loc>
<video:title>Making It: Sculpture in Britain 1977–1986. Interviews with Jill Constantine and Jon Wood, March 2015.</video:title>
<video:description><![CDATA[In the purpose-built Longside Gallery at the Yorkshire Sculpture Park, the Arts Council Collection has brought together the work of 40 artists from between 1977-1986, a period that saw the emergence of a new young generation of British sculptors.
    Studio International spoke to co-curator, Jon Wood, from the Henry Moore Institute, and Jill Constantine, head of the Arts Council Collection, about how the exhibition came about and what its main themes are. 
    Following on from exhibitions of the work of Garth Evans (2013, curated by Richard Deacon) and Uncommon Ground: Land Art in Britain 1966-79 (2014), which between them covered the period from 1959-1982, where sculptural practice was very much ephemeral, conceptual, or based on performance, this current exhibition looks at the early 80s, a time when sculptural practice in the UK went back into the workshops to experiment with a completely new approach of assembling.
    With half the exhibits drawn from the Arts Council Collection’s own rich holdings, and with women artists featuring prominently, this exhibition celebrates the treasury of British sculpture from the years leading up to the death of Henry Moore (himself not included, but with a parallel exhibition of his work, Back to a Land, on show in the Yorkshire Sculpture Park’s Underground Gallery and open air). 
    A number of artists rose to prominence during this period, but there has been a lack of publications and survey exhibitions – until now. The exhibition is complemented by an excellent publication featuring insightful essays by 12 critics, writers, gallerists and curators.

Making It: Sculpture in Britain 1977-1986
A Touring Exhibition from the Arts Council Collection
Longside Gallery, Yorkshire Sculpture Park
1 April – 21 June 2015

Interviews by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/124357481</video:player_loc>
<video:duration>455</video:duration>
<video:publication_date>2015-04-07T18:21:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sarah-jane-moon-inside-portraits-mall-galleries-bulldog-bursary</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/515260663-ab4b8957a096205809592dbc5d8fa899b670cf259e802bb6d9842432b0591159-d_295x166</video:thumbnail_loc>
<video:title>Sarah Jane Moon interview, Inside Portraits, Mall Galleries, London, April 2015</video:title>
<video:description><![CDATA[Having trained in portrait painting at Heatherley School of Fine Art (2009-2011), Sarah Jane Moon went on to receive commendations from both the Royal British Society of Sculptors and the Royal Society of Portrait Painters, from whom she was awarded the 2013 Bulldog Bursary. 
    Moon works primarily with oil on canvas and builds up layers, often painting objects in and out of the composition. She is keen to show her friends’ and sitters’ characters through both a visual likeness but also by the careful placement of objects that define them, such as books and postcards. Having spent some time in Japan, her work has a strong graphic element to it and she outlines her figures in black and flattens perspective, usually working from a photograph. 
    Her most recent work is her largest yet and depicts a dinner party with many of her friends crowded around the table, chatting and convivial. Above them hangs a stark black and white portrait of the lesbian author, Radclyffe Hall. 
    Moon spoke to Studio International at the opening of her joint exhibition in the Mall Galleries Learning Centre. 

Sarah Jane Moon and Emma Hopkins: Inside Portraits
Mall Galleries Learning Centre, London
16 – 19 April 2015 

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/125188468</video:player_loc>
<video:duration>454</video:duration>
<video:publication_date>2015-04-16T16:28:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/gavin-turk-project-beard-exclusive-video-interview-the-other-art-fair</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/515492934-20f0ec9c9ce87fbdab7f54699aacfe0a18e922629357e34ca6acf558f9a0b6d0-d_295x166</video:thumbnail_loc>
<video:title>Gavin Turk interview, Beard Project, London, 10 April 2015</video:title>
<video:description><![CDATA[For the launch of Project Beard at the Other Art Fair, artist Gavin Turk will shave off his beard in stages, transforming himself into six famous artists from Auguste Rodin to Salvador Dalí. Studio International went to Turk’s east London studio for a chat about facial hair and to exclusively film the final moments of his shaving spree. 
    Gavin Turk came to fame in Britain in the 1990s, in the era of the Young British Artists and Charles Saatchi, who included him in the 1997 group show, Sensation. Having first studied at Chelsea School of Art (1986-1989), Turk went on to the Royal College of Art, but was refused his final degree in 1991 on the grounds that his final piece, Cave, a blue heritage plaque commemorating his presence as a sculptor, placed in a whitewashed studio space, was insufficient. 
    This underlying theme of questioning the identity and role of the artist and author has remained throughout the ensuing two decades of Turk’s career, not least in his first major monograph published last year, This Is Not A Book About Gavin Turk, which lets 30 notable contributors explore themes associated with his work.
    As a special commission for the April 2015 London edition of The Other Art Fair, headed by Ryan Stanier, Turk has decided to cut off his rather bushy beard in stages, being photographed in the guise of six famous artists – from Auguste Rodin to Salvador Dalí – along the way. This is not too great a departure from previous works by the artist, which have seen him styled as icons of 20th-century culture, including Andy Warhol, Sid Vicious and Che Guevara.
    The signed editions and posters produced as part of Project Beard, as it has become known, will be sold at the fair to raise money for the educational children’s art charity, The House of Fairy Tales, set up by Turk and his wife in 2007. 
Gavin Turk: Project Beard
The Other Art Fair, Victoria House, Southampton Row, London
23-26 April 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/125375193</video:player_loc>
<video:duration>466</video:duration>
<video:publication_date>2015-04-19T08:14:05+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bryan-kneale-video-interview-five-decades-sculpture</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/516342827-d306a3517cc9738f742b16b09ee5b99a06b494399969ab657d027cf094953e7f-d_295x166</video:thumbnail_loc>
<video:title>Bryan Neale interview, Pangolin London, 10 April 2015</video:title>
<video:description><![CDATA[From shrapnel from a second world war German bomb to early editions of Studio International, Royal Academician Bryan Kneale talks about the inspiration behind his work and his latest show covering half a century of output.
    Bryan Kneale RA (b1930) was born and grew up on the Isle of Man, where, in the postwar years, art books were not easy to get hold of, but the library had volumes of the then Studio magazine, which he used to pore over and draw inspiration from. His ideas come from everywhere, though: in particular, Kneale recalls a lump of shrapnel from a German bomb that his father brought home for him when he was bedridden with whooping cough. This story, which Kneale told us at Pangolin London, where he is currently showing five decades of his work in a mini-retrospective, is expanded on in the catalogue that accompanies the exhibition. 
    Full of tales, Kneale also talks about his unconventional ways of working with metal and forming new shapes. Elected a Royal Academician in 1974 (after being made an Associate in 1970), Kneale famously accepted the honour only on condition that he could mount an exhibition – the Academy’s first – of abstract sculpture. Including the work of 24 sculptors active in the UK at the time, it has since been described as “the most groundbreaking exhibition of contemporary sculpture held in Britain”.
    Kneale originally trained as a painter, studying first at Douglas School of Art and then at the Royal Academy Schools from 1948 to 1952. Today, alongside sculpting, he also draws, and some of his works on paper are included in this exhibition. Despite suffering a serious stroke two years ago, Kneale continues to make work – albeit with a little help where necessary – and his ideas haven’t dwindled at all. Nor has his wry sense of humour. He began by telling Studio International about the risk of death by sculpture …
Bryan Kneale: Five Decades
Pangolin London
25 March – 2 May 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/126037755</video:player_loc>
<video:duration>937</video:duration>
<video:publication_date>2015-04-26T07:32:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/louise-cattrell-another-place-landscape-artist</loc>
<video:video>
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<video:title>Louise Cattrell interview, London, 16 April 2015</video:title>
<video:description><![CDATA[Landscape artist Louise Cattrell shares her secrets for bringing the viewer into the landscape and explains the magic of being presented with a blank white canvas. 
    Originally from Glasgow, Louise Cattrell likes to travel. She has had artist residencies all over the world, in places as diverse as Switzerland, Bulgaria, America, Sri Lanka and the Australian desert. The landscapes that she paints – in oil, but weakened with turpentine to the point of looking almost like watercolour – are from memory and often end up as an amalgamation of different places. Some of her canvases are large, but she also challenges herself to work on a smaller scale, capturing and containing the vast expanses of the sea, the sky and the mountains within the frame. 
    Cattrell spoke to Studio International just before the opening of her exhibition, Another Place.

Louise Cattrell: Another Place
71 Blandford Street, London
Presented by Payne Shurvell
15 April – 16 May 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/126300261</video:player_loc>
<video:duration>640</video:duration>
<video:publication_date>2015-04-28T15:46:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/c4rd-centre-for-recent-drawing-andrew-hewish-founder-director-video-interview</loc>
<video:video>
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<video:title>Andrew Hewish, artist and C4RD director, interview, London, April 2015</video:title>
<video:description><![CDATA[Artist Andrew Hewish founded C4RD, the Centre for Recent Drawing, ‘on the smell of an oil rag’ in a studio in Bethnal Green in east London in 2004
    A member of the museum association of the UK and a UK charity, C4rd (the Centre for Recent Drawing) was founded as an artist project to encourage independent and non-commercial production, by providing space for a broad variety of drawing practices in public exhibitions, residencies – both inhouse and online – and talks and publications. We asked Andrew Hewish to outline the thinking behind this space for drawing, and to tell us about some of the exhibitions and events that have taken place there over the past 10 years.
Interview and film by MK Palomar]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/125622079</video:player_loc>
<video:duration>595</video:duration>
<video:publication_date>2015-04-21T17:26:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/c4rd-centre-for-recent-drawing-will-peck-gordon-shrigley-collaborative-residency-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/516771790-84df89097317d2f54b2df4187b0232aa38b7f1f55630b16387f388ef5dcf9ec5-d_295x166</video:thumbnail_loc>
<video:title>Will Peck and Gordon Shrigley interview, London, April 2015</video:title>
<video:description><![CDATA[Will Peck, a recent graduate, and Gordon Shrigley, artist, (Gordon has various strings to his bow and asked me to describe him solely as ‘an artist’) talk about their collaborative residency at C4RD.
Under a new scheme at C4RD, artist and recent graduate Will Peck and artist Gordon Shrigley, currently standing in the general election for the Campaign Party in Hackney South and Shoreditch, worked together in a collaborative residency. We asked Peck and Shrigley to talk to us about how they negotiated this shared creative space.
Interview and film by MK Palomar]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/125622078</video:player_loc>
<video:duration>657</video:duration>
<video:publication_date>2015-04-21T17:26:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/c4rd-centre-for-recent-drawing-andrew-hewish-creative-practice-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/516769962-45adc5c5b07f0c10eab71007f5bf75e1ec40f310828897dc96438ad56bf64fa1-d_295x166</video:thumbnail_loc>
<video:title>Andrew Hewish interview, London, April 2015</video:title>
<video:description><![CDATA[Artist Andrew Hewish founded C4RD, the Centre for Recent Drawing, ‘on the smell of an oil rag’ in a studio in Bethnal Green in east London in 2004
    A member of the museum association of the UK and a UK charity, C4rd (the Centre for Recent Drawing) was founded as an artist project to encourage independent and non-commercial production, by providing space for a broad variety of drawing practices in public exhibitions, residencies – both inhouse and online – and talks and publications. We asked Andrew Hewish to outline the thinking behind this space for drawing, and to tell us about some of the exhibitions and events that have taken place there over the past 10 years.

Interview and film by MK Palomar]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/125622077</video:player_loc>
<video:duration>815</video:duration>
<video:publication_date>2015-04-21T17:26:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/gordon-shrigley-artist-election-candidate-campaign-party-hackney-south-and-shoreditch-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/517257423-36d118bab63597a6e115b05596bc8c746a9d2536d8ac33c0fcb1b368df399175-d_295x166</video:thumbnail_loc>
<video:title>Gordon Shrigley interview: ‘I wanted to use the possibilities of fine art to create an ambiguous utopian space’</video:title>
<video:description><![CDATA[Artist Gordon Shrigley has entered the fray for the 2015 general election, standing against sitting Labour MP Meg Hillier as a candidate for the Campaign party in Hackney South and Shoreditch.

Practising artist Gordon Shrigley shows us round the exhibition that is also his campaign room ‘Project for an unidentified political object’ at the IMT gallery. Constructing a nexus of ideas from politics, space travel, and Utopian and Cosmism philosophy, Shrigley begins by telling us ‘Campaign is about the space of the imagination’, he goes on to explain the thinking around this current work and his position as an artist candidate for the upcoming election.

Gordon Shrigley: Project for an Unidentified Political Object
IMT Gallery, London
5 April – 10 May 2015
Interview and film by MK Palomar]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/126626129</video:player_loc>
<video:duration>829</video:duration>
<video:publication_date>2015-05-01T14:59:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/gordon-shrigley-artist-performance-line-drawing-election-candidate-campaign-party-hackney-south-and-shoreditch-video-interview</loc>
<video:video>
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<video:title>Gordon Shrigley, interview. Project for an Unidentified Political Object, London, April 2015.</video:title>
<video:description><![CDATA[An artist who has been concerned with concepts related to the line for more than 20 years, Gordon Shrigley explains why he is now working with performance.

Practising artist Gordon Shrigley’s interests are eclectic, and his practice addresses a broad field of inquiry – while publishing other artists’ work (in print, film and audio), his own practice has been concerned with making work related to the language of line and invented narratives that posit alternative realities. Now he is standing as an electoral candidate for his Campaign party in Hackney South and Shoreditch. We visited Shrigley in his east London studio, where he talked to us about his primary concerns.

Gordon Shrigley: Project for an Unidentified Political Object
IMT Gallery, London
5 April – 10 May 2015
Interview and film by MK Palomar]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/126626130</video:player_loc>
<video:duration>1898</video:duration>
<video:publication_date>2015-05-01T14:59:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/klaus-staudt-interview-mayor-gallery-london-concrete-constructivist-art</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/519636069-70c3a64fe2417b520074c1182a063208823c1d3417199515fb8620599b2a0a79-d_295x166</video:thumbnail_loc>
<video:title>Klaus Staudt interview, Mayor Gallery, London, 22 April 2015</video:title>
<video:description><![CDATA[A leading practitioner of concrete-constructivist art for some 50 years, Klaus Staudt was also part of the pan-European New Tendencies movement, composed of distinct voices researching similar concerns in an almost laboratory-like context. 
    Turning against the emotive, gesticular abstraction of Tachisme and Art Informel, Staudt’s predominantly grid-like reliefs, composed of a restricted set of materials and geometric shapes, are the essence of structural clarity and restraint. Exploiting the interaction between light, shade and colour, through the mediation of a glassy medium, his serial structures appear to have a fluctuating life of their own, some densely packed and opaque, others watery and diaphanous. 
    For all their systematic precision and the predominance of the opportunistic white, Staudt’s objects are from being clinical or insular, but are infinitely receptive to their surroundings and the viewer’s perceptions, treading a fine line between rational, constructivist precedents and ineffable transcendence.
    Staudt spoke to Studio International at his exhibition, Light and Transcendence, at the Mayor Gallery, London.

Klaus Staudt: Light and Transcendence
The Mayor Gallery, London
15 April - 29 May 2015

Interview: ANGERIA RIGAMONTI di CUTÒ
Translation: NINA HORVITZ
Filmed by: MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128474078</video:player_loc>
<video:duration>1644</video:duration>
<video:publication_date>2015-05-21T07:27:32+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/brown-and-son-art-that-makes-itself-review-paul-daniel-digital-computer</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/519757844-caf71a84706d5dfcd1a4a0bf984fd04ead37098fe9fe85edddd3e6eea3b40113-d_295x166</video:thumbnail_loc>
<video:title>Brown &amp; Son: Part 1: Paul Brown interview</video:title>
<video:description><![CDATA[Father and son Paul and Daniel Brown work together as Brown & Son, ‘Purveyors of digital images since 1968’, using computers to make art. They talked to Studio International about their collaboration and their first joint exhibition, at Watermans Art Centre, west London.

Paul Brown began working with digital art in the 1970s studying at the Slade School of Art where he was a pioneer of the medium, designing large-scale lighting works for music and performance. He has exhibited at major galleries, including the Tate, the Victoria and Albert Museum and the ICA. His son, Daniel, started to experiment with programming and building interactive games as a teenager, and now specialises in digital design, collaborating on creative projects with designers and luxury brands.

Brown & Son: Art That Makes Itself at Watermans Art Centre is their first joint exhibition. Using the digital medium, they bring together themes of nature. Paul works with an idea of the “geometric sublime”, a concept derived from European modernism and patterns from nature and science, while Daniel has been inspired by the organic shapes from the D’Arcy Thompson Zoology Museum at the University of Dundee.

They talked to Studio International about their work and their new exhibition.

Brown & Son: Art That Makes Itself
Watermans Art Centre, Brentford, London
31 March – 31 May 2015

Interview: HARRIET THORPE
Filmed by: MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128572704</video:player_loc>
<video:duration>1497</video:duration>
<video:publication_date>2015-05-22T04:56:17+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Brown &amp; Son: Part 2. Daniel Brown interview</video:title>
<video:description><![CDATA[Father and son Paul and Daniel Brown work together as Brown & Son, ‘Purveyors of digital images since 1968’, using computers to make art. They talked to Studio International about their collaboration and their first joint exhibition, at Watermans Art Centre, west London.

Paul Brown began working with digital art in the 1970s studying at the Slade School of Art where he was a pioneer of the medium, designing large-scale lighting works for music and performance. He has exhibited at major galleries, including the Tate, the Victoria and Albert Museum and the ICA. His son, Daniel, started to experiment with programming and building interactive games as a teenager, and now specialises in digital design, collaborating on creative projects with designers and luxury brands.

Brown & Son: Art That Makes Itself at Watermans Art Centre is their first joint exhibition. Using the digital medium, they bring together themes of nature. Paul works with an idea of the “geometric sublime”, a concept derived from European modernism and patterns from nature and science, while Daniel has been inspired by the organic shapes from the D’Arcy Thompson Zoology Museum at the University of Dundee.

They talked to Studio International about their work and their new exhibition.

Brown & Son: Art That Makes Itself
Watermans, Brentford, London
31 March – 31 May 2015

Interview: HARRIET THORPE
Filmed by: MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128840522</video:player_loc>
<video:duration>1248</video:duration>
<video:publication_date>2015-05-26T00:02:10+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/catlin-art-prize-2015-video-review-zhu-tian-paul-schneider</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/520057761-eacb720272475150f076792a3f8fb1645590c282d4ceaac176c0c982a3f8347d-d_295x166</video:thumbnail_loc>
<video:title>Zhu Tian interview, Catlin Art Prize 2015 winner</video:title>
<video:description><![CDATA[Zhu Tian (Royal College of Art) talks to Studio International about her work on show at The Catlin Prize 2015 exhibition at Londonewcastle Project Space in east London.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128780780</video:player_loc>
<video:duration>538</video:duration>
<video:publication_date>2015-05-25T08:13:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/519967466-0e12e560a9fe6dacb88ba3c2f882e7dbcdcb36be6f1c3047d09bd83442ac02da-d_295x166</video:thumbnail_loc>
<video:title>Paul Schneider interview, Catlin Art Prize 2015 Visitors Vote winner</video:title>
<video:description><![CDATA[Paul Schneider (Royal Academy of Arts) talks to Studio International about his work on show at The Catlin Prize 2015 exhibition at Londonewcastle Project Space in east London.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128719105</video:player_loc>
<video:duration>356</video:duration>
<video:publication_date>2015-05-24T09:00:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/520200094-75a256bf02cb966ebf2e211fa0ef5453eba83722a5160b9bebfab598552977ca-d_295x166</video:thumbnail_loc>
<video:title>Felicity Hammond interview, Catlin Art Prize exhibition 2015</video:title>
<video:description><![CDATA[Felicity Hammond (Royal College of Art) talks to Studio International about her work on show at The Catlin Prize 2015 exhibition at Londonewcastle Project Space in east London.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128899949</video:player_loc>
<video:duration>223</video:duration>
<video:publication_date>2015-05-26T13:03:19+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/520299259-923d59310c13fb45002026c85f4b4be40c8c4bbee28d87301631cfc32dbd02f6-d_295x166</video:thumbnail_loc>
<video:title>Jon Baker interview, Catlin Art Prize 2015 exhibition</video:title>
<video:description><![CDATA[Jon Baker (Chelsea College of Arts) talks to Studio International about his work on show at The Catlin Prize 2015 exhibition at Londonewcastle Project Space in east London.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128960548</video:player_loc>
<video:duration>404</video:duration>
<video:publication_date>2015-05-27T02:01:04+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/520322484-b02023299545d8b4aecd29f3abbb834365690682504a4c5b9e436472c396a1c4-d_295x166</video:thumbnail_loc>
<video:title>Lexi Strauss interview, Catlin Art Prize 2015 exhibition</video:title>
<video:description><![CDATA[Lexi Strauss (Royal College of Art) talks to Studio International about her work on show at The Catlin Prize 2015 exhibition at Londonewcastle Project Space in east London.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128992151</video:player_loc>
<video:duration>454</video:duration>
<video:publication_date>2015-05-27T09:55:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/graham-fagen-scotland-venice-2015-biennale-robbie-burns-jamaica</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/519453062-30d183fb7a2e875565db4f5d92dd2404167bf3abcbd3e5f0c2eb50606ecbdf2a-d_295x166</video:thumbnail_loc>
<video:title>Graham Fagen interview. Scotland + Venice, Palazzo Fontana, 7 May 2015.</video:title>
<video:description><![CDATA[Glasgow-based artist Graham Fagen, who is representing Scotland for the 56th Venice Biennale, has mixed Robbie Burns with Reggae in a homage to his homeland and Jamaican culture. He talks to Studio International about his work

For the Scotland + Venice 2015 collateral event of the 56th Venice Biennale, Glasgow-based artist Graham Fagen has filled the formerly mercantile Palazzo Fontana with an intriguing homage both to his homeland and to the Jamaican culture that influenced him as a teenager – bringing out surprising links between the two, as well as to Venice itself, which Fagen describes as “a cultural hub for the world”.

A towering rope tree in the first room makes reference to the trading history of the Italian city, while a series of ink drawings, based on Fagen’s teeth imprints, and his tactile “squeezees” and teeth casts present a more personal angle, rooting the show in Fagen’s own cultural history and physical present. 

Throughout the palazzo, the tone is set by the strained strings echoing from the major collaboration in the final room. The five-channel audiovisual work was produced together with composer Sally Beamish, the musicians of the Scottish Ensemble, reggae singer and musician Ghetto Priest and the music producer Adrian Sherwood, and presents a melancholic classical-cum-reggae dub interpretation of The Slave’s Lament, published by Scottish national hero Robert Burns in 1792. 

Graham Fagen: Scotland + Venice 2015 
Collateral Event of the 56th International Art Exhibition
Venice Biennale, Palazzo Fontana, Cannaregio 3829-3830, Venice
9 May – 22 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128350965</video:player_loc>
<video:duration>648</video:duration>
<video:publication_date>2015-05-20T04:49:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/on-my-way-venice-2015-biennale-ca-foscari-zattere</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/521818179-d240731b87180a7bfd5104b274681cc29372ef965737aa591b164c2ac5346c86-d_295x166</video:thumbnail_loc>
<video:title>On My Way, Venice Biennale 2015</video:title>
<video:description><![CDATA[On My Way 

As a parallel event to the Venice Biennale, a group of artists from Russia present an exhibition that juxtaposes works made in new and traditional media, further undermining the principle of media-specificity. Studio International spoke to some of the artists. 

On My Way, an exhibition on view at Ca’ Foscari Zattere, the “cultural flow zone” of the city of Venice, runs parallel to the Venice Biennale. It is featuring 11 works by 14 contemporary Russian artists and one by an Italian artist from Venice. The exhibition is affiliated with Cyland Media Lab and Cyberfest, two initiatives by Anna Frants, a New York-based artist and curator who endeavoured to forge collaboration between artists and technology specialists in Russian, taking as its model the legendary 1960s cooperative Experiments in Art and Technology (E.A.T.). As such, it features several new media installations that involve elaborate technology.  

Despite its focus on the new media, On My Way also includes traditional media – namely five paintings from the Arefiev circle, a nonconformist group of Leningrad artists active in the 1950s to 80s. In fact, the exhibition’s title is taken from a painting by the group’s leader, Alexander Arefiev, which shows him nonchalantly walking to get a beer on a sunny day in the architecturally stunning Leningrad. The paintings are included to trace a connection between an older and a younger generation of artists, because most of the participants of On My Way come from St Petersburg. The curators and the artists found a kindred spirit in the flâneur attitude expressed in Arefiev’s painting, defiant of the powers-that-be and asserting the right of an artist to create freely, regardless of the political climate. The exhibition is visually stimulating, as many new media installations are interactive or overlap thematically with traditional works. Thorough wall texts and a catalogue offer detailed information about the conceptual organisation of the exhibition and each artist’s explanation of the work on displa]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/130057398</video:player_loc>
<video:duration>714</video:duration>
<video:publication_date>2015-06-07T22:39:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sarah-lucas-i-scream-daddio-british-pavilion-venice-biennale-curator-richard-riley</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/522443936-690205b8eb6404a651cad12b1a170af59ddef68b7ba4d2b39b2ee6a892916b6d-d_295x166</video:thumbnail_loc>
<video:title>Sarah Lucas: I SCREAM DADDIO, British Pavilion, Venice 2015</video:title>
<video:description><![CDATA[Sarah Lucas came to prominence in the 90s with the generation of Young British Artists, but it has taken her until now, at the age of 52, to be invited to represent Britain at the Venice Biennale. Curator Richard Riley talks to Studio International about why, with a new shift in her work, this is just the right moment

This year’s British Pavilion at the Venice Biennale cannot be missed, sending its bright yellow, sunny rays beaming across the Giardini. As curator Richard Riley notes, you really can’t help but smile when you see it. Inside, new works by Sarah Lucas (b1982), built in response to the scale of the pavilion – some domestic, with domestic objects integrated into the sculptures; others larger than ever before – contain all the well-known Lucas tropes: phalluses, the nud, pages from tabloid newspapers, the toilet and cigarette butts – which, she explains, “are for titillation mostly. That is, gentle stimulation of a sexual kind.” 

Describing the pavilion as “a bit like a dessert” with the yellow like custard and the white of the plaster casts like meringue, Lucas offers up lashings of bawdiness and dry wit. Is this too British for an international audience? Riley, who considers Lucas to be at the forefront of British art, thinks not. 

Sarah Lucas: I Scream Daddio
British Pavilion, Giardini di Castello, 30122 Venice
9 May – 22 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/130542222</video:player_loc>
<video:duration>397</video:duration>
<video:publication_date>2015-06-12T09:25:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/geoffrey-eastop-pottery-creative-legacy-video-interviews-ben-tim-oliver-luke</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/523652723-47b56786f759e1cd6f77bc1d1d8cdff0182f428201d9c6e85c95ebbcc08e4b42-d_295x166</video:thumbnail_loc>
<video:title>Geoffrey Eastop – Part 1: his creative legacy</video:title>
<video:description><![CDATA[Geoffrey Eastop artist and ceramicist died in December 2014. Studio International had been scheduled to interview him to talk about his career that spanned over six decades, from his student years at Goldsmiths, through his collaboration with the painter John Piper to his later years working in his studio in Hampshire. In celebration of Geoffrey Eastop's work his son Ben gave a talk about his father's creative practice, and explained his own practical intervention in his father's studio, for the open studio event in May 2015. This film also includes footage of Geoffrey Eastop when he spoke about his work during the open studio 2009.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/130705381</video:player_loc>
<video:duration>1769</video:duration>
<video:publication_date>2015-06-14T19:14:17+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/522662676-c10e7a729ecab9934a08cf9d77290c42d08e2cefc9de1d1f82336bd530744828-d_295x166</video:thumbnail_loc>
<video:title>Geoffrey Eastop – Part 2: studio intervention</video:title>
<video:description><![CDATA[Geoffrey Eastop's son Ben and his grandson Luke discuss the work they made in his studio for the 2015 Open Studio event.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/130702687</video:player_loc>
<video:duration>1108</video:duration>
<video:publication_date>2015-06-14T18:23:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/522654742-00913bc670011060a5916b8e69b566d8aa98c5aa26032b7ca7d00ba1b7bf9649-d_295x166</video:thumbnail_loc>
<video:title>Geoffrey Eastop – Part 3: his creative Influence</video:title>
<video:description><![CDATA[Geoffrey Eastop's four children, Ben, Jo, Sam and Tim, discuss how their parents creativity influenced their own lives.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/130696936</video:player_loc>
<video:duration>2515</video:duration>
<video:publication_date>2015-06-14T16:45:42+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/eileen-cooper-interview-royal-academy-summer-show-2015</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/523641643-b1086f85a3371b6730dbacc987968fdec25f35916a26a1878b5a6cc660814d60-d_295x166</video:thumbnail_loc>
<video:title>Eileen cooper dancers</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/131195367</video:player_loc>
<video:duration>157</video:duration>
<video:publication_date>2015-06-19T07:34:41+00:00</video:publication_date>
<video:uploader>Itch Film</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/patricia-cronin-shrine-for-girls-venice-biennale-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/522627604-7469caa181c657410d8f462219e48c0ae1d9729030c8ac30b877c3d7f40b2910-d_295x166</video:thumbnail_loc>
<video:title>Patricia Cronin interview, Shrine for Girls, Venice Biennale, 2015.</video:title>
<video:description><![CDATA[Patricia Cronin: ‘A silent protest can be quite powerful’

The artist talks about Shrine for Girls, her installation at the Venice Biennale that commemorates three girls raped in India, 276 schoolgirls kidnapped by Boko Haram, and the women of the Magdalene laundries, and what compelled her to speak out

Gang rape and lynching; kidnap; forced labour: throughout history, women and girls have been subjected to terrible violence and repression around the world. More shockingly, in many places, it still goes on today. In her site-specific installation Shrine for Girls, New York-based artist Patricia Cronin (b1963) commemorates three such cases: the rape, murder and hanging from trees of three girls in India in June 2014 (the “mango tree rape case”); the kidnapping of 276 female students by the jihadist militants of Boko Haram in Nigeria in April 2014; and the many young women pushed into forced labour in the Magdalene asylums and laundries in Europe and North America from the late-18th century to as recently as 1996. These are represented respectively by piles of saris, hijabs and grey aprons, one on each of the three stone altars in Chiesa di San Gallo, Venice’s smallest church, now deconsecrated and serving as a cultural space.

Three shrines, each accompanied by a framed photograph, offering space for reflection, contemplation and remembrance; space for learning lessons; space for lamenting wrongs done and recalling these – and many other – young girls, whom Cronin considers to be secular or gender martyrs, since, unlike religious martyrs, they receive no otherworldly triumph.

Patricia Cronin: Shrine for Girls
Brooklyn Rail Curatorial Projects
Chiesa di San Gallo, Venice
9 May – 22 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/130678301</video:player_loc>
<video:duration>432</video:duration>
<video:publication_date>2015-06-14T11:26:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/richard-tuttle-separation-review-modern-art-london-sculpture</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/-0F5Nq1vmg8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Conversations | Premiere Artist Talk | Richard Tuttle</video:title>
<video:description><![CDATA[Richard Tuttle, Artist, New York/New Mexico
In conversation with Chris Dercon, Director of Tate Modern, London

Thursday | December 6 | 2012]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/-0F5Nq1vmg8</video:player_loc>
<video:duration>4821</video:duration>
<video:publication_date>2012-12-12T08:53:19+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/herman-de-vries-video-interview-to-be-all-ways-to-be-dutch-pavilion-venice-biennale-2015</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/524174864-c6ae24d56cca5a9b07ed76478c004e73d821c99a70fd3b9299af1dd1db57536d-d_295x166</video:thumbnail_loc>
<video:title>Herman de Vries: to be all ways to be. Interview, Dutch Pavilion, Venice Biennale 2015</video:title>
<video:description><![CDATA[Herman de Vries: ‘My guru is a squirrel’

The artist, whose work spreads far beyond the confines of the Rietveld pavilion, explains why he looks to this creature for guidance in every day living, noting the importance of nature as mother, truth and teacher 

Herman de Vries (b1931) was educated as a horticulturalist and natural scientist and his work focuses on natural processes and phenomena, directing viewers’ attention to the diversity of the world around them. He seeks to encourage people to be alive and aware, and his guru, he says, is a squirrel, because this creature “is always awake”.

De Vries has spent a long time working in Venice preparing for the Biennale and has published a book, From the Laguna of Venice – A Journal, which is essentially a travelogue of his observations and collected material. His exhibition in the Dutch Pavilion brings some of this notation – written and photographed – and some of the flora into the gallery setting, “a place for observation”. This includes a central circle of Rosa damascena buds, creating a sensory experience through their colour and scent, and large chunks of charred acacia trunk, collected from the summer solstice bonfire in the village where he now lives in Germany. 

Alongside the pavilion exhibition, de Vries is also displaying a series of posters –with texts including natura numquam errat (nature never makes mistakes), natura mater (nature is the mother), veritas existentiae (the truth of existence) and natura artis magistra (nature is the teacher of art and science) – across Venice. These short dicta sum up the artist’s philosophy and work. His succinct pronouncements can also be found in plaques dotted among the overgrowth on the abandoned island of Lazzaretto Vecchio, the site of a former hospital, where plague victims were nursed. 

Studio International spoke to de Vries before taking a boat trip out to explore this sanctuary in the Venetian Lagoon.

Herman de Vries: to be all ways to be
Dutch Pavilion, Giardini di Castello, 30122 Venice
9 May – 22 Novem]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/131465629</video:player_loc>
<video:duration>429</video:duration>
<video:publication_date>2015-06-22T15:41:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sergio-camargo-marmore-video-interview-lisson-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/524343045-a429cb19db5f29d1b21182275187a597c1e78e83251f4624fd8e83012f3ca680-d_295x166</video:thumbnail_loc>
<video:title>Emma Gifford-Mead talks about the work of Sergio Camargo in the exhibition, Mármore.</video:title>
<video:description><![CDATA[Sergio Camargo (1930-90) was a prominent artist in Rio de Janeiro, where he was born, and gained international recognition at the Venice Biennale (1966 and 1982). Working extensively in France and Europe, Camargo was a master of modular geometric constructions, made up of cuboid and cylindrical forms in wood, terracotta, stone and marble. More than 30 years since Camargo’s last London exhibition, Lisson Gallery’s head of exhibitions, Emma Gifford-Mead, talks to Studio International about the importance of bringing his work to a British audience

As the title – Mármore (Portuguese for marble) – suggests, the exhibition concentrates on Camargo’s work in this medium. The reductive nature of his work can be likened to that of Sol LeWitt, Robert Ryman and Lucio Fontana; planes of marble cut across one another, effortlessly elegant and poised with geometric and conceptual precision. The white and black marble offers densely unforgiving and pure works, both majestic and domestic in scale, that sit among wooden wall relief works.

This exhibition has been conceived in association with the artist’s estate and Galeria Raquel Arnaud, São Paulo.

Sergio Camargo: Mármore
Lisson Gallery, London
22 May – 4 July 2015

Interview by KATE TIERNAN
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/131816320</video:player_loc>
<video:duration>863</video:duration>
<video:publication_date>2015-06-25T16:54:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/helen-sear-the-rest-is-smoke-venice-biennale-2015-video-interview-wales</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/524571398-9fcf4447114e46529a51ecd7ef0db205934789da1d11dafe02b55a1d036b8f0a-d_295x166</video:thumbnail_loc>
<video:title>Helen Sear …the rest is smoke. Interview, Cymru yn Fenis / Wales in Venice, Venice Biennale 2015.</video:title>
<video:description><![CDATA[In her exploration of mortality and temporality, Helen Sear seeks to disrupt the single-point perspective of the camera. She talks about her literary and filmic influences and how even the personal, poetic and local can strike a universal chord

For this year’s Welsh collateral event, Wales in Venice, photographic artist Helen Sear (b1955) has filled the five rooms of former church and hospital Santa Maria Ausiliatrice with a whole new suite of work. Each room has its own identity, but there is a dialogue between them, uniting the figure and landscape, nature and culture, and the local and the universal. 

… the rest is smoke is a visceral experience, which draws the viewer in. At first, they hear the sounds of birdsong and a chainsaw, before turning the corner and seeing the film that cleverly cuts together footage of the artist’s stepdaughter in a red dress, circling a tree, and shots of the wood itself, with trees numbered for felling. While Peter Greenaway’s Drowning by Numbers counts from one to 100, Sear’s film counts down from 83 to one. It is a battle of number v nature and the wood is a character every bit as sentient and significant as the human self. 

The title of the exhibition is taken from a tiny inscription on Mantegna’s last painting of St Sebastian, now housed along the canal in the Ca d’Oro: Nihil nisi divinum stabile est. Caetera fumus. This painting is honoured here with a lightbox, glowing bright yellow with the view over a rapeseed field. The image mirrors Mantegna’s in dimension and is pierced by rapeseed stalks, handpicked by Sear, in exactly the same spots that St Sebastian’s body is pierced by arrows. The effect is magnificent and overwhelming – not least because of the golden light – akin to standing before some masterful altarpiece. A church for worshippers of nature? For those who worry about getting old? A monument to times gone by, to changing technologies, to film and literature. These five rooms offer all this and more. There is much to be fathomed in Sear’s work, but there is mu]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/132043907</video:player_loc>
<video:duration>674</video:duration>
<video:publication_date>2015-06-28T19:53:41+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/emma-cousin-interview-video-lucy-in-the-sky-transition-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/526926150-c2c678b6360848b8a271b68a647343afa4fa7d30d7af26bf55e4b8b7a71acce8-d_295x166</video:thumbnail_loc>
<video:title>Emma Cousin interview, Transition Gallery, London, 17 June 2015</video:title>
<video:description><![CDATA[Emma Cousin: ‘Humour is the most important thing’

Studio International visited Transition Gallery in east London to speak to Cousin about painting, inspiration and teaching her grandma how to swim
    Emma Cousin’s work is rooted in wordplay and daily experience and, while drawing is often her starting point, once the brush touches the canvas, her paintings take on a vibrant life of their own. They ask us not to take the world too seriously and inject humour into the mundane, exploring the unchallenged rituals of the everyday. But a serious question underlies her imagery. Why do we do the things we do?

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/133690487</video:player_loc>
<video:duration>433</video:duration>
<video:publication_date>2015-07-16T15:23:17+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/eloise-hawser-interview-video-lives-on-wire-ica-london-cinema-organ</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/528914804-9f60f9a9378f6b08d7b14412e017a1d649bf4e4df8557d34e4f194c653e68fff-d_295x166</video:thumbnail_loc>
<video:title>Eloise Hawser, interview, Lives on Wire, Institute of Contemporary Arts, London, July 2015</video:title>
<video:description><![CDATA[Eloise Hawser: ‘This machine is all about contact and resistance’

The artist explains the complex mechanisms of a cinema organ and its colour-changer to Studio International with ease and clarity.
    The light in the ICA’s lower gallery changes colour slowly, switching through a deliciously dilute RGB spectrum; the gentle buzzing hum in the background offers a white noise that could lull one to sleep. In the centre of the room stands a curious contraption: a colour-changer taken from the cinema organ once found at the Stockport Regal. Capable of conflating a spectacle of music and light, cinema organs were developed by the British telephone engineer, Robert Hope-Jones, in the early 20th century, to replace the orchestras that had previously accompanied silent movies. Placed behind often quite ornate art deco-style illuminated glass outer shells – somewhat like a jukebox in appearance – these organs could be played remotely via a pneumatic system, albeit sometimes with a slight time lapse between the organist’s command and the resulting sound.
    The colour-changing mechanism is a complex contraption, comprising cams, arms and a spring box or variable resistor. Originally, this would have been connected to a set of filament light bulbs but, here at the ICA, it is fed through an analogue to DCX convertor in the ceiling, which makes the LED lights in the gallery change colour.
    Accompanying the mechanism are a couple of films – one showing the cinema organ that remains behind the scenes in Burberry’s flagship store on Regent Street – a former cinema – and an installation of BT cables, expanding the theme of wires and incipient obsolescence.

Eloise Hawser: Lives on Wire
ICA Lower Gallery, London
1 July – 6 September 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/135100555</video:player_loc>
<video:duration>549</video:duration>
<video:publication_date>2015-07-31T19:53:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/toni-scott-video-interview-dna-bloodlines-and-the-family-of-mankind-dame-jillian-sackler-international-artists-exhibition-program-beijing</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/528467746-6ab3a48534cce083de9ba187d99e14e2909b89097ecbbdfd7e4c39ef3227ef9a-d_295x166</video:thumbnail_loc>
<video:title>Toni Scott interview, DNA – Bloodlines, Arthur M. Sackler Museum of Art and Archaeology at Peking University, 6 July 2015</video:title>
<video:description><![CDATA[Toni Scott: ‘People don’t understand that what’s in the past is still with us today’

The California-based multimedia artist Toni Scott talks about how, in DNA – Bloodlines and the Family of Mankind, she has woven her own personal family history with the universal history of African Americans and Native Americans in a celebration of the human spirit

The third edition of the Dame Jillian Sackler International Artists Exhibition Program at the Arthur M Sackler Museum of Art and Archaeology at Peking University in Beijing features California-based multimedia artist Toni Scott’s ambitious exhibition, DNA – Bloodlines and the Family of Mankind. Curated by Miguel Benavides, with the support of Professor Cao Hong, Professor Wang Weihua, and Dr Lu Jing, it will be on view from 4 July – 27 September 2015. 

What began as a personal odyssey 12 years ago, an autobiography of sorts based on DNA findings, handed-down family anecdotes, and memorabilia exhibited in multiple venues (including a three-year solo at the California African American Museum in Los Angeles), has become more epic in scope over time. Expanded here into an overview of the history of African Americans and Native Americans and their relationship to the peoples of Asia and Africa, Scott explores how far-flung, disparate cultures are both joined and severed. 

The heart of the exhibition is an approximately 7.3-metre (24-foot) long, illuminated slave ship suspended from the gallery ceiling, just above the heads of the viewers, constructed from 500 translucent images of both family members and faces taken from archival collections, blue-tinted as if they had been stained by ocean waves. The portraits are an attempt to restore the individuality of the countless, all too often anonymous souls who were forcibly uprooted from their homes, transformed into chattel sentenced to hard labour in the Americas. Another highlight is the to-scale tipi erected in the courtyard (there is a smaller one in the entrance space), a contested icon that Scott installed to represen]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/134796888</video:player_loc>
<video:duration>1782</video:duration>
<video:publication_date>2015-07-28T21:21:55+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/richard-long-video-interview-time-and-space-arnolfini-bristol</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/530188987-3fcdb6fa4f6ec8c18c86d46427747dbebf1629656800b1b3f54d28f656a11fa5-d_295x166</video:thumbnail_loc>
<video:title>Richard Long: Time and Space. Arnolfini Director Kate Brindley speaks to Studio International about the exhibition.</video:title>
<video:description><![CDATA[Fifteen years after Richard Long’s last exhibition of any scale in his native Bristol, he is the Arnolfini’s showcase artist during the city’s 2015 European Green Capital celebrations. Director Kate Brindley speaks to Studio International about the exhibition.

“I am interested in the universals: stones, water, mud, hands, days, circles, symmetry, gravity, footpaths, and roads.”1

Richard Long was born and bred in Bristol and still lives in his native city, so it is not surprising that elements of the local landscape are integral to many of his works. For his exhibition at Arnolfini, which forms part of the city’s celebrations as 2015 European Green Capital, Long has selected some of his favourite photographs and text pieces, many of them with local flavour, from the last 50 years of his career. A number of key works have been recreated inside the gallery and one wall has been given over to a new painting, Muddy Water Falls (2015), using mud from the River Avon: the top half, a dynamic hand- and finger-painted mural; the bottom half, a flurry of drips, splashes and smears, created by gravity, reflecting the constant redistribution of this mud in the tidal river of its origin. “I do the top half of the work and then nature does the rest,” said Long during the press view.

Long has also created a new site-specific work on The Downs, a place of which he has fond memories, describing them as “his first wilderness”. A 170-metre-long line of resplendent white stones, Boyhood Line (2015) marks a desire line, formed by walkers over time. At 70 years of age, Long still produces all his work himself, without assistance, and the physical act of making a piece or completing a walk is very much a part of the work itself – some of which, ephemeral in nature, go on to exist solely through photography and text records. 

Long is among the most important artists of his generation. He won the Turner Prize in 1989, on his fourth nomination, and represented Great Britain at the 37th Venice Biennale in 1976. He was appointed CBE in 2]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/135830786</video:player_loc>
<video:duration>333</video:duration>
<video:publication_date>2015-08-09T22:18:11+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/charles-lim-sea-state-singapore-pavilion-venice-biennale-2015-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/528550568-dbec737a2bf778accea19fcc5a022ebf3951913d8b74b0b7d17622924415e763-d_295x166</video:thumbnail_loc>
<video:title>Charles Lim, interview, Sea State, Pavilion of Singapore, Venice Biennale 2015.</video:title>
<video:description><![CDATA[Charles Lim: ‘It’s very easy to see the sea as a sublime space where you can even find God’

With his sailing background, Charles Lim explains, he sees the sea as ‘just an office’. His 10-year-old, 10-part project, Sea State, explores the biophysical, political and psychic contours of Singapore, which this year celebrates the 50th anniversary of its independence

Sea State takes as its starting point the question of how to represent the sea. Singapore is an island state and port that grew out of a long process of land reclamation, so the sea is key to its identity, just as it is to artist and former Olympic sailor Charles Lim (b1973). His 10-year-long project grew out of a residency in Thailand, where he was introduced to the Mekong Project, looking at the river, and the 10 parts of Sea State reflect the meteorological measurements for sea conditions, ranging from calm to stormy. 

The premise of Lim’s project is to invert people’s perceptions of sea and land, and it includes a barnacle-covered buoy, made as an exact replica of one that went “missing” as part of a political cleansing act; archival material and maps; photographs; a large-scale installation piece mapping Singapore’s sea floor; and film work, looking at such processes and issues as land reclamation and sand piracy. 

Charles Lim: Sea State
Pavilion of Singapore
Arsenale – Sale d’Armi, Venice
9 May – 22 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/134812753</video:player_loc>
<video:duration>710</video:duration>
<video:publication_date>2015-07-29T02:46:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/vincent-meessen-katerina-gregos-belgian-pavilion-venice-biennale-2015-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/532207374-666d9e1a6b56e1d6aea388c80c6f6bd58e00ae647b465a01db36a2b6bff89bd2-d_295x166</video:thumbnail_loc>
<video:title>Artist Vincent Meessen and curator Katerina Gregos, interview, Belgian Pavilion, Venice Biennale 2015</video:title>
<video:description><![CDATA[Eleven artists come together to reflect on colonialism and its aftermath in a complex, multimedia, collaborative exhibition, which pulls apart the notions of origin and authorship

The exhibition in the Belgian Pavilion at the 56th Venice Biennale offers a complex exploration of the consequences of political, historical, cultural and artistic entanglements between Europe and Africa during the time of colonial modernity and its aftermath. It is a project that connects not only with history but also with the present situation, since, as curator Katerina Gregos reminds us: “Amnesia is a very, very dangerous thing.” 

Not wanting to perpetuate the 19th-century “nation-state” model, still used by so many of the national pavilions in Venice, artist Vincent Meessen (b1971) has stepped back from the limelight and invited 10 further artists – from four continents – to show alongside him, challenging the notion of exclusive authorship. This idea is further reinforced by the borrowing of the exhibition’s title, Personne et les Autres, from a lost play by the Belgian art critic André Frankin. “This title is a metaphor for the position of the artist, within the context of a national representation,” clarifies Gregos. 

The centrepiece of the exhibition is a new audiovisual work by Meessen, which revisits the role of the largely unknown Congolese intellectuals within the Situationist International movement. Meessen worked with the author of an unpublished Congolese protest song from May 1968, reinterpreting the text in the form of a rumba.

Studio International spoke to Meessen and Gregos about the ideas behind the exhibition and the role of the spectator, exposed to the “sharing of a collective intelligence”, and invited to become “a character in the show”.

Personne et les autres: Vincent Meessen and Guests
Curated by Katerina Gregos
Belgian Pavilion, Giardini di Castello, 30122 Venice
9 May – 22 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/137322132</video:player_loc>
<video:duration>547</video:duration>
<video:publication_date>2015-08-25T22:06:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jonas-mekas-interview-365-day-project-microscope-gallery-brooklyn</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/533514311-80b87368aa2fa08a5d8694084b6753d010e41c3f281daaa49b591c4fcc0aef19-d_295x166</video:thumbnail_loc>
<video:title>Excerpt &quot;September 1&quot; from 365 DAY PROJECT by Jonas Mekas, 2007, digital video, color, sound</video:title>
<video:description><![CDATA[myself, in my
"animation studio,"
shooting the titles
for the 365 Day
project --- 

3 min. 42 sec.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/138253815</video:player_loc>
<video:duration>39</video:duration>
<video:publication_date>2015-09-03T18:41:43+00:00</video:publication_date>
<video:uploader>Jonas Mekas</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/533509553-6147d1048327c3e30853a35c4a4aca48e6c90c0fb20dbeb0857ed16b86cb9d1b-d_295x166</video:thumbnail_loc>
<video:title>Excerpt &quot;July 23&quot; from 365 DAY PROJECT by Jonas Mekas, 2007, digital video, color, sound</video:title>
<video:description><![CDATA[another chapter,
adventures of
Zara & Peter Beard 

6 min. 54 sec]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/138250794</video:player_loc>
<video:duration>35</video:duration>
<video:publication_date>2015-09-03T18:03:36+00:00</video:publication_date>
<video:uploader>Jonas Mekas</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/533508218-29798fdb9efbffc4a3230cddb6a01e43ecda5276b4b6f35d72b7535b4d152c88-d_295x166</video:thumbnail_loc>
<video:title>Excerpt from &quot;February 21&quot; from 365 DAY PROJECT by Jonas Mekas, 2007, digital video, color, sound</video:title>
<video:description><![CDATA[I get angry, in a
way...The tabloids,
the TV. I sort of flip
out...But I have a
good reason for it -- 

5 min. 45 sec.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/138247938</video:player_loc>
<video:duration>34</video:duration>
<video:publication_date>2015-09-03T17:32:52+00:00</video:publication_date>
<video:uploader>Jonas Mekas</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ai-weiwei-adrian-locke-curator-video-interview-royal-academy-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/535466282-f84bab49f0a0dd6349d907354fa2a9c661b86a286b3ab6e9a8b63d2840ca32e6-d_295x166</video:thumbnail_loc>
<video:title>The art behind the activist: Andrew Locke talks about Ai Weiwei, Royal Academy of Arts, London.</video:title>
<video:description><![CDATA[A rebel, an iconoclast and a playful symbolist – Ai Weiwei is all these things, but surely history will remember him as one of China’s most influential dissident artists. Curator Adrian Locke talks about Ai’s latest exhibition at the Royal Academy

Ai Weiwei’s work directly references human rights abuses, corruption and censorship. Type his name into a search engine in China and you will find no trace of him. As a result of his outspoken opposition to the Chinese government, he has been subject to violent beatings and torture. In 2011, he was imprisoned by the Chinese authorities for 81 days without charge. His passport was revoked and was only returned in July this year, allowing him to attend the opening of his first major UK exhibition, at the Royal Academy of Arts in London. 

But Ai’s works are as much about the properties of the materials he uses and a complex relationship to history, as they are political statements. We spoke to curator Adrian Locke, who is keen to remind us of Ai Weiwei the artist, as well as Ai Weiwei the activist. 

Ai Weiwei
Royal Academy of Arts, London
19 September – 13 December 2015

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/139558831</video:player_loc>
<video:duration>382</video:duration>
<video:publication_date>2015-09-17T04:07:42+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/chudamani-clowes-video-interview-white-city-griffin-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/536195280-c7e675745961c5432936db6ed5fb466fd5e1991277e276e2710fe95a5ac642d9-d_295x166</video:thumbnail_loc>
<video:title>Chudamani Clowes, interview, Griffin Gallery, London</video:title>
<video:description><![CDATA[Chudamani Clowes: ‘I wanted to show immigration and migration in a positive light’

Chudamani Clowes talks about immigration, her personal connection to West London and the human tragedies that have inspired her most recent work

London-based artist Chudamani Clowes won the Griffin Art Prize in 2014. Having just completed her six-month residency, she now has a multidisciplinary solo show at Griffin Gallery exploring immigration, race and diaspora. The title, White City is taken from the area where the gallery is situated, which in turn got its name from the white buildings of the Franco-British Exhibition of 1908. Chudamani’s research into the archives at the British Museum revealed that this enormous display of peoples and practices held a personal significance for her. Black-and-white photographs captured elephant troops that had travelled the vast distance from Ceylon (modern-day Sri Lanka) to take part: “They’re showing me in these shows 100 years ago,” she says. “They’re my people.”

However, it is news of the current refugee crisis in the Mediterranean that dominates Chudamani’s solo show. In two series, Jellyheads and Tentacle paintings, Chudamani’s innovative use of materials draws attention to the perilous journeys being taken by thousands of people fleeing conflict in Africa and the Middle East. Her carnival-like use of bright colours and shimmering materials belies the true horrors playing out in the world’s media. The shiny gold tent in the centre of the exhibition space is made from survival blankets and her brightly coloured paintings and jellyfish costume take on horrific connotations when the significance of these creatures is revealed in Chudamani’s retelling of this ongoing crisis.

Studio went to talk to Chudamani about the human stories that have inspired her and her personal connection with the local area.

Chudamani Clowes: White City
Griffin Gallery, White City, London
28 August – 2 October 2015

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/139960336</video:player_loc>
<video:duration>678</video:duration>
<video:publication_date>2015-09-21T13:11:25+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/shani-rhys-james-video-interview-caught-in-the-mirror</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/537089076-7e078675c370f3fdd38a1621b6249081fcef974dd60db0b105d2b5b12744a8ed-d_295x166</video:thumbnail_loc>
<video:title>Shani Rhys James, interview. Caught in the Mirror at Connaught Brown, London</video:title>
<video:description><![CDATA[Shani Rhys James: ‘I love the luxuriousness of a flower’s abstract shape’

The artist talks about her dramatic paintings, the significance of red and her own particular take on melancholia

Shani Rhys James grew up in the theatre. Her mother was an actress and she considered following in her footsteps before going instead to St Martin’s School of Art. Although primarily a painter, Rhys James also creates installation pieces and kinetic sculptures, most recently with her mother’s voice reading some of her key roles. Her paintings, too, with their reds and blacks, flock wallpaper and floral bouquets, appear like stage sets into which female protagonists – not necessarily self-portraits, but amalgams of memories or feelings – stray and, all too often, become trapped.

Rhys James paints wholeheartedly, directly on to the canvas, with no real preconception of how a work will look once finished. The oil is thick and slathered on with palette knives, brushes and fingers, before being drawn into or cut across. She doesn’t believe in pretty pictures, and her flowers are certainly not delicate feminine motifs, but memento mori, cut from their life source, beautiful and intoxicating, but dying. Sometimes they are so large, so sculpted, they become personae in their own right.

Coming from a world where those around her are taking on roles and putting on masks, Rhys James seeks, through her painting, to remove these facades and reveal what lies beneath – for her, a particular form of melancholia. Her talismanic mirror accompanies and aids her in this goal, representing also the looking carried out by viewers, who, drawn in actively by the plaintive figures, become as implicit and as caught as they are, facing their exposed realities – past and present – and vulnerable futures.

Shani Rhys James: Caught in the Mirror
Connaught Brown, London
10 September – 3 October 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/140553793</video:player_loc>
<video:duration>774</video:duration>
<video:publication_date>2015-09-27T01:12:32+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anita-glesta-watershed-video-interview-national-theatre-totally-thames-festival-2015-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/537634663-690f5c87729fb18a7cfc78c593e2a1790896b042a12524afc53be5c194eea7cc-d_295x166</video:thumbnail_loc>
<video:title>Anita Glesta interview | WATERSHED, National Theatre, London | 24 September 2015</video:title>
<video:description><![CDATA[As part of the Totally Thames festival, taking place over the month of September and bringing a series of arts and cultural events to London’s riverbanks, the New York artist, Anita Glesta, has brought a mesmerising projection of brightly coloured, circling fish to the National Theatre’s Lyttleton Flytower, visible from across the water, as well as from the popular South Bank and the theatre’s river terrace below. The work has been in development since 2009, when Glesta was asked to make a piece in collaboration with Art_Port and the UN for the COP15 summit on climate change in Copenhagen. In 2013, a previous version of Watershed was projected on the wall of St Patrick’s Basilica in Lower Manhattan during the New Museums Ideas City Festival. This version used carp as its dancers. For the London version, Glesta travelled to Colombia to film the Amazonian pirkko fish, which is almost on the verge of extinction. She is interested, she says, in using fish for their multipurpose characteristics.

The circling motion is something that appears in a lot of Glesta’s works, often representing women and planets. These metaphorical readings could be carried over to Watershed as well, but the work also functions on a much more literal and didactic level. As Glesta explains: “I would like for this work to be a vehicle of communication, literally like a moving image billboard.” She has carried out a lot of research into climate change and water levels, thinking specifically about the island of Manhattan, floating in the mouth of the ocean. After London, Glesta – a painter and sculptor by trade, but one who loves this digital medium for its bringing together of painting, sculpture and architecture – is taking the work back to New York, where it will become part of a much larger project. She also hopes to tour it internationally. 

Anita Glesta: Watershed
Lyttelton Flytower, National Theatre, London
22-27 September 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/140870972</video:player_loc>
<video:duration>518</video:duration>
<video:publication_date>2015-09-29T21:37:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yarat-the-union-of-fire-and-water</loc>
<video:video>
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<video:title>YARAT: The Union of Fire and Water | Rashad Alakbarov and Almagul Menlibayeva | May 2015</video:title>
<video:description><![CDATA[The Union of Fire and Water presents a historical and cultural superimposition of Baku and Venice as seen through the eyes of two artists, Rashad Alakbarov and Almagul Menlibayeva. Studio International talked to the artists, alongside the curator Suad Garayeva, to hear more about the intertwined histories of the two cities 

In the 1400s, the Venetian ambassador Giosafat Barbaro travelled to and wrote extensively on Azerbaijani cities and the court of Shah Uzun Hassan. By complete coincidence, the Azerbaijani not-for-profit arts organisation YARAT – which means ‘create’ in Azeri – chose to locate their collateral event for the 56th Venice Biennale in Palazzo Barbaro, the ambassador’s former residence. The connections were only uncovered later, with the help of one of the two exhibiting artists, Rashad Alakbarov, and the curator, Suad Garayeva. 

The exhibition, which comprises site-specific installations, is set to take visitors on a journey through time and space, bringing to the fore centuries of exchange and conflict between East and West and Baku and Venice. Alakbarov is showing some of his typical architectural and sculptural interventions, where meticulously placed metal structures stand before light sources and cast hidden messages on to the walls and floors nearby. He has also filled one room with a series of bridge-like staircases, which visitors must traverse to reach the remainder of the exhibition. 

Kazakhstani-born artist Almagul Menlibayeva’s multi-screen film installations tell the story of Mukhtarov’s Palace, a beautiful Venetian Gothic building in Baku, which was erected by the oil magnate Murtuza Mukhtarov for his beloved wife, Lisa, in 1912. Following the Soviet invasion eight years later, Mukhtarov took his life.

Ironically, the building now houses the main marriage registry office in the city and is informally known as the Palace of Happiness.

As Garayeva explains, the exhibition seeks to present a historical and cultural superimposition of Baku and Venice, with Palazzo Barbaro as the thir]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/140825931</video:player_loc>
<video:duration>424</video:duration>
<video:publication_date>2015-09-29T14:17:05+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tamar-ettun-interview-alula-in-blue-fridman-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/45751591-c12aa2a5c23a317ce7a82d71aeb5740e7d8adb6a9d03487b207ad045c7f4c937-d_640</video:thumbnail_loc>
<video:title>The Standing Prayer, excerpt</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/9312822</video:player_loc>
<video:duration>189</video:duration>
<video:publication_date>2010-02-08T22:54:57+00:00</video:publication_date>
<video:uploader>Tamar Ettun</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/512287898-755d8624de3e9b64c7a801915baad7dbe4afeb7c099e229cbbe99e93f4def13b-d_295x166</video:thumbnail_loc>
<video:title>Tamar Ettun | The Moving Company | March 22, 2015</video:title>
<video:description><![CDATA[Sculptor and performance artist Tamar Ettun directed an open rehearsal with the #MovingCompany as the second installment of a two-part residency at The Watermill Center. Following a winter residency that focused on research and preparation, this open rehearsal presented the development of "A Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly", a video and performance piece that deals with questions of movement and stillness. Ettun’s team of collaborators includes Movers Maia Karo, Tina Wang, Lisa Park, Rebecca Pristoop, Sabrina Shapira, Mor Mendel, Ivan Sikic; costume designer Ella Dagan; and sound engineer Or Zubalsky, with  photography by Matt Grub, videography by Dan Rosen and Jeffrey Ayars, and web design by Other Means.

"A Mauve Bird with Yellow Teeth Red Feathers Green Feet and a Rose Belly" is a moving installation consisting of vast colors, everyday object assemblages, sound and a live performance to create a psychological changing landscape commenting on stillness and primal empathy. By composing sculpture with dancers, Ettun creates a sense of what she calls a “handheld history” examining the transformation of cultural and psychological narratives through the lens of personal accounts and perspectives.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/123044716</video:player_loc>
<video:duration>546</video:duration>
<video:publication_date>2015-03-23T21:02:00+00:00</video:publication_date>
<video:uploader>The Watermill Center</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anj-smith-interview-hauser-and-wirth-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/538293979-f65bff451eb7493ac402060eea940f5f1f7b3feb9d3860304e6d9b9387f7f544-d_295x166</video:thumbnail_loc>
<video:title>Anj Smith interview | Hauser &amp; Wirth London | 18 September 2015</video:title>
<video:description><![CDATA[Anj Smiths speaks to Studio International about the collapsing of genres, her desire to portray identity post gender and painting as a metaphor for something eternal

With 21 paintings produced over a three-year period, Anj Smith’s latest exhibition as Hauser & Wirth London is her largest yet. It is also her most psychologically motivated and probing. An artist who seeks to celebrate the medium of painting, Smith sees the figure as a device on which to hang her concerns and her explorations of social mores. Her paintings – deeply layered to create an intense colour and incredible luminosity – deal with issues of liminality, androgyny, language, art history and zoology, amongst many others. Monkeys frolic with shattered Ming vases; a cigarette butt is revered as equal to a Van Cleef jewel; deep, dark eyes stare out from hollow sockets. 

Smith’s works collapse the genres of still life, landscape and portraiture, freely referencing those who have gone before her: from 17th-century Dutch vanitas painters to so-called outsider artists, Richard Dadd and Adolf Wölfli. While acknowledging the importance of recognising where she is coming from and taking responsibility for her references, Smith is also at pains to make work that is of our time. The intricate detail, painted with single-hair brushes – stubble on a figure’s cheek, a moth hidden in the stonework, translucent veins beneath the skin – is like a reward system, whereby the viewer benefits from each further minute spent studying the work and experiences a different painting, depending on the perspective from which it is approached. Smith’s work can only be fully appreciated in the flesh and this is a valiant display well worth spending some time with.

Anj Smith: Phosphor on the Palms
Hauser & Wirth London, South Gallery
22 September – 21 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/141114525</video:player_loc>
<video:duration>971</video:duration>
<video:publication_date>2015-10-01T18:21:54+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/carl-plackman-obscure-territories-pangolin-video-interview-with-mark-dunhill</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/538400842-98724c526747d5869bc383efa92fcfbc572c4a14b28c565682da17a4ae074c2f-d_295x166</video:thumbnail_loc>
<video:title>An “artist’s artist”: Mark Dunhill talks about Carl Plackman | Obscure Territories | Pangolin London</video:title>
<video:description><![CDATA[Carl Plackman rarely discussed his work, which, spanning sculpture, drawing and installation, refuses to be defined. During his long overdue exhibition at Pangolin London, Studio International spoke to his former student, Mark Dunhill, to get some insights into the man behind the art.

Often described as an “artist’s artist”, Carl Plackman (1943-2004) was ambitious and full of ideas. When asked at the end of an interview in 1986 what he would like as his epitaph, he replied: “I just want to make a good piece of sculpture. I still think I haven’t done it. The trouble is trying to say what that could be – it’s very difficult …” Plackman rarely talked about his work and kept his ideas private. He has been hailed as the “godfather of British conceptual art” and Alison Wilding speaks of Plackman’s work as being her first encounter with “installation”.

This solo exhibition at Pangolin includes a range of Plackman’s drawings alongside a number of key sculptures, in particular Bachelor of Arts (1977), which has never been shown before. 

Plackman was a generous teacher and many of his students have gone on to become major names in British contemporary art, including Tony Cragg, Damien Hirst, Liam Gillick and Alison Wilding. Studio International spoke to Mark Dunhill, dean at Central Saint Martins, University of the Arts, London, and an artist in his own right, who was taught by Plackman at the Royal College of Art in the 70s.

Carl Plackman: Obscure Territories
Pangolin, London
9 September – 17 October 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/141412170</video:player_loc>
<video:duration>436</video:duration>
<video:publication_date>2015-10-05T09:37:16+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/matthew-darbyshire-an-exhibition-for-modern-living-video-review</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/539321011-8fa9207c161781afe0ba9c9fbec432be06e79d9e18117719e69476aa71e91a28-d_295x166</video:thumbnail_loc>
<video:title>Matthew Darbyshire interview | An Exhibition for Modern Living | Manchester Art Gallery | 24 September 2015</video:title>
<video:description><![CDATA[Matthew Darbyshire: ‘If I can’t get hold of what I want, I’ll fake it’

The artist talks about design and consumer culture, the role of colour as a democratiser, the need to ‘fake it’ and why Baudrillard’s predictions are not coming true – yet

Bright pinks, luminous greens, Ikea shelving, a soundtrack of Flashdance, Fergie and Oliver!, Matthew Darbyshire’s largest solo show to date is a reflection of contemporary society, its consumerist obsessions and the rise of cultural homogeneity. Comprising 10 large-scale environments from over the past decade, alongside two newly commissioned multicoloured polycarbonate sculptures in the grand entrance hall of the Manchester Art Gallery, the works in the exhibition show Darbyshire’s dedication to the processes of making – and faking – it, with materials ranging from felt to wood to Perspex. 

The title for this show is taken from a landmark 1949 exhibition at the Detroit Institute of Arts, which collected the best of modern “design for living” in the context of the rapidly changing society of post-second world war America. Darbyshire takes this concept as a starting point and updates it for British society today, bringing together art, sculpture, design and architecture, and questioning the political and economic agendas that inform our contemporary taste. Particularly interesting is his commission, IP (2013), for a shopping mall in Utrecht, where each of the nine constituent parts reflects an element of the past, present and future, echoing the tension in which the mall currently sits, as its use migrates from shopping venue to place of entertainment. 

Darbyshire, who, despite appearances, doesn’t see his work as part of the pop art wave, citing Tony Cragg as more of an influence, hopes that his installations will transcend time, gaining in intrigue as they distance themselves from their roots. He seeks to uncover the spirit within the inanimate object, exploring the potential of computer generation and 3D-printing, raising questions about the need for the artist’s hand]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142062262</video:player_loc>
<video:duration>787</video:duration>
<video:publication_date>2015-10-11T13:00:23+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/liz-cooper-video-interview-what-do-i-need-to-do-to-make-it-ok</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/539308136-b7ef41574224dc7af0e9fe5b3840349f6bd2b77182d52eec3a58791323665845-d_295x166</video:thumbnail_loc>
<video:title>Liz Cooper interview | What Do I Need to do to Make It OK? | Pump House Gallery, London</video:title>
<video:description><![CDATA[What Do I Need to do to Make It OK?

Curator Liz Cooper discusses this exhibition at London’s Pumphouse Gallery, which investigates repair through the language of thread and textiles and explores the frustrations and liberations of contemporary artists challenging the conventions of craft.

‘Illnesses, diseases [and] viruses damage us. We cut ourselves and then there is a sense of repair, but we don’t always repair in the same way’ – Liz Cooper

What Do I Need to Do to Make It OK?, now at the Pump House Gallery in Battersea Park, London, is a touring exhibition involving five artists, Dorothy Caldwell, Saidhbhín Gibson, Celia Pym, Freddie Robbins and Karina Thompson, each of whom brings their own approach to an investigation into damage and repair, disease and medicine, and the healing and restoration of landscapes, bodies, minds and objects through stitch and other media. 

Liz Cooper is a contemporary craft curator and project manager with a background in art textiles and a strong grounding in contemporary visual arts. Her practice centres on the valuing and placement of craft practice within a wider visual arts context; and building audiences for this through work with a wide range of venues and organisations, not all of which are art-specific.

The exhibition is supported by Arts Council England and the International Textile Research Centre of the University for the Creative Arts. 

What Do I Need to Do to Make It Ok? 
Pump House Gallery, Battersea Park, London
27 August 2015 – 1 November 2015

Interview by KATE TIERNAN
Filmed MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142029388</video:player_loc>
<video:duration>1000</video:duration>
<video:publication_date>2015-10-10T22:27:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sculpture-in-the-city-2015-stella-ioannou-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/539826400-6f479056f51005244172c09da59d8dd81e810c2fc6f70bf93d4602358c389b00-d_295x166</video:thumbnail_loc>
<video:title>Stella Ioannou interview | Co-director, Sculpture in the City, London | September 2015</video:title>
<video:description><![CDATA[Studio International has come to the City of London to view Sculpture in the City 2015. Founded in 2010, Sculpture in the City is a collaborative enterprise between the City of London Corporation (the elected body that looks after the Square Mile’s global business district around St Paul’s cathedral), local businesses and the art world. “The point”, so the Sculpture in the City website tells us, “is to engage new audiences with works by established and emerging contemporary artists”. We spoke to co-director, architect and art manager Stella Ioannou.

Sculpture in the City 2015
City of London, London
September 2015 – May 2016

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142459947</video:player_loc>
<video:duration>551</video:duration>
<video:publication_date>2015-10-14T22:26:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sculpture-in-the-city-2015-video-review</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/539826731-a0fcdf7793589c4cf8fbc463c547e9231928396d333d7f27310ec71557ac3438-d_295x166</video:thumbnail_loc>
<video:title>Sculpture in the City 2015, London</video:title>
<video:description><![CDATA[This year 2015, Sculpture in the City is exhibiting 14 works by contemporary artists within the Square Mile of the City of London. Some works are in plain sight on pavements and in squares, others are camouflaged in to the surroundings, yet all, being displaced from the usual art contexts of white cube, open rural place or urban site of focus, have a strange presence and draw attention not only to themselves but also to the different architecture surrounding them, from 16th-century churches, to glass towers, through scaffolding clad in sheeting, and construction sites. 

Sculpture in the City is not only an opportunity to see engaging works in unusual settings, it is also a celebration of the collage of time, material and design that exist today in the Square Mile, and makes for a place unusually rich in contrast and story. 

Sculpture in the City 2015
City of London, London
September 2015 – May 2016

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142489281</video:player_loc>
<video:duration>253</video:duration>
<video:publication_date>2015-10-15T06:10:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/british-art-show-8-ciara-phillips-rachel-maclean-ryan-gander-martino-gamper-laure-prouvost-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/540107858-e278f755c862c04cf787015cbaca3d5d2c7e39d678aa0f4106f1cbb553f87018-d_295x166</video:thumbnail_loc>
<video:title>Ciara Phillips, interview | British Art Show 8 | Leeds Art Gallery | 7 October 2015</video:title>
<video:description><![CDATA[Now in its eighth year, the British Art Show is the largest and most ambitious touring exhibition of contemporary art in the UK, bringing together emerging artists worth watching with those who have been working for three or four decades.
Ciara Phillips – one of last year’s Turner Prize nominees – is a Glasgow-based Canadian artist who uses printmaking as a way of bringing about socio-political discussions. With a curatorial focus this year on collaboration, BAS8 has provided Phillips with an opportunity to run community print workshops and create a publication based on the Irregular Bulletin, a newsletter produced in the late 50s/early 60s by radical educator and artist Corita Kent and her colleague, Sister Magdalene Mary.

British Art Show 8
Leeds Art Gallery
9 October 2015 – 10 January 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142718062</video:player_loc>
<video:duration>361</video:duration>
<video:publication_date>2015-10-17T06:13:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/540102691-df46704d87d346fb5c52db1bd03dc2726e12c01886bade6081ea806d7fffae96-d_295x166</video:thumbnail_loc>
<video:title>Laure Prouvost | British Art Show 8 | Leeds Art Gallery | 7 October 2015</video:title>
<video:description><![CDATA[Now in its eighth year, the British Art Show is the largest and most ambitious touring exhibition of contemporary art in the UK, bringing together emerging artists worth watching with those who have been working for three or four decades.

Laure Prouvost, the London-based French artist who won the 2013 Turner Prize, is showcasing three of her “interruptions” – sound and light pieces that turn on and off at intervals, humorously giving voice to a range of objects, including a hard drive, a fan and a croissant.

British Art Show 8
Leeds Art Gallery
9 October 2015 – 10 January 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142649730</video:player_loc>
<video:duration>323</video:duration>
<video:publication_date>2015-10-16T11:32:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/540107332-5f3be7e24575b7358a0774f1c102e2db86a0ae2fb35231be5e3566441cc33722-d_295x166</video:thumbnail_loc>
<video:title>Ryan Gander, interview | British Art Show 8 | Leeds Art Gallery | 7 October 2015</video:title>
<video:description><![CDATA[Now in its eighth year, the British Art Show is the largest and most ambitious touring exhibition of contemporary art in the UK, bringing together emerging artists worth watching with those who have been working for three or four decades.
Ryan Gander, who lives and works in Suffolk and London, is displaying a range of works including sculpture, film and a wallpapered diorama, comprising notes he makes to himself on his studio walls. His carved pieces explore the concept of still life, bringing together improbable objects into imaginary dialogues.

British Art Show 8
Leeds Art Gallery
9 October 2015 – 10 January 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142703372</video:player_loc>
<video:duration>393</video:duration>
<video:publication_date>2015-10-16T21:48:10+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/539986548-0c5ac2708bb146780e53beb298b091bfc2091a646b1eb05a7d1c30015944bae8-d_295x166</video:thumbnail_loc>
<video:title>Rachel Maclean interview | British Art Show 2015 | Leeds Art Gallery | 7 October 2015</video:title>
<video:description><![CDATA[Now in its eighth year, the British Art Show is the largest and most ambitious touring exhibition of contemporary art in the UK, bringing together emerging artists worth watching with those who have been working for three or four decades.

Feed Me is the first feature-length film work by Scottish artist Rachel Maclean. With Maclean playing all of the characters, with wild and wacky costumes and facemasks, the plotline veers from the saccharine to the horrific, tearing down contemporary society and its vices along the way. Pop culture references abound and the Disney-like effect is a facade for the Grimms’ fairytale beneath.

British Art Show 8
Leeds Art Gallery
9 October 2015 – 10 January 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142625453</video:player_loc>
<video:duration>374</video:duration>
<video:publication_date>2015-10-16T08:04:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/540107715-aa3515522e8f1be01bac70a1092207aa6140fdfe1d99355e812ef81cff6c0d00-d_295x166</video:thumbnail_loc>
<video:title>Martino Camper, interview | British Art Show 8 | Leeds Art Gallery | 7 October 2015</video:title>
<video:description><![CDATA[Now in its eighth year, the British Art Show is the largest and most ambitious touring exhibition of contemporary art in the UK, bringing together emerging artists worth watching with those who have been working for three or four decades.
Martino Gamper is a London-based Italian designer who describes his artisanal approach as “conceptual and functional”.  His participatory project, Post Forma, has been commissioned by Yorkshire Festival and Hayward Touring, in partnership with Yorkshire Sculpture Triangle and Arts Council England’s Strategic Touring Programme. Gamper’s mixture of craft, design and art – furniture-making, cobbling, weaving and bookbinding – fits this year’s curatorial emphasis on materiality and the importance of objects, not just as objects, but as vehicles for narratives.

British Art Show 8
Leeds Art Gallery
9 October 2015 – 10 January 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142711103</video:player_loc>
<video:duration>364</video:duration>
<video:publication_date>2015-10-17T02:08:46+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/derek-boshier-video-interview-rethink-re-entry-pop-art</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/540325070-ee97f2aa678c6e8a39080fad01077036ec41892c5c0cab29accc7f1e328d35ad-d_295x166</video:thumbnail_loc>
<video:title>Derek Boshier interview | Flowers Gallery, Cork Street, London | 6 October 2015</video:title>
<video:description><![CDATA[The artist rails against technology and right-wing newspapers, tells of his aspirations to create an entire exhibition in one day, and shares some – at times almost side-splitting – stories from his colourful career.

Derek Boshier (b1937) came to prominence as one of a generation of pop artists emerging from the Royal College of Art in the early 70s. He left the UK soon after for Texas, initially to teach for one semester, but ultimately remaining there for 13 years, before moving to Los Angeles, where he now resides. Boshier has embraced a variety of media, most recently adopting the iPad as his at-the-ready tool for capturing images and ideas, which go on to become parts of his films and works on paper – all of which the artist describes as “collages”. 

Boshier is associated with a number of great musicians and has produced imagery for, among others, the Clash and David Bowie. His falling man motif used in the design for Bowie’s 1979 LP Lodger has become iconic, as have many of his other images.

The current exhibition at Flowers Gallery shows sketches for much of Boshier’s songbook and LP graphic design work, as well as some of his early photographic series and spoofs of right-wing national newspapers. Recent collages, with thick black outlines, contrast with earlier ones, confronting consumerism and the dehumanising effect of mass culture. A film from 1973 plays on a loop with three films from 2014, made after he rediscovered the earlier work and decided to retry his hand at that medium.

Rethink/Re-Entry is co-curated by Paul Gorman, who is also the editor of a new publication of the same name, presenting an overview of Boshier’s work, accompanied by essays by leading academics, critics and curators, as well as a foreword by David Hockney.

Derek Boshier: Rethink/Re-Entry
Flowers Gallery, Cork Street, London
7 October – 7 November 2015

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/142829786</video:player_loc>
<video:duration>1497</video:duration>
<video:publication_date>2015-10-18T21:36:06+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ayakamay-japanese-american-artist-street-performer-red-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/541695284-5aea9619968efdbfb387f7b4917739e115379b006153ef00181a684ff6230d2b-d_295x166</video:thumbnail_loc>
<video:title>Ayakamay interview | Red Gallery, Hoxton, London | 15 October 2015</video:title>
<video:description><![CDATA[Ayakamay: ‘I’m a street performer’

American-born Japanese artist Ayakamay came to London this month to perform at Hoxton’s Red Gallery. “I’m a street performer” she told us – so we went outside to stand by the pavement and ask her about her culture, her identity and her work. 

Red Gallery, Hoxton, London
15 October 2015

Interview by MK PALOMAR
Film by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/143935511</video:player_loc>
<video:duration>608</video:duration>
<video:publication_date>2015-10-28T19:04:06+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/zhan-wang-video-interview-sculptor-scholar-rocks-beijing-china</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/541881129-86b51975774c6ad0c786e733a4b32579080f67787ee0d97ca0828bbe61d3b615-d_295x166</video:thumbnail_loc>
<video:title>Zhan Wang interview | Beijing | 3 July 2015</video:title>
<video:description><![CDATA[The Beijing-based artist is a photographer and video artist, although he is best known for sculpting highly polished stainless steel rocks, a cultural reference to the ‘scholar stones’ loved by the Chinese for their aesthetic appearance 

Zhan Wang (b1962, Beijing) is best known as a sculptor of artificial rocks made of highly polished stainless steel, often monumental in scale, their mirror-like surfaces simulating the intricate configuration of scholar stones. He is also a photographer and video artist, and has worked compellingly with installation. Something of an iconoclast, he has embraced and subverted the conventions of Chinese and western art equally. 

Zhan lives and works in Beijing and shows internationally, but is better known in his native country, where his production is widely seen in both public and private venues, his place in contemporary Chinese cultural history assured. Riffing on shan-shui (mountain-water) and scholar rocks, both revered subjects in Chinese art, Zhan melds the man-made and the natural, the realistic and the abstract, the geological and the spiritual. In My Personal Universe, his exhibition for the Ullens Center for Contemporary Art in Beijing a few years ago, he created a spectacular installation of countless suspended fragments of a boulder in shining stainless steel. He began this work by exploding a gigantic boulder in the mountains of Shandong province and recording it on video. Surrounded by enormous projections of that detonation, it was an impressively dramatic and immersive narrative of cataclysm, of changes that might refer to the current state of China. 

Lilly Wei spoke to Zhan Wang at his Beijing studio in July 2015 to discuss the evolution of his art.

Interview by LILLY WEI
Filmed by MARTIN KENNEDY
Translation by ALEX MA]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/144062706</video:player_loc>
<video:duration>1282</video:duration>
<video:publication_date>2015-10-29T18:44:46+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/541886434-f2e86b54f276f589deb85a1cc4a55a7d895d451e9861c4b7986692e859882050-d_295x166</video:thumbnail_loc>
<video:title>Zhan Wang, studio tour | Beijing | 3 July 2015</video:title>
<video:description><![CDATA[The Beijing-based artist is a photographer and video artist, although he is best known for sculpting highly polished stainless steel rocks, a cultural reference to the ‘scholar stones’ loved by the Chinese for their aesthetic appearance]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/144113729</video:player_loc>
<video:duration>712</video:duration>
<video:publication_date>2015-10-30T08:40:00+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/chelsea-knight-interview-video-performance</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/543155806-bff7a41fd1ec28c0112b0922e236bbd6ad017cd38c4405aa48eb3bc2a49add3d-d_295x166</video:thumbnail_loc>
<video:title>Chelsea Knight: Fall to Earth (3 min clip), 2015.</video:title>
<video:description><![CDATA[Chelsea Knight: Fall to Earth, 2015. Three minute clip (original film 30 minutes). The video is a collaboration with sound artists and composers Nick Hallett, Christine Sun Kim, Mathew Paul Jinks, and Ryan Tracy, and is subtitled for a deaf audience.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/145127557</video:player_loc>
<video:duration>158</video:duration>
<video:publication_date>2015-11-09T07:34:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ben-johnson-the-making-of-patio-de-los-arrayanes</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/544276173-edfdde1322d161f24b5bdd37c7488740c7469d72c31ccea61614a6c73c0fafa8-d_295x166</video:thumbnail_loc>
<video:title>Ben Johnson | the making of Patio de los Arrayanes | 2015</video:title>
<video:description><![CDATA[We visited Ben Johnson in his west London studio over a 12-month period to film him working on a large painting based on the Patio de los Arrayanes (Court of the Myrtles) at the Alhambra Palace in Granada, Spain.

“I could carry on making paintings of the Alhambra, probably for the rest of my life,” says Johnson.

He talks about his process, deconstructing photographs and reconstructing them through drawing, and collaborating with a team of people, all of whom have different individual skills, to make one painting.

“Each painting is a challenge,” he says. “Every painting is new, and with each painting I try to go a little bit further than the previous one. I’m putting in more and more detail.”

Filmed and edited by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/145886688</video:player_loc>
<video:duration>1136</video:duration>
<video:publication_date>2015-11-16T12:07:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alice-cunningham-video-interview-brian-mercer-2014-stone-carving-residency-exhibition</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/544920875-cbed42d02ab2e7ea91e9019e96fe7a835dd2a846619e6b4d9b18a81858044c0d-d_295x166</video:thumbnail_loc>
<video:title>Alice Cunningham, interview | Royal British Society of Sculptors, London | November 2015</video:title>
<video:description><![CDATA[The artist talks about her experience of learning to work with marble from Michelangelo’s preferred quarry and her determination to remain sensitive to the form and the surface as a whole

Alice Cunningham (b1983) was the winner of the 2014 Brian Mercer Stone Carving Residency, awarded by the Royal British Society of Sculptors and the Brian Mercer Charitable Trust. Having very limited experience with marble, her three months spent at Studio Sem, in Pietrasanta, Italy, were an invaluable – and rapid – learning opportunity. During her time there, Cunningham was able to engage with, and learn from, both local artisans and international artists, as well as to collaborate with a robot. 

As the quarry from which Michelangelo sourced his marble (he believed it to be superior in quality to the nearby Carrara, Pietrasanta has an imposing history. Sem Ghelardini, who founded the studio in the 1950s, was famous for his openness to younger artists and can be thanked for giving Henry Moore his first block of stone to work with. Cunningham, whose work embraces both conceptual art and more traditional, formal sculpture, was a perfect candidate to spend time at the studio and continue its tradition.

Cunningham’s initial introduction to stone carving came during a two-week residential workshop as part of her degree at the University of Brighton (2003-6), when she worked in the Portland stone quarries in Dorset. In 2007, she had her first brief encounter with marble, when she spent a month in Zambia. The four pieces she made during her time in Pietrasanta, which, together with photographs and film footage, constitute her exhibition at the Royal British Society of Sculptors, are therefore ambitious and impressive. 

Conception, a wave-like form crashes down – fragile yet full of power and solidity – while a large boulder, Dialogue, cut into to create various shelves, contrasts the natural markings of the rock with Cunningham’s human interventions. Unravel was made from a piece of marble Cunningham chose from the river – the place]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/146501483</video:player_loc>
<video:duration>695</video:duration>
<video:publication_date>2015-11-21T13:32:32+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/kathy-hinde-interview-tipping-point-im-really-interested-in-combining-visual-art-and-music</loc>
<video:video>
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<video:title>Tipping Point by Kathy Hinde</video:title>
<video:description><![CDATA[Kathy Hinde’s music merges machinery and natural stimuli to create stunning sound and visual aesthetics. Her music and visual art grows from a partnership between nature and technology. Her sculptural sound installation, Tipping Point, invites us to consider our relationship with water, and the necessity of balancing how we use the world’s water resources.

Tipping Point explores the sonic complexities and possibilities of combining glass vessels with shifting water levels. Sound tones are produced live via a microphone that feeds back inside each glass vessel. As the water levels change, the feedback is tuned to different pitches based on the resonant frequency of the remaining space in each glass vessel. The work forms both a sound sculpture and the basis of a live performance.

A Cryptic commission for Sonica, Tipping Point is a collaboration with John Rowden at the Scientific Glass Workshop in the School of Physics at the University of Bristol with software designed by Matthew Olden.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/113274669</video:player_loc>
<video:duration>131</video:duration>
<video:publication_date>2014-12-01T07:42:46+00:00</video:publication_date>
<video:uploader>Kathy Hinde</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Tipping Point by Kathy Hinde - Live performance (extract)</video:title>
<video:description><![CDATA[Kathy Hinde’s music merges machinery and natural stimuli to create stunning sound and visual aesthetics. Her music and visual art grows from a partnership between nature and technology. Her sculptural sound installation, Tipping Point, invites us to consider our relationship with water, and the necessity of balancing how we use the world’s water resources.
Tipping Point explores the sonic complexities and possibilities of combining glass vessels with shifting water levels. Sound tones are produced live via a microphone that feeds back inside each glass vessel. As the water levels change, the feedback is tuned to different pitches based on the resonant frequency of the remaining space in each glass vessel. The work forms both a sound sculpture and the basis of a live performance.
Tipping Point is a collaboration with John Rowden at the Scientific Glass Workshop in the School of Physics at the University of Bristol with software designed by Matthew Olden.
A Cryptic commission for Sonica 2014 in association with Cove Park.
Supported by: PRS for Music Foundation, Britten-Pears Foundation, Hinrichsen Foundation ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/128394587</video:player_loc>
<video:duration>356</video:duration>
<video:publication_date>2015-05-20T12:51:34+00:00</video:publication_date>
<video:uploader>Kathy Hinde</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/216725001-9b08da54becf6ecdc3ad71857b7f0d97ec400035e66e30dc35251d5a4b641196-d_295x166</video:thumbnail_loc>
<video:title>Kathy Hinde, Piano Migrations.</video:title>
<video:description><![CDATA[Audiovisual installation by Kathy Hinde.
The inside of an old upright piano, rescued from destruction, is transformed into a kinetic sound sculpture. Video projections move across the surface of the piano strings, triggering small machines to twitch and flutter causing the strings to resonate. The video is visually akin to a musical score or piano roll, and this installation can also become the site for a live performance. 

The video is analysed by a MaxMSP patch which divides the screen into a 5x5 grid to correspond to the motors and solenoids which are also arranged in a 5x5 grid on the piano. Movement or any change sensed in the video triggers a device in the corresponding square of the grid - the result is that the fluttering and movement of a bird triggers a device closest to it on the piano. MaxMSP programming by Matthew Olden]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/32079290</video:player_loc>
<video:duration>92</video:duration>
<video:publication_date>2011-11-14T07:33:54+00:00</video:publication_date>
<video:uploader>Kathy Hinde</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/159255016-aba69f01ee92e919413e203e841f2dc9d7f947843ed853b2cc0c1694edca93b4-d_295x166</video:thumbnail_loc>
<video:title>Bird Sequencer by Kathy Hinde and Ivan Franco</video:title>
<video:description><![CDATA[Created in the summer of 2008 by Kathy Hinde and Ivan Franco during a N.I.P. residency, in the amazingly beautiful Montemor-o-Novo. Naturally site-specific works emerged from the fusion of computer systems for new media and the ecological surrounding. 

By observing the resting of birds on telegraph lines, it was soon obvious how much the lines resembled a music score or piano roll. Thus, a computer-vision program was developed in order to scan a video of the birds behaviour to translate it into music, by triggering audio sample of a prepared piano in the same fashion as a modern step-sequencer. 

The prepared piano samples were generated by placing nuts, bolts, and pieces of rubber between piano strings to create a different sound-world and tuning system to a regular piano.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/24324458</video:player_loc>
<video:duration>98</video:duration>
<video:publication_date>2011-05-27T13:28:23+00:00</video:publication_date>
<video:uploader>Kathy Hinde</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/naufus-ramirez-figueroa-video-interview-gods-reptilian-finger-gasworks-tate-live-london</loc>
<video:video>
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<video:title>Naufus Ramírez-Figueroa, interview | Gasworks, London | 25 November 2015</video:title>
<video:description><![CDATA[Naufus Ramírez-Figueroa: ‘I just create works that give a sensation of something’

The artist talks about his current exhibition, God’s Reptilian Finger, and the inspiration he drew from Guatemalan history, YouTube videos, The Book of Mormon and conspiracy theories

Naufus Ramírez-Figueroa (b1978) is a performance and visual artist whose work draws on disparate sources of inspiration. Growing up during the Guatemalan civil war was certainly an influence, but Ramírez-Figueroa is widely travelled and has studied and worked abroad, including in Vancouver, Chicago, Maastricht and Weimar. It was during his time spent in Weimar, lonely and unable to communicate with those around him, that he watched a large amount of YouTube videos, which indirectly spawned Babylonian Fantasy, four gold geometric shapes made from polystyrene and resin, which seem to wriggle and metamorphose as you watch them. Filling the first gallery space at Gasworks, they both intrigue and repel.

The second room in the exhibition is a dark cave, in which there are eerily glowing “rocks”, some hanging and swaying slightly, so as to add to the viewer’s disorientation. In the centre, a large finger points – is it accusingly? – dotted with celestial constellations: God’s Reptilian Finger. This installation was similarly inspired by YouTube videos, conspiracy theories and The Book of Mormon, although, Ramírez-Figueroa admits, he is not sure that followers of the religion would identify with his work.

Primarily a performance artist, Ramírez-Figueroa is also working on a new commission in participation with BMW Tate Live: Performance Rooms, to produce a work exclusively for web broadcast, which will be live-streamed on Thursday 3 December from Tate’s YouTube channel and website.

Naufus Ramírez-Figueroa: God’s Reptilian Finger 
Gasworks, London
25 November 2015 – 7 February 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/147345641</video:player_loc>
<video:duration>690</video:duration>
<video:publication_date>2015-11-30T11:45:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/liu-ye-video-interview-dick-bruna-is-more-important-to-me-than-da-vinci</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/547081790-90cda2c4059c7a440a320996cd18ab8c94abf726fe3a4e3bd844dc560423696d-d_640</video:thumbnail_loc>
<video:title>Liu Ye interview | Beijing | 4 July 2015</video:title>
<video:description><![CDATA[Liu Ye: ‘Dick Bruna is more important to me than Da Vinci’
 
The Beijing-based artist on how seeing Bruna’s Miffy was seeing himself in a mirror, and why the most important thing about a painting is that it requires the viewer to spend a lot of time looking at it.
The following is an excerpt of a conversation between Lilly Wei and Liu Ye in his Beijing studio in the summer of 2015.

Liu Ye is a contemporary Chinese painter who lives and works in Beijing, where he was born in 1964. He grew up during the Cultural Revolution (1966-76) and studied at the School of Arts and Crafts and the Central Academy of Fine Arts, both in Beijing. He went to Berlin in 1989, gaining an MFA from Berlin University of the Arts in 1994, before returning to China. In 1998, he went to Amsterdam, as an artist-in-residence at the Rijksakademie, following which, he spent some time as an intern at the Delfina Foundation in London. 

His style is not discernibly Chinese, if indeed that can be defined as a style, and his time in the Netherlands skewed his work towards such diverse influences as Dutch old masters, Piet Mondrian and Dick Bruna and his celebrated rabbit, Miffy. Liu’s father wrote children’s books, but these were banned during the time of the Cultural Revolution. Nevertheless, as a child, Liu read them surreptitiously and voraciously. A blend of elite and pop culture, which includes multiple references to fairytales, and his rich, highly refined style of painting are hallmarks of Liu’s work.

Liu shows widely in China and abroad and his work is in the collections of many museums, including the Kunstmuseum Bern and the Duolun Museum of Modern Art in Shanghai. He is represented by Sperone Westwater in New York.

Interview by LILLY WEI
Filmed by MARTIN KENNEDY
Translation by ALEX MA]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/148152046</video:player_loc>
<video:duration>1155</video:duration>
<video:publication_date>2015-12-07T16:56:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/elisabeth-frink-the-presence-of-sculpture-interview-with-curators-annette-ratuszniak-neil-walker</loc>
<video:video>
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<video:title>Elisabeth Frink: The Presence of Sculpture | Djanogly Gallery, Nottingham Lakeside Arts | 23 November 2015</video:title>
<video:description><![CDATA[Focusing, for the first time, on the challenges of making work, on the one hand privately and, on the other, on commission for outdoor public display, this exhibition brings together more than 70 of Elisabeth Frink’s sculptures, plasters and drawings, alongside photographs of the artist at work and an evocative recreation of her final studio.

Coming on to the scene in the postwar years, Elisabeth Frink (1930-93) quickly began receiving commissions to create public sculptures for social housing, religious buildings, new towns and urban developments. All but one of these remain in situ today. Known particularly for her dogs, horses and birdmen (hybrid or shape-shifting characters), Frink created sculptures that are expressive, distinctive and timeless. 

In this major survey exhibition, co-curated by Annette Ratuszniak, from the Frink Estate and Archive, and Neil Walker, head of visual arts programming at Nottingham Lakeside Arts, the development of Frink’s commissions, in line with her own personal themes, to which she remained committed, is traced. Always working unassisted, Frink would first create a wire armature, before adding plaster, which she would then work back with a rasp and chisel. Seeing the scale of some of the pieces – including Horse (1980), for which the gallery windows had to be removed to bring it in – one can’t help but stand back in awe.

An important inclusion in the exhibition is Frink’s first public commission, a concrete sculpture of St John Bosco (1952), which, until recently, was deemed lost or destroyed. It turned up earlier this year after the current owner realised it might be a Frink and contacted Beaux Arts gallery to look into the matter. Although it has lost one of the three original figures, the piece has otherwise fared well and, following conservation, stands proud as a testament to the sculptor’s skill: at the time of the commission, Frink was still a student at Chelsea School of Art.

Another highlight of the exhibition is the recreation of Frink’s final studio, at Woolland ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/148269842</video:player_loc>
<video:duration>932</video:duration>
<video:publication_date>2015-12-08T15:26:31+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/amelia-critchlow-evy-jokhova-video-interview-mimesis</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/549766793-7b65c32029f8fc5ff297b7e28fad44e5c65fc8e81c99c11271d726e8d7761c57-d_640</video:thumbnail_loc>
<video:title>Amelia Critchlow &amp; Evy Jokhova, interview | Mimesis | 14 December 2015</video:title>
<video:description><![CDATA[Amelia Critchlow & Evy Jokhova: ‘The conversation, in many ways, will probably continue perpetually’

The artists talk about their year-long collaboration and how they learned from each other’s different working styles, while also pushing their own practices to the limits  

Brought together by their common interest in mimicry as a visual metaphor for the workings of society, Evy Jokhova (b1984) and Amelia Critchlow (b1972) have spent the past year communicating – sometimes face to face, sometimes by post, sometimes by social media – sending found objects and sharing ideas, making suggestions and trialling new methods. The result is this curious and deliberately absurd collaborative installation at the Westminster Reference Library: a waiting room space by Jokhova, comprising balance-challenging foam stools; a huge, draping corporate flag; two parts of a triptych based on the British Museum’s The Three Graces; and a strange and materially intriguing totem-cum-console providing a lectern for an iPad, on which an eight-minute film of the artist carving a temple out of cheese – House for a Mouse – plays on a loop. The walls of this “foyer” are adorned with Critchlow’s evacuated collages – pages from books and magazines, where images have been erased or cut away, “the detritus of popular culture”, eerily unknown yet uncannily familiar. 

Both artists are interested in social structures and narratives – and where they – and we – stand in these narratives.  Through their work, they both enact and deconstruct mimesis – from the Greek mimos, meaning an imitator or actor, or source of mimesis – to consider the architecture, physical and metaphorical, of social order, from antiquity to the present day.

Amelia Critchlow & Evy Jokhova: Mimesis
Westminster Reference Library, London
9 December 2015 – 2 January 2016 

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/150232850</video:player_loc>
<video:duration>1246</video:duration>
<video:publication_date>2015-12-29T02:15:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/paul-huxley-video-interview-i-have-more-fun-making-sculpture-than-paintings</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/550336887-7982a44146ff39ee356975713d787dceec9be42339f352100b735e7433d9e0d0-d_640</video:thumbnail_loc>
<video:title>Paul Huxley, interview | 14 December 2015</video:title>
<video:description><![CDATA[Paul Huxley: ‘I have more fun making sculpture than making paintings, but I’ve made paintings all my life’

The artist talks about his career, from visiting Robert Motherwell and Lee Krasner in New York in the 1960s, to his wall drawings for the Azerbaijan pavilion at the 2015 Venice Biennale, to his new work for a forthcoming show in Santa Fé, his first solo exhibition in the US for nearly 40 years.

Trained at Harrow College of Art and the Royal Academy Schools in the 1950s, Paul Huxley (b1938) grew up immersed in American culture and art. The US was then still an expensive destination, to which few people travelled, and Huxley smiles as he remembers how unreal it all felt. Then, in 1964, he won a Stuyvesant travel award and found himself in New York, with the then curator of the Whitechapel Gallery, Bryan Robertson, who introduced him to the likes of Robert Motherwell and Lee Krasner. 

Returning for two further years on a Harkness fellowship, Huxley was able to realise his ambitions of working on a large scale, creating abstract paintings and developing his vocabulary of shapes and gestures. After Huxley was included in the Pittsburgh International Exhibition of Contemporary Painting and Sculpture in 1967 and a Museum of Modern Art travelling exhibition in 1968, the Kornblee Gallery in New York mounted two solo exhibitions of his work in 1967 and 1970. Since then, he has been based in London, and his forthcoming exhibition at David Richard Gallery, Santa Fé, New Mexico, will be his first stateside solo show in nearly 40 years. 

Paul Huxley: Recent Paintings After Venice Biennale
David Richard Gallery, Santa Fé, New Mexico
12 January – 20 February 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/150701715</video:player_loc>
<video:duration>2079</video:duration>
<video:publication_date>2016-01-04T13:34:51+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/margaret-harrison-interview-accumulations-middlesbrough-institute-of-modern-art</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/wnZSlOZAxzI/hqdefault.jpg</video:thumbnail_loc>
<video:title>DOLLY PARTON HARPER VALLEY PTA</video:title>
<video:description><![CDATA[DOLLY PARTON]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/wnZSlOZAxzI</video:player_loc>
<video:duration>191</video:duration>
<video:publication_date>2009-05-17T15:00:41+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/liz-magic-laser-interview-im-interested-in-throwing-a-well-rehearsed-script-into-precarious-scenario</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Zgfi7wnGZlE/hqdefault.jpg</video:thumbnail_loc>
<video:title>2012 State Of The Union Address: Enhanced Version</video:title>
<video:description><![CDATA[President Obama delivers the 2012 State of the Union Address to Congress and the nation.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Zgfi7wnGZlE</video:player_loc>
<video:duration>3914</video:duration>
<video:publication_date>2012-01-25T06:06:53+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/katrina-palmer-the-necropolitan-line-henry-moore-institute-leeds-lisa-le-feuvre</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/551638055-4757ca38b0485fa03a2a08297036cd92ee5d07d72d03f6b48b83bd5994557e9e-d_640</video:thumbnail_loc>
<video:title>Katrina Palmer: The Necropolitan Line | Interview with Lisa Le Feuvre | Henry Moore Institute, Leeds</video:title>
<video:description><![CDATA[An artist who is changing sculpture: Katrina Palmer

Lisa Le Feuvre, the head of sculpture studies at the Henry Moore Institute, tells the fascinating tale of London’s Necropolitan Railway, the inspiration for Katrina Palmer’s sculptural installation, which takes visitors on a one-way journey

In its most radical architectural intervention yet, the Henry Moore Institute’s main gallery is, thanks to Katrina Palmer (b1967), currently bisected by a railway platform. And it is no ordinary platform, but a platform from the London Necropolitan Railway, built in 1854 at Waterloo station, to see off the bereaved and those that had departed this life on a (in the latters’ case) one-way journey to the London Necropolis, built outside the capital in Brookwood, Surrey, with the intention that it should provide a burial site large enough to accommodate Londoners for all of time to come.

As an artist whose practice is steeped in research and narrative, with a penchant for blending fact and fiction, Palmer’s selection for an exhibition at an institute whose remit is to promote sculpture, naturally raises questions about the very nature of this art form. Head of sculpture studies at the institute, Lisa Le Feuvre, talks to Studio International about these issues and explains the history of the Necropolitan Line and Palmer’s unique take on how to represent its story in a gallery in Leeds. 

Katrina Palmer: The Necropolitan Line
Henry Moore Institute, Leeds
10 December 2015 – 21 February 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/151797929</video:player_loc>
<video:duration>717</video:duration>
<video:publication_date>2016-01-14T12:01:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rose-english-video-interview-a-premonition-of-the-act-camden-arts-centre-london</loc>
<video:video>
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<video:title>Rose English, interview | Camden Arts Centre, London | January 2016</video:title>
<video:description><![CDATA[Rose English: ‘Improvisation is present always, making anything’

The artist talks about her collaboration with composer Luke Stoneham and a troupe of Chinese acrobats, for her evolving work, now on show as A Premonition of the Act at Camden Arts Centre in London

Rose English (b1950) came to the fore on the 1970s feminist art scene, in particular with her 1975 performance Quadrille, a ballet for six horses and hoofed dancers presented at a dressage show – and her work crosses boundaries between performed installation, vaudeville, film, spoken drama and opera. She has appeared on stage and in films and has been writing, directing and performing for 35 years.

English has been working with Chinese acrobats for more than a decade and her collaboration with them has evolved through various performances and exhibitions, including Ornamental Happiness – a show in song and circus – at the Liverpool Biennial in 2006, and Flagrant Wisdom commissioned by the National Glass Centre in 2009. Her current exhibition at Camden Arts Centre, A Premonition of the Act, is described as “reconfiguring elements of a major yet-to-be-realised performance”, hinting at two live performances that will take place after the show has been taken down, on 11 and 12 March 2016.

The centrepiece of the exhibition is the sound work, Lost in Music, an operatic piece for 10 voices and percussion, scored by Luke Stoneham for English’s libretto. It plays in a darkened room, on the walls of which extracts from the score and English’s notes, as well as images of the acrobats at rehearsal, and glassware being blown, are displayed in light boxes: image juxtaposed against word; sight against sound. Next door, three screens show breathtaking footage of the acrobats, performing complex and almost unimaginable feats with the specially made glass vessels – a selection of which are displayed on a table nearby. A girl carries a tiered tray of champagne flutes on her feet; a boy tosses a seemingly weightless vase lightly into the air. One slip and disaster would ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/153269257</video:player_loc>
<video:duration>612</video:duration>
<video:publication_date>2016-01-27T13:35:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/collateral-drawing-bella-easton-john-stark-trisant-video-interview-curators-artists-beaston-projects</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/555261356-291a931f801f63cb5ba5884a08f519fbe2bf88d7124fd35d9680d028af4ca8cc-d_640</video:thumbnail_loc>
<video:title>Collateral Drawing, interview | Bella Easton, John Stark, Trisant | Waterfront Gallery, UCS, Ipswich</video:title>
<video:description><![CDATA[Studio International spoke to Easton and her co-curator John Stark, both of whom are also exhibiting, as well as to a third participating artist, Trisant, about the ideas behind the project, their working methods, and how being involved has impacted on their thinking about their own practices.

There is more to an artwork than its finished state. During the creative process, there are sketches and models made, photographs taken, paint spilled, notes scribbled. Sometimes the wall and floor around the work become companions to the work itself and, once the work is removed, severed umbilical traces remain, showing where lines continued, how thoughts developed, and where lost ideas went to hibernate.

Two years ago, BEASTON projects, a curatorial platform run by the artist, curator and teacher Bella Easton, began a project called Collateral Drawing, with the intention of showing just such “byproducts”, with a view to revealing something of the hidden – and sometimes subconscious – artistic process. The project, launched at Plymouth College of Art, is now in its fourth iteration, having also exhibited in Athens (Beton7, 2014) and Berlin (rosalux, 2015). The current version, showing at the Waterfront Gallery, UCS, includes installations by 16 artists with an East Anglian connection, each revealing something unique about their methods and exploring the relationship between the finished works (also on display) and the collateral elements.

Collateral Drawing 
Waterfront Gallery, UCS, Ipswich
4 January – 19 February 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/154319412</video:player_loc>
<video:duration>693</video:duration>
<video:publication_date>2016-02-05T10:11:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/andy-warhol-works-from-the-hall-collection-video-review-ashmolean-museum-oxford</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/555299796-0476199d05e071d2c3939ecb3b2b519c33bf6c609fca06b044f1a4d7bb7d7bce-d_640</video:thumbnail_loc>
<video:title>Andy Warhol: Works from the Hall Collection | Ashmolean Museum, Oxford | 3 February 2016</video:title>
<video:description><![CDATA[“Andy took the world as it was and, in his own way, described it with amazing accuracy,” says curator Norman Rosenthal, who talks about trying “to tell a story through the pack of cards that is the [Hall] collection”. Studio International spoke to him at the opening of the exhibition. 

With a figure as well known as Andy Warhol (1928-87), whose works are so instantly recognisable, it might seem an impossible task to put on an exhibition and keep it fresh and interesting for the public. The current exhibition at the Ashmolean Museum, however, which features more than 100 previously unseen works, spanning the whole of Warhol’s career, contains many surprises. Curated by Sir Norman Rosenthal, from the collection of Andrew and Christine Hall, it – in the words of the Ashmolean’s director, Xa Sturgis – more than “puts paid to the idea of Warhol as a spent force in the 70s and 80s”. 

In stark contrast to the stunning, high-reaching wall in the central gallery, hung with Warhol’s more recognisable commissioned screen prints of celebrities (including Joseph Beuys, Paul Anka and Maria Shriver), the final room focuses on his last year of life, showing only black-and-white prints, many with religious and existential themes. Another section features drawings, proving that Warhol was a talented draughtsman: “He had a natural line, which was every bit as beautiful as Matisse,” says Rosenthal, for whom these late drawings were a “revelation”. Highlights of the first room include a group of artists’ portraits and a series of prints of Watson Powell, a successful but unknown businessman, who came to be known as “the American Man”. Alongside this, a small side room acts as a screening room, showing looped excerpts from Empire (1964) and Sleep (1963) alongside Eat (1963), Kiss (1963) and Screen Tests (1964-65). Every corner of space has been used and the exhibition feels representative without being crowded. 

Andy Warhol: Works from the Hall Collection
Ashmolean Museum, Oxford
4 February – 15 May 2016

Interview by ANNA McNAY
Fi]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/154632182</video:player_loc>
<video:duration>339</video:duration>
<video:publication_date>2016-02-08T14:28:46+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anthony-engi-meacock-assemble-interview-turner-prize-architectural-practice</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/555995987-485f2dbaf10393eb1a2bc795e3edc0f816949f33b40652959968a24bb8a614c6-d_640</video:thumbnail_loc>
<video:title>Anthony Engi Meacock, interview | Assemble, Sugarhouse Studios, London | January 2016</video:title>
<video:description><![CDATA[Anthony Engi Meacock: ‘Bringing creative practice out of the art bubble and into a wider context is a really interesting thing’

The founder member of Assemble, which last year became the first architectural practice to win the Turner Prize, talks about the group’s work and ethos, and the benefits of combining the artist’s qualities of curiosity and openness with an architectural sensibility for place-making

When Assemble won the UK’s biggest contemporary art award, the 2015 Turner Prize, it was the first time an architectural practice had done so. The judges selected them as much for the participatory, collaborative nature of their projects - Granby Four Streets in Liverpool (the rehabilitation, together with the local Community Land Trust, of semi-derelict Victorian houses that had been intended for demolition) and the Baltic Street Adventure Playground in Glasgow - as for the artistry and inspired husbandry of resources that characterise these projects. 

Assemble cohered as a collective of assorted architecture and arts students with their first project, 2010’s Cineroleum, a temporary cinema that they improvised from an abandoned petrol station and either found or donated materials. The practice (now numbering 19 participants) developed through subsequent public art projects that often incorporated infrastructure and temporary buildings, from New Addington’s Central Parade in Croydon in 2011 to 2012’s Folly for a Flyover (a community arts and cinema space under a motorway bridge in east London). With two projects in east London, Blackhorse Workshop in Walthamstow and Sugarhouse Studios in Stratford, they are shaping spaces that support makers, crafts and creative communities, with minimal resources. A variety of theatres, exhibitions, play structures and performance spaces have followed, underpinned by a commitment to craftsmanship, stakeholder engagement and social and material sustainability. 

Founding member Anthony Engi Meacock talks to Studio International about the evolution of Assemble’s work and eth]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/155247018</video:player_loc>
<video:duration>1379</video:duration>
<video:publication_date>2016-02-13T16:05:33+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anri-sala-answer-me-review-new-museum-new-york</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/mwJ2kLNjuEc/hqdefault.jpg</video:thumbnail_loc>
<video:title>Conversation — Anri Sala: The Present Moment</video:title>
<video:description><![CDATA[Conversation on Anri Sala's sound and video installation "The Present Moment". Participants: Alexander Liebreich, Bridget McRae, and Anri Sala; moderated by Patrizia Dander.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/mwJ2kLNjuEc</video:player_loc>
<video:duration>3904</video:duration>
<video:publication_date>2015-02-16T15:01:36+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/conrad-shawcross-video-interview-paradigm-francis-crick-institute-kings-cross</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/557671312-3c078b5a432043b8631ec2b75ba3dc521e35ebb78b1080a558a19bca1e547e3c-d_640</video:thumbnail_loc>
<video:title>Conrad Shawcross: Paradigm | Francis Crick Institute, London | 17 &amp; 24 February 2016</video:title>
<video:description><![CDATA[Conrad Shawcross: ‘It looks like a wonder of the world’

The artist talks to Studio International about his new public sculpture, Paradigm, and shows us round his studio and the foundry as the final pieces are being put together. 

In the final throes of putting together a new sculpture, Paradigm, to stand outside the Francis Crick Institute, near King’s Cross, London, Conrad Shawcross (b1977) is fulfilling the role of director – as well as creator – as his teams in both his studio and the fabricator Benson and Sedgwick endeavour to get everything ready in time. 

Studio International was lucky enough to accompany Shawcross on a visit to Benson and Sedgwick, where he saw the sculpture, for the first time, in a nearly complete state. “It’s like being seven years old again and it being Christmas Eve!” he said, looking around excitedly with his camera phone out and a big grin on his face. The work, made of weathered steel, stands 14 metres high and is 5 metres at its widest point, but balances (albeit with some serious underground bolting, deeper than the height of the sculpture itself) on a base of less than one metre wide. The precariousness and audacity of the tetrahedral forms is breathtaking, even seeing the piece as it lay on its side.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/156579735</video:player_loc>
<video:duration>602</video:duration>
<video:publication_date>2016-02-24T11:49:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lin-tinmiao-video-interview-thread-winding-taught-me-to-be-patient-beijing-china</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/557996284-b2429936bb412378b05eb71d496aeacb21f9684c5903eff107cd3f7d607e3fdb-d_640</video:thumbnail_loc>
<video:title>Lin Tianmiao, interview | Beijing | 6 July 2015</video:title>
<video:description><![CDATA[Born in Taiyuan, Shanxi Province in 1961, Lin Tianmiao is one of the first female Chinese artists accorded international recognition. Lin studied in the Fine Art Department of the Capital Normal University in Beijing, earning a BFA in 1984. She moved to Williamsburg in New York a few years later with her husband Wang Gongxin, a celebrated video artist. They returned to China in 1995, where they now live and work in a spacious villa just outside of Beijing. Lin began her career as a textile designer, later incorporating her skill in weaving, sewing and embroidery into her fine art practice. 

A multidisciplinary artist, she also works in sculpture, photography, video, and a number of other media. Much of her work addresses women's issues, connecting thread to her personal history and her experience as a woman. Invested in the arduously hand-made both emotionally and conceptually, Lin transforms ordinary objects made from commonplace materials into something rare, evocative, and universal.  Among recent solo exhibitions was one at the How Art Museum, Wenzhou, China as well as at Galerie Lelong, Paris and New York, Asia Society, New York and Beijing Center for the Arts. She has also participated in numerous international group exhibitions.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/156734238</video:player_loc>
<video:duration>1648</video:duration>
<video:publication_date>2016-02-25T13:08:51+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Lin Tianmiao: studio tour | Beijing | 6 July 2015</video:title>
<video:description><![CDATA[Incorporating weaving, sewing and embroidery into her fine art practice, the multidisciplinary artist transforms ordinary objects made from commonplace materials into something rare, evocative and universal. Here, she takes Studio International on a tour of her studio.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/157252878</video:player_loc>
<video:duration>934</video:duration>
<video:publication_date>2016-03-01T03:10:32+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/peter-fischli-david-weiss-how-to-work-better-guggenheim-museum</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/GeRlFbWzzFU/hqdefault.jpg</video:thumbnail_loc>
<video:title>Fischli and Weiss' THE POINT OF LEAST RESISTANCE</video:title>
<video:description><![CDATA[Buy DVD: homevideo.icarusfilms.com/new2008/point.html

In Fischli and Weiss' first film together, a rat and a bear are out to make a lot of money in the Los Angeles art world. So when they find a corpse in a gallery, hoping it will be the means to enter the worlds of culture, action and finance, they take it with them. However the desired effect is not forthcoming and they become involved in questions and observations on the subject of art and crime. The rat tries to solve the case himself; to him there is no distinction between artist and detective. After a narrow escape from a murder attempt, the two animals join forces once again and, now sadder and wiser, they resolve to improve - something that appears to be far from easy. But at the depths of despair they discover a system of order in the chaos of the world. And from here, they proceed into undreamed-of insights, and flights of fancy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/GeRlFbWzzFU</video:player_loc>
<video:duration>209</video:duration>
<video:publication_date>2008-08-29T16:57:40+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/colin-self-interview-streetseen-hearts-glances-mayor-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/552736982-72fe7c8c02ceb69f60c6d780a83e6e4ec9ce2cea8ec6790a39d60c7969c16935-d_640</video:thumbnail_loc>
<video:title>Colin Self, interview, part one | Mayor Gallery, London | December 2015</video:title>
<video:description><![CDATA[On the occasion of his exhibition at London’s Mayor Gallery, the most singular of British pop artists talks about the rough and tumble of postwar London and Norfolk, class consciousness at the Slade, Bacon and Hockney’s admiration of his work, and his attunement to the stuff of everyday life.

Over the course of his nonconformist career, draughtsman, painter, sculptor and printmaker Colin Self has fashioned an arrestingly diverse repertoire of subject matter, technique, and tone. His charged, gelid images of cinemas, haughty glamour girls and bombers speak of cold war nuclear anxiety in a peculiar brand of war art, a category apparently at odds with the conventions of pop art (Self is represented in the Imperial War Museum’s permanent collection).  

In his compendium of 60s modernity, bombs are as much a shiny icon of the compulsive glamour of contemporary life as hot dogs, cars and cinemas in Self’s striking fusion of artifice and reality. For all their unnerving presence, the artist’s hand is virtually effaced in many of these earlier works, in marked contrast to the unvarnished, manifestly tactile Glances works also on view at the Mayor Gallery. In this beguiling series, Self has his way with an array of ephemera that forms a quasi-archaeological, often poignant, record of the debris of life’s daily incidents.  

Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/152619103</video:player_loc>
<video:duration>1077</video:duration>
<video:publication_date>2016-01-21T15:31:36+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/552369716-a5d88fe2607bd93507f7ccbc0289171292c97cd6ca0cf8e71a65e113e13218e3-d_640</video:thumbnail_loc>
<video:title>Colin Self, interview, part two | Mayor Gallery, London | December 2015</video:title>
<video:description><![CDATA[Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/152354470</video:player_loc>
<video:duration>1480</video:duration>
<video:publication_date>2016-01-19T18:18:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/560003893-f970186e75b585bf8638aac686c570611cad60b1e9e5986008a1d933c603c537-d_640</video:thumbnail_loc>
<video:title>Colin Self, interview, part one | Norwich | 10 December 2015</video:title>
<video:description><![CDATA[Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/158410035</video:player_loc>
<video:duration>1872</video:duration>
<video:publication_date>2016-03-09T18:12:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/559794718-d09ad39bbd4f1da6c3e3f897e01c8180deef06df4f3b93097dfe73c5def2cc74-d_640</video:thumbnail_loc>
<video:title>Colin Self, interview, part two | Norwich | 10 December 2015</video:title>
<video:description><![CDATA[Colin Self talks to Studio International at his home in Norwich.
Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/158258109</video:player_loc>
<video:duration>1648</video:duration>
<video:publication_date>2016-03-08T18:44:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/three-generations-a-family-exhibition-anthony-jane-eyton-video-interview-heatherleys-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/562776836-3d780af5b7576a6972b1cae5111d67dfdf8c4a5b0791e56e6aef175c8b87d52e-d_640</video:thumbnail_loc>
<video:title>Anthony Eyton RA, interview | London, 17 March 2016</video:title>
<video:description><![CDATA[Three Generations: Passing on the Eyton drive

As they prepare for their first exhibition showing together as a family, Anthony Eyton RA and his sculptor daughter Jane reflect on the enduring influence of Anthony’s mother Phyllis, a painter, who died in a riding accident when he was a child. Studio International sat in on Eyton and Jane as they reminisced about family memories and bi-directional artistic influences. 

At nearly 93 years of age, Anthony Eyton RA is still painting every day. Art is clearly something that runs in his genes, as his mother, Phyllis, was a painter, and his three daughters – Jane, Clare and Sarah – are all artists in their own right, too. 

Phyllis, who died in a riding accident in 1929 when Eyton was just six years old, trained for two years at the Heatherley School of Fine Art, now in Chelsea, then in Pimlico. Eyton, a regular attendee of Heatherley’s events, has worked together with the school to pull together an exhibition showcasing the art of three generations of his family: Phyllis, Anthony, Jane, Clare and Sarah. Although Phyllis was the only student there – at a time when Heatherley’s was in the vanguard of women’s art education, having admitted them on an equal footing to men, even in the life class, from its very beginning in 1845 – both Jane and Anthony have taught either at the school, or some of its tutors, thus continuing the familial link. It is appropriate, therefore, that this special exhibition should be hosted there.

Three Generations: A Family Exhibition
The Heatherley School of Fine Art, London
5 – 8 April 2016

Interview by ANNA McNAY
Filmed by WILLIAM KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/160243424</video:player_loc>
<video:duration>1225</video:duration>
<video:publication_date>2016-03-24T10:36:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/terry-setch-video-interview-reduced-to-rubble-flowers-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/563351894-7637d397343495e41aec93eb6678732b65eb350ca32bf57520a973c02d9f7ad2-d_640</video:thumbnail_loc>
<video:title>Terry Setch, interview | Flowers Cork Street, London | 21 March 2016</video:title>
<video:description><![CDATA[Terry Setch: ‘I regarded the beach as a playground – somewhere you can behave irreverently’

The artist explains his practice, recalling memories of the beach at Penarth and his desire to extend the surface of his paintings. We spoke to Setch at Flowers Cork Street, at the opening of his exhibition, Reduced to Rubble

Royal Academician Terry Setch (b1936, London) moved to South Wales in 1969 to live on the coast in Penarth. From that time, his work has been a response to the beach and seascapes that he sees on his daily walks: some pieces more playful; others responding to serious political issues, such as pollution and the Ebola crisis. 

Dedicated to painting, and steeped in the British tradition stretching back to JMW Turner, Setch seeks, nevertheless, to extend his surfaces into and including 3D objects – often found objects and detritus from the beach, or reconstructions thereof, fossilised in polypropylene and wax. The result is a multisensual bombardment, synthesising the natural and manmade – far more than just an abstract work, but something that viewers can “feel” and respond to. 

Terry Setch: Reduced to Rubble
Flowers Cork Street, London
16 March – 16 April 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/161021177</video:player_loc>
<video:duration>1050</video:duration>
<video:publication_date>2016-03-31T07:31:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bonheur-de-vivre-video-review-interview-bernard-jacobson-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/564253836-9e0f135bf5ee44f772b01a1d5764a45ae9082a71f9659a3cb2474dc0dbd0ccca-d_640</video:thumbnail_loc>
<video:title>Bernard Jacobson interview | Bonheur de Vivre | London, 21 March 2016</video:title>
<video:description><![CDATA[Bernard Jacobson: ‘I want to bring people back to art’

The art dealer talks about his current exhibition, Bonheur de Vivre, which he considers ‘a precis of 20th-century beauty’, a return to art that focuses on passion, joy, happiness, light and colour .

Art dealer Bernard Jacobson has been looking at art for 60 years and selling it for 45. But he is becoming increasingly disillusioned. “I think it’s the end of an era,” he says, going on to lament the loss of generous spirit and the increase in megalomania and consumerist drive among contemporary artists. In fact, he doesn’t call them artists. “I call them businessmen,” he laughs wryly. 

As an antidote to this despair, Jacobson has mounted a splendidly colourful and vibrant exhibition, featuring works by Henri Matisse, Joan Miró, Alexander Calder, Robert Motherwell and Sam Francis, who, to him, epitomise the “bonheur de vivre” of the 20th century.  Matisse is quoted as saying: “Colour above all, and perhaps even more than drawing, is a means of liberation,” and it is certainly the key element in this joyous show. 

Although never having worked with Matisse or Miró before, Jacobson is a staunch supporter of Motherwell, was a close friend of Francis, and met and was befriended by Calder as a young man. He spoke to Studio International about some of his memories, as well as some of his opinions on the state of the art world and his hopes for the future. 

Bonheur de Vivre
Bernard Jacobson Gallery, London
18 March – 27 May 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/161786323</video:player_loc>
<video:duration>998</video:duration>
<video:publication_date>2016-04-06T11:14:00+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/random-international-hannes-koch-video-interview-collective-power</loc>
<video:video>
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<video:title>Hannes Koch interview | Random International | London, 14 April 2016</video:title>
<video:description><![CDATA[Hannes Koch of Random International talks about the collective’s latest project, producing a kinetic artwork consisting of 15 points of light, recognisable almost instantaneously as the human form.

Founded in 2005 by Hannes Koch and Florian Ortkrass, the art collective Random International, based in London and Berlin, shot to fame with its immersive environment Rain Room, first shown at the Barbican’s Curve gallery in London in 2013, where people queued for up to 12 hours to get in. Taking a step back out of the limelight to focus on more research-based projects in the aftermath, the collective is about to show the results of its two-year residency in Harvard at Le Laboratoire, a one-of-a-kind culture lab exploring the intersection of art and science. During the residency, Random witnessed groundbreaking robotics research in partnership with Harvard’s School of Engineering and Applied Sciences’ biomimetic robotics division, which inspired the artists to translate their research into the physical form of a sculpture series. The first sculpture in this series is a kinetic artwork made of 15 points of light, which can be recognised as the human form in maximally 150 milliseconds. “It’s all about precision,” explains Koch. “If you move a point to another point in space, it just doesn’t work. It has to be like Swiss clockwork.”

• The 150 Milliseconds research exhibition is open to the public at Le Laboratoire, Cambridge, Massachusetts, 22 April to 25 June 2016.

• Random International will also be showing new site-specific work as part of the exhibition Wonder Materials: Graphene and Beyond at The Museum of Science and Industry, Manchester, from 23 July 2016, and they have an exhibition at Pace Art & Technology (Menlo Park) opening in September 2016.

• Their public sculpture commission at Nine Elms, London, will be installed in 2017.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/163432574</video:player_loc>
<video:duration>696</video:duration>
<video:publication_date>2016-04-19T12:45:32+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:title>Random International. 150 Milliseconds, 2016</video:title>
<video:description><![CDATA[150 Milliseconds, 2016. Random International collective’s latest project, a kinetic artwork consisting of 15 points of light, recognisable almost instantaneously as the human form.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/163670286</video:player_loc>
<video:duration>10</video:duration>
<video:publication_date>2016-04-21T06:08:14+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/art-sheffield-2016-martin-clark-curator-artists-interviews</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/567490439-0a4ac0729fbfec90b7105fd3a3815bcd324b7ae77882a15413827d9c2f6cb6d9-d_640</video:thumbnail_loc>
<video:title>Martin Clark interview | Art Sheffield | April 2016</video:title>
<video:description><![CDATA[Martin Clark, the director of Bergen Kunsthall, Norway, has created Art Sheffield 2016: Up, Down, Top, Bottom, Strange and Charm, entirely around sound and video art. His aim is for the three-week event to inspire and provoke a connection between different parts of the city – from derelict pubs and abandoned factories to veteran nightclubs and modern gallery spaces – and the musical, cultural, social and political events that have helped to shape this once prosperous industrial hub, as well as propel it into its modern day version, where former factories have transformed into galleries and student housing, and the knowledge economy is king.

Up, Down, Top, Bottom, Strange and Charm could be seen as Clark’s love letter to the city where he spent his formative years as an art student, embracing its vibrant music scene, and branching out into DJing in the city’s clubs and bars before he made the switch from sound decks to gallery specs. 

Clark has drawn on his deep knowledge of the city’s musical and visual culture, as well as its social and political history, to animate key spaces around the city purely with sound and video art. He chose the title - it refers to the six “flavours” or types of quark, which make up the building blocks of the material world – to reference both the ephemerality of its physical landscapes and because, he says: “It seems to me that music and film have a physical presence, even if they are ephemeral.” 

This is the first time either Clark or Art Sheffield have deployed singular works strategically in off-site spaces. And Clark describes it as “more like an exploded group show than a biennial, where you pick one overarching theme … The city is as implicated and as present as the works themselves … (It’s all about) the experience of being in that space and walking around and seeing other spaces.”

Working with the Art Sheffield team to cherry pick and then secure the sites he was interested in – incorporating the derelict, the iconic and the rehabilitated – Clark then chose the artists who]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/163955009</video:player_loc>
<video:duration>630</video:duration>
<video:publication_date>2016-04-23T19:33:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:video>
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<video:title>Mark Fell interview | Art Sheffield | April 2016</video:title>
<video:description><![CDATA[Mark Fell’s Structural Solutions to the Question of Being is being exhibited at The Link pub on the Park Hill housing estate. Fell, who describes himself as a “Rotherham-based music producer and artist”, brings a wealth of local knowledge to this site-specific installation: a loving recreation, in a derelict brutalist housing estate pub, of the heady days of the 1980s and 90s underground music scene, as well as a far from rose-tinted recollection of the politics of the day. 

Among the dangling, cheap chandeliers, the ruined wallpaper and flashing blue and red disco lights, Fell plays a broadcast from a pirate radio station that used to operate from the Park Hill flats, from one night in 1992 – when Fell would have been a regular listener and even contributor. Elsewhere, that evening’s DJs – Rebecca Seager and Solid State – are interviewed about the musical landscape of the day, while, on one wall Fell charts a “timeline” in fluorescent Post-it notes of the 80s and 90s, featuring pivotal moments in sound and recording technology, as well as drug and music culture. Scattered across the floor are postcards emblazoned with upbeat slogans, reminiscent of the euphoric dance tracks of the day, which contrast powerfully with televised and transcribed verbatim Conservative party broadcasts (most notably Peter Lilley’s 1992 speech in which he described New Age Travellers as “locusts”).

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/163285174</video:player_loc>
<video:duration>1126</video:duration>
<video:publication_date>2016-04-18T12:59:25+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:video>
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<video:title>Beatrice Gibson interview | Art Sheffield | April 2016</video:title>
<video:description><![CDATA[London-based artist Beatrice Gibson’s film F for Fibonacci, at Bloc Projects, evokes the chaos of contemporary capitalist economics via a child’s Minecraft fantasy, contrasting the simplicity of the child’s-eye view with the grotesque and sometimes surreal aspirations and machinations of global finance.

F for Fibonacci is one of a series of films Gibson has made, inspired by William Gaddis’s epic 1975 capitalist satire JR. The novel follows an 11-year-old boy who creates a vast financial empire, with the help of his school’s resident composer. This film is structured around a conversation between Gibson and a real 11-year-old, Clay Barnard Chodzko, as he escorts her around his own Minecraft fantasy playground, built for his imaginary billionaire, Mr Money.

Interviews by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/163890626</video:player_loc>
<video:duration>618</video:duration>
<video:publication_date>2016-04-22T19:53:27+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Steven Claydon interview | Art Sheffield | April 2016</video:title>
<video:description><![CDATA[Steven Claydon’s newly commissioned Infra-idol Assembly is set within the vast, bunker-like, top-floor space of the Moore Street substation, designed by Jefferson Sheard and constructed in the 60s, when it was thought that Sheffield’s industrial star was still on the rise, and would require a power station of this size. Thanks to the dismantling of the city’s steel industry, this top floor has never been used. This, its first occupation, has only been made possible due to the substation’s annual three-week shutdown for maintenance – an event that dictated Art Sheffield’s timing.

Accessed via a winding concrete and glass staircase, the physical presence of this huge room – and one’s insignificance in relation to it - is augmented by a projection at the far end of the room, on which Claydon is broadcasting an animation made from atoms. Claydon has clipped excerpts from IBM animation A Boy and his Atom, a film made to demonstrate IBM scientists’ breakthrough in being able to control the movement of atoms from one place to another. It is accompanied by the actual soundtrack of these atoms being moved, interwoven with words sampled from tapes of early computer-generated poetry. The soundtrack itself is amplified by a large, sculptural reverb unit, constructed from plate steel manufactured in the city.

Interviews by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/163755082</video:player_loc>
<video:duration>917</video:duration>
<video:publication_date>2016-04-21T18:00:09+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bosco-sodi-interview-yugen-sculpture-blain-southern</loc>
<video:video>
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<video:title>Bosco Sodi interview | Blain|Southern | London 19 April 2016</video:title>
<video:description><![CDATA[Bosco Sodi: ‘I like the freedom of letting the mind and soul go on a journey with the work’

Bosco Sodi talks about the two processes in his work: the one where he is in control and the one where he lets go and waits for the surprise of the outcome.

Born in Mexico City in 1970, Bosco Sodi is known for his richly textured, highly physical and vividly coloured large-scale paintings, made from crude raw materials, pigments and sawdust, plastered on to canvases with his hands and left to dry and crack in the sun. Having spent time in Japan, he draws from the aesthetic philosophy of wabi-sabi, embracing imperfection and revering natural authenticity above all. 

Focusing on material exploration, the creative gesture, and the profound spiritual connection between the artist and his work, Sodi invites his audience to allow their minds and souls to go on a journey with his works. With his glazed, golden rocks, Sodi enjoys taking the natural objects out of context and presenting them in a gallery as precious objects of desire. 

Sodi speaks to Studio International about his philosophies, his creative processes and his foundation in Oaxaca, offering residencies for international artists. 

• Bosco Sodi: Yugen is on show at Blain|Southern until 12 June 2016.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/164302541</video:player_loc>
<video:duration>825</video:duration>
<video:publication_date>2016-04-26T14:02:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/charles-richardson-video-interview-displacement-behaviour-exeter-phoenix</loc>
<video:video>
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<video:title>Charles Richardson interview | Exeter Phoenix | 16 April 2016</video:title>
<video:description><![CDATA[Since completing his MA in fine art at Slade School of Fine Art in 2014, Charles Richardson (b1979) is considered by many as one of the fastest rising stars on the contemporary British art scene. Having won the 2014 Saatchi New Sensations Prize, Richardson has gone on to exhibit around the world, including at Art Basel in Miami Beach (2014), the New Art Dealers Alliance in New York (2015), and the Zabludowicz Collection in London (2015). 

His work may be digitally based, but Richardson plays with the boundaries of the physical and the virtual at every opportunity, resulting in a heady mixture of both realities. He has become synonymous with the 3D figures he produces, which often feature himself, acquaintances and even curators he has worked with wrapped in various everyday objects with tape. His work chiefly concerns itself with themes of male identity, social digitisation and contemporary cultural uncertainty. 

Studio International visited Exeter Phoenix to talk to Richardson about the exhibition in light of the talk and special performance that occurred that day. 

Charles Richardson: Displacement Behaviour
Exeter Phoenix, Exeter
18 March – 30 April 2016

Interviewed by ALEXANDER GLOVER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/164595515</video:player_loc>
<video:duration>1435</video:duration>
<video:publication_date>2016-04-28T12:44:26+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/elizabeth-price-video-interview-a-restoration-ashmolean</loc>
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<video:title>Elizabeth Price interview, Part One | London | 4 May 2016</video:title>
<video:description><![CDATA[Elizabeth Price: ‘I’m interested in music and the voice because it brings a very different sensual and emotional register to the work’

Studio International visited the artist in her studio in south-east London to talk to her about her work A Restoration, made for the Ashmolean Museum in Oxford

Elizabeth Price outlined the important role sound plays within her multilayered creative practice.  “Many of the works start off with quite a rational, almost procedural, approach to historical materials, but they always move into, or end up in, something that’s more like a song,” she said.

Price also discusses her residency at the Rutherford Appleton Laboratory Space, the Science & Technology Council’s Space Science Department, where she became fascinated with photographic images of the sun, from the late-18th century to the present day. This archive, she tells us, is “scientifically purposeful and strangely melancholy”, and she has used these images in three works, “placing a dramatic situation of sight for everything else that happens in the work”.

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/166516474</video:player_loc>
<video:duration>1222</video:duration>
<video:publication_date>2016-05-13T10:07:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:title>Elizabeth Price interview, Part Two | London | 4 May 2016</video:title>
<video:description><![CDATA[Elizabeth Price discusses her residency at the Rutherford Appleton Laboratory Space, the Science & Technology Council’s Space Science Department, where she became fascinated with photographic images of the sun, from the late-18th century to the present day. This archive, she tells us, is “scientifically purposeful and strangely melancholy”, and she has used these images in three works, “placing a dramatic situation of sight for everything else that happens in the work”.

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/166231315</video:player_loc>
<video:duration>807</video:duration>
<video:publication_date>2016-05-11T12:20:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/marvin-gaye-chetwynd-but-is-it-art-i-don-t-even-care</loc>
<video:video>
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<video:title>Marvin Gaye Chetwynd interview, The Idol, Barking, 18 March 2015</video:title>
<video:description><![CDATA[Performance artist and Turner-prize nominee Marvin Gaye Chetwynd explains why she turned her attention to designing a children’s play area for a London leisure centre

We visited the British performance artist Marvin Gaye Chetwynd, formerly known as Spartacus Chetwynd, in Barking, east London, the site of her latest work, The Idol.

From An Evening with Jabba the Hutt (2003), a performance piece that saw Chetwynd and her entourage wait on Star Wars’ most nefarious slave trader, to The Walk to Dover (2005), a seven-day pilgrimage following the path once trod by David Copperfield as he sought out his aunt Betsey Trotwood, the Turner Prize-nominated artist regularly harmonises the antiquated with the contemporary to bizarre effect, in order to interrogate themes such as society, human nature and taboo.

The Idol, however, represents a slightly less idiosyncratic venture for Chetwynd, having been commissioned by Create London – the foundation behind such projects as Open School East, Hitchcock’s East End and the Chisenhale Gallery’s Create Residency – to conceive an original soft play centre for the development of Barking’s new Abbey Leisure Centre.

The Idol, Abbey Leisure Centre, Barking, opened 19 March 2015

Interview by Harry Thorne
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/123456245</video:player_loc>
<video:duration>1223</video:duration>
<video:publication_date>2015-03-27T17:44:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/gyoergy-kovasznai-a-cold-war-artist-review-somerset-house</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/aGzommXzkXU/hqdefault.jpg</video:thumbnail_loc>
<video:title>William Kentridge and András Szántó - Conversation (Part 3)</video:title>
<video:description><![CDATA[3.rész: - William Kentridge-dzsel Szántó András (Író, tanácsadó, New York) beszélget a Szépművészeti Múzeumban.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/aGzommXzkXU</video:player_loc>
<video:duration>2028</video:duration>
<video:publication_date>2011-12-12T23:28:22+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cory-arcangel-video-interview</loc>
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<video:title>Cory Arcangel: currentmood | Exhibition tour, Lisson Gallery, London | 19 May 2016</video:title>
<video:description><![CDATA[The Brooklyn-based artist talks about his latest show at the Lisson Gallery in London, billed as ‘a technological exploration of obsession and obsolescence’

Cory Arcangel: Currentmood
Lisson Gallery, London
20 May – 2 July 2016

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/167861626</video:player_loc>
<video:duration>750</video:duration>
<video:publication_date>2016-05-24T05:39:36+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Cory Arcangel: interview | Lisson Gallery, London | 19 May 2016</video:title>
<video:description><![CDATA[Cory Arcangel: ‘Making art is just basically dowsing’

Studio International caught up with the artist as he was putting the finishing touches to his show at the Lisson Gallery.

Cory Arcangel trained as a classical musician, but the influence of his childhood home – Buffalo – and the prevalence of experimental video artists who had moved to the town from New York in the 1970s was stronger. With leading figures such as Steina and Woody Vasulka teaching at the local university, the medium penetrated every aspect of education: video art was even taught at Arcangel’s high school. He says: “I thought experimental video art was what art was and that painting and sculpture was what they taught kids. And if you wanted to be a real artist, you made weird videos.”

His work offers an immersion into the world of play, sometimes affectionate and nostalgic – hacking in to the iconic video games of his youth to strip them back to the barest, most essential landscapes of almost zen-like minimalism – and at times surreal, such as the series of “sculptures” that consisted of a community of swimming pool floats (noodles) dressed in headphones and custom-made “athleisure” wear. But though the result is often lighthearted, Arcangel is deadly serious in his interrogation of the nihilistic undercurrents of our technologically enhanced lifestyles. His new show at the Lisson Gallery – his second there, and his third in the UK – goes under the title Currentmood, which is also the hashtag he uses for his online investigations into the weird and wonderful world of web culture, and is billed as “a technological exploration of obsession and obsolescence”.

He never takes a position with his imagery – the kitsch, tacky, bland or profound are all given equal consideration and he celebrates obsolete technologies and online memes with equal enthusiasm – and he has “democratised” the content for this show, first by presenting all these works at the same size, in the same crisp white frame, regardless of quality of image or content.  Thus a digita]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/167957651</video:player_loc>
<video:duration>1161</video:duration>
<video:publication_date>2016-05-24T17:53:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anthony-mccall-interview-solid-light-performance-and-public-works</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/1-HWsxPnNNY/hqdefault.jpg</video:thumbnail_loc>
<video:title>Anthony McCall – Line Describing a Cone | TateShots</video:title>
<video:description><![CDATA[This film captures a recent presentation of Anthony McCall's ground-breaking 1973 work, Line Describing a Cone. Testing the boundaries between cinema and sculpture, the work takes the form of a projected white dot that slowly grows to fill the dark space with a cone of light, immersing audience members in its field, to mesmerising effect.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/1-HWsxPnNNY</video:player_loc>
<video:duration>113</video:duration>
<video:publication_date>2008-08-13T15:20:39+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rana-begum-video-interview-the-space-between-parasol-unit</loc>
<video:video>
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<video:title>Rana Begum: interview | London | 16 March 2016</video:title>
<video:description><![CDATA[Rana Begum: ‘I love using readymade materials in the work’

Studio International visited Rana Begum in her studio in north-east London to talk to her about her creative process, and the works she has prepared for her first solo UK exhibition at the Parasol Unit. 

Fascinated by readymade objects sourced from various locations, Rana Begum builds works that play with light, colour and form. Begum “started off as a representational artist”, but then realised that was not a path she wanted to go down. She became very interested in works by artists such as Agnes Martin and Sol LeWitt, which inspired her to look at her own work differently, dissecting it into its component parts – form, colour and line – “all things that can be investigated on their own”. 

This began Begum’s investigation into how light might change a form throughout the day, and this in turn fuelled her love of colour. Believing herself not to be “very good at mixing colours”, Begum began her exploration into colour by using the coloured adhesive tape already in her studio, which, she says “gave me a readymade palette”. Her objects shift from two-dimensional into sculptural through colour, that could be said to visually hum with reflection and glow. These pieces play games with interpretation and reception and, although Begum is quick to tell us that she doesn’t like the term “optical illusion” in relation to her work, she does like the idea of a visual surprise. 

Rana Begum: The Space Between
The Parasol Unit, London
30 June – 18 Sept 2016

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/173378071</video:player_loc>
<video:duration>1294</video:duration>
<video:publication_date>2016-07-04T13:32:56+00:00</video:publication_date>
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<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/jennifer-wen-ma-interview-cass-sculpture-foundation</loc>
<video:video>
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<video:title>Jennifer Wen Ma: interview | Cass Sculpture Foundation | 17 May 2016</video:title>
<video:description><![CDATA[Jennifer Wen Ma: ‘Throughout history, humans have been trying to break into or out of a paradise or utopia’

The artist talks about her new installation, Molar, at Cass Sculpture Foundation, created as a place of reflection on a disintegrating utopia

Jennifer Wen Ma (b1973, Beijing) works across a variety of media, including installation, video, drawing, performance, public art and fashion design. Chosen from more than 500 applicants, she was one of the seven members of the core creative team for the opening and closing ceremonies of the Beijing Olympics in 2008, as well as the chief designer for visual and special effects. Last year, her opera Paradise Interrupted,with composer Huang Ruo, premiered at the Spoleto Festival USA following a special preview at the Metropolitan Museum of Art.

Many of her works take landscape or nature as their subject matter and her new site-specific commission, Molar, for the group exhibition of 16 Chinese sculptors, A Beautiful Disorder, at the Cass Sculpture Foundation, offers a place of reflection in a disintegrating utopia, where beauty and destruction cohabit, and inspiration can be drawn from the diseased as well as the prosperous.

Wen Ma talks to Studio International about her new work and her wider practice, now split between Beijing and New York.

A Beautiful Disorder
Cass Sculpture Foundation, West Sussex
3 July – 6 November 2016

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/173940406</video:player_loc>
<video:duration>677</video:duration>
<video:publication_date>2016-07-08T13:40:39+00:00</video:publication_date>
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<video:title>Claire Shea, interview | A Beautiful Disorder, Cass Sculpture Foundation | 17 May 2016</video:title>
<video:description><![CDATA[A Beautiful Disorder
Cass Sculpture Foundation, West Sussex
3 July – 6 November 2016

Studio International spoke to the Cass Sculpture Foundation’s curatorial director, Claire Shea, about the concepts behind this first international group exhibition and the global success of this young generation of Chinese artists.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/174021030</video:player_loc>
<video:duration>239</video:duration>
<video:publication_date>2016-07-09T11:37:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/francesca-pasquali-video-interview-metamorphoses-spiderwall</loc>
<video:video>
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<video:title>Francesca Pasquali, interview | Metamorphoses and Spiderwall | London, 24 June 2016</video:title>
<video:description><![CDATA[Francesca Pasquali: ‘I have a contemporary view of art, so I want to draw materials from the world around me’

The Bolognese artist uses everyday materials and plastics to replicate natural folds and textures in a manner akin to the ideas of arte povera. Currently in London for two exhibitions, she speaks to Studio International about her inspirations and aspirations.

Influenced by Italian art in general, and arte povera in particular, Bolognese artist Francesca Pasquali (b1980) creates fully immersive – often site-specific – installations, using everyday and industrial materials, reappropriating them and bringing them into the public’s realm of vision, and of the other senses too. Involving the public in the work of art is part of what it is all about for Pasquali, and she enjoys the interplay of movement, sometimes engendered by the person, sometimes by the material itself. 

Showing in a commercial London gallery for the first time, Pasquali has created a large-scale, colourful, plastic cloud in Peckham’s MOCA London, and filled Mayfair’s Tornabuoni Art with a cross-section of her works, from her best-known pieces made with drinking straws, to a carpet of broom bristles, on which we sit to talk, during a break from installation. 

• Metamorphoses is on show at Tornabuoni Art, London, until 17 September 2016, and Spiderwall is on show at MOCA London until 30 July 2016.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/174695235</video:player_loc>
<video:duration>893</video:duration>
<video:publication_date>2016-07-14T13:25:19+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tim-slade-interview-the-destruction-of-memory</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/tZtZuZDhTC8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Ziggurat of Ur, 3D Animation</video:title>
<video:description><![CDATA[3D scan of the Ziggurat of Ur, Iraq captured in July, 2015 for the CyArk Archive by volunteer team "ON THE ROAD"]]></video:description>
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<video:duration>32</video:duration>
<video:publication_date>2015-12-09T19:17:55+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/this-is-a-voice-wellcome-collection-audio-interview</loc>
<video:video>
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<video:title>This is a Voice | Wellcome Collection, London | 2016</video:title>
<video:description><![CDATA[This intriguing exhibition attempts to capture the elusive nature of the human voice, with live performances by sound artists, demonstrations, paintings and medical illustrations. 

Nothing more intimately identifies us than our voice, a complex and flexible piece of biological equipment with rhythm, pace, accent, breath, intonation and limitation. This is a Voice presents paintings, manuscripts, medical illustrations and ethnographic objects, and looks inside vocal tracts, restless minds and speech devices as it attempts to capture the elusive nature of the human voice.

The show is separated into five thematic sections: Voice is the Original Instrument; Melodic Contours; The Strains of the Voice; Egophony; and The Unlocated Voice. Theories from anthropology to musicology suggest the evolution of the human voice from song for social bonding to information exchange. Here, immersed in silence, the exhibition begins with a cocoon of stillness that heightens your hearing to navigate this intimate and performative sound installation.

The voice is often the carrier of what cannot be expressed with words, and some works, such as Emily by Danica Dakić or Imogen Stidworthy’s film Alex, explore themes of voice production with psychological and biological limitations. Emma Smith, however, offers an open invitation to collaborate in the production of a new language in 5HZ (Language School). Listening to the audio guide, you are encouraged to imagine and practice a future where voice evolves and enables social bonding.

A large screen looms with the chants of monosyllables conducted with physical sharp gestures intended to silence and neutralise the accent of a migrant worker in Birmingham, titled The Perfect Sound by Katarina Zdjelar. The exhibition finishes with an invitation from electronic musician Matthew Herbert, in his new work Chorus, to deposit a sound that is incorporated into an ever-expanding sound installation playing at the Royal Opera House’s stage door in Covent Garden, London.

Other contemporary artists an]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/175762777</video:player_loc>
<video:duration>484</video:duration>
<video:publication_date>2016-07-21T18:28:54+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alfredo-jaar-a-logo-for-america-piccadilly-circus-london</loc>
<video:video>
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<video:title>Alfredo Jaar: A Logo for America | Piccadilly Circus, London | 28 July 2016</video:title>
<video:description><![CDATA[The first UK screening of Chilean artist Alfredo Jaar’s iconic work, A Logo for America, at London’s Piccadilly Circus. It was first shown in New York’s Times Square in 1987, and again in 2014.
Filmed by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/176725219</video:player_loc>
<video:duration>76</video:duration>
<video:publication_date>2016-07-29T06:15:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cui-xiuwen-interview-light-dame-jillian-sackler-international-artists-exhibition-program-beijing</loc>
<video:video>
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<video:title>Cui Xiuwen interview, Light, Arthur M. Sackler Museum of Art and Archaeology at Peking University, 27 May 2016</video:title>
<video:description><![CDATA[Cui Xiuwen is a conceptual artist best known internationally as a video filmmaker and photographer. A creator of edgy, outspoken work, she began her career as a painter and has recently returned to making paintings and sculpture, exploring contemporary formulations for venerable traditions, in combination with new media. 

The fourth edition of the Dame Jillian Sackler International Artists Exhibition Program at the Arthur M Sackler Museum of Art and Archaeology at Peking University in Beijing features conceptual artist Cui Xiuwen’s exhibition, Light, curated by Miguel Benavides, with the support of Professor Cao Hong, Professor Wang Weihua, and Dr Lu Jing.

Born in 1970 in Harbin, China, Cui lives and works in Beijing. She studied at the Central Academy of Fine Arts, earning an MFA in 1996. Her series Intersection (1998) was extremely controversial, featuring not only nudity (stringently banned in China then and still banned, if only intermittently enforced now) but male nudity, which was even more shocking. Focusing on her subjects’ genitalia, it would have raised eyebrows in the West, where female nudes, not male nudes and not viewed frontally, have long been the norm, a critique of historic gender disparities, social mores and aesthetic conventions. She followed this up with the even more confrontational Lady’s Room (2000), based on footage taken from a video camera concealed in the ladies room of a Beijing club, which was removed by official censors from the 2002 Guangzhou Triennial, its first edition. 

In later works, Cui has turned from social issues to more existential, Taoist and Buddhist themes that include the evolution of self, that self’s journey through the world and cosmos, the definition of its humanity and its relationship with others in works such as Existential Emptiness (2009) and Spiritual Realm (2011), concerns that she continues to explore in her exhibition Light.

She has shown at Tate Modern in London and the Today Art Museum in Beijing, as well as galleries in New York, Hong Kong and Si]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/177705962</video:player_loc>
<video:duration>1260</video:duration>
<video:publication_date>2016-08-05T10:08:23+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/xu-yong-video-interview-negatives-china</loc>
<video:video>
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<video:title>Xu Yong interview | Beijing | 30 May 2016</video:title>
<video:description><![CDATA[Xu Yong: ‘Negatives act as witness’

Twenty-five years after Tiananmen Square, the Beijing-based photographer took the brave decision to publish his images of the event in negative form. Here, he talks about his work

One of the pioneers of 798 Art District in Beijing, Xu Yong (b1954, Shanghai) is a longtime resident of that city. A photographer of note with more than 20 books to his credit, one of his most acclaimed photographic series is the enchanting 101 Portraits of Hutong, first published in 1989. It records the poetic charms of the traditional Beijing courtyard houses separated by narrow lanes (hutongs), neighbourhoods that were on the verge of extinction, indiscriminately demolished in China’s rush to modernise. 

That same year, he took another important historical series that was published in Hong Kong in 2014 for the first time. Called Negatives, it presents selected images in negative form (you can view them as positives through an iPhone or iPad by a simple adjustment of settings).  Xu took countless snapshots with a Konica of the momentous Tiananmen Square protests that roiled China and the world in the spring of 1989. Hiding the cache for nearly a quarter of a century, fear that the film would deteriorate beyond repair outweighed fear of reprisal, and he bravely risked publishing them, emphasising that it is an art book. He is cognisant of the danger. A topic of extreme sensitivity, all accounts of 4 June 1989 (known in China as 6/4) have been ruthlessly suppressed by the Chinese government. The eradication has been successful enough that many young Chinese know nothing about it. Negatives is currently in an exhibition in Cologne at Galerie Julian Sander.

Originally self-taught, Xu Yong later graduated from the Luoyang Polytechnic in 1978 and worked for the creative art department of a state-run advertising agency in Beijing from 1984-88. He had his first solo exhibition in 1986, and, in 1993, he initiated cultural tours of Beijing’s hutongs to give foreigners a glimpse of a vanishing culture and ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/180772587</video:player_loc>
<video:duration>1044</video:duration>
<video:publication_date>2016-08-30T13:59:52+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/judith-wechsler-interview-film-invites-inclusivity-of-media</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/SPPrtZPZbNQ/hqdefault.jpg</video:thumbnail_loc>
<video:title>Aby Warburg Metamorphosis &amp; Memory Promo</video:title>
<video:description><![CDATA[Aby Warburg (1866-1929) was an innovative and influential art historian whose interests ranged from the Italian Renaissance to Hopi ritual dances, from frescoes to postage stamps, combining art and culturalhistory, anthropology and religion. He explored the after life of antiquity, the tensions between the Apollonian and the Dionysian, the rational and irrational, the secular and religious in Renaissance paintings of Italy, Germany and the Netherlands.   This one hour documentary traces the development of Warburg’s ideas in the context of his life and times and his personal struggle with depression and psychosis.   Told largely through Warburg’s own words and interviews with leading Warburg scholars in England, the US, and Germany.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/SPPrtZPZbNQ</video:player_loc>
<video:duration>195</video:duration>
<video:publication_date>2016-02-06T20:38:01+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>The Passages of Walter Benjamin - Trailer</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/119543693</video:player_loc>
<video:duration>144</video:duration>
<video:publication_date>2015-02-13T08:31:00+00:00</video:publication_date>
<video:uploader>Benjamin Reichman</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/paul-carter-video-interview-municipal-cpg-london</loc>
<video:video>
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<video:title>Paul Carter interview | CPG London | 6 September 2016</video:title>
<video:description><![CDATA[Paul Carter: ‘There’s an invitation that only takes you so far’

Entering the gallery, visitors enter a new world – a liminal space, with an empty lift, piss-stained walls, and a municipal blue hotel sign on a cracked concrete wall. The artist explains his interest in civic architecture as social sculpture and a site of social exchange

As the title of this immersive exhibition, Municipal, suggests, its artist, Paul Carter, is interested in ideas of communality and civic architecture, and it is filled with quasi-architectural sculptural installations. Building on the notion that his studio – and, indeed, the gallery space and all communal spaces around us – is a hotel, or a kind of social sculpture, in which people are invited to come together and connect in their isolation, his installations reference public buildings and often quite communist architecture, considering their functionality and dysfunctionality as places of social exchange. 

Here, a lift stands centrally, opening and closing at timed intervals. Visitors may enter it, press the buttons, and wait to be transported to another place. Where or what this place might be like, only their imaginations can tell. They may, of course, also walk around the outside of this object, a view they would never normally have, opening up a liminal space, a place of division. Carter, who has claustrophobia and never uses a lift, enjoys watching people interact, or stand waiting for “residents” to appear. He describes his phobia as coming from “a sculptural sensibility of space”, and this sensibility resonates throughout his work. The “piss corners”, recreating abandoned walls of buildings where men give dysfunction a new use, line the left-hand-side of the main gallery space, inviting visitors in, while, perhaps, once they recognise the reference, repelling them at the same time.

A film plays in the background, showing a man destroying his down-filled padded jacket – feathers flying everywhere, a gesture of despair and isolation, almost soundless, “a crisis of materia]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/182161026</video:player_loc>
<video:duration>1168</video:duration>
<video:publication_date>2016-09-09T17:57:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cyril-de-commarque-video-interview-fluxland-totally-thames-london</loc>
<video:video>
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<video:title>Cyril de Commarque: interview | Fluxland | Imperial Wharf, London, 8 September 2016</video:title>
<video:description><![CDATA[Cyril de Commarque: ‘I believe in a new renaissance of thinking’

The French artist has converted a grain barge into an artwork to sail the Thames, blasting out a soundtrack of revolution and hosting conferences with leading thinkers on philosophy, economics and nanotechnology. He welcomed Studio International on board

Cyril de Commarque (b1970) believes in the theory of progress acceleration: that we can’t change the technological progress that is going on around us at an exponential rate. But, as a result, changes in society are no longer democratic, he says: they are decided neither by the politicians, nor the people, but happen as a result of mobile phones and social media and who knows what else. “The only space for freedom we can gain is inside ourselves,” de Commarque concludes, remaining adamant of the need to dream of a new utopia, despite its inherent risks.

Having previously worked with architectural projects and social and political subjects, including migration and the evolution of political and geographical borders, de Commarque has spent three years working on Fluxland, converting a 1950s Dutch grain barge into a 25-metre-long, interactive artwork, sound piece and space for debate. The name derives from his interest in borders, but also the Fluxus movement in art, and his belief that art has a function, to reveal to people the necessity of taking action, and not becoming the victim of politics. As part of Totally Thames, the boat will sail up and down the river, attracting audiences, who will hear the battle cries of revolutions and the speeches both of dictators and of peace, emanating from the speakers, and then come closer to see themselves reflected in the mirrored surfaces. This upper part of the barge is constructed out of two polyhedrons – the symbol of melancholia – and will reflect both the river and the onlookers, inviting them to look inside, both the vessel and themselves. As de Commarque says: “You have to go inside of yourself and accept the humility to think: ‘Am I doing the right ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/183138171</video:player_loc>
<video:duration>914</video:duration>
<video:publication_date>2016-09-17T15:52:29+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/conrad-shawcross-interview-optic-cloak-greenwich-peninsula</loc>
<video:video>
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<video:title>Conrad Shawcross: The Optic Cloak | Interview | London 2016</video:title>
<video:description><![CDATA[Conrad Shawcross: ‘It’s created a skin for the surface of this building’

The artist explains his use of the moiré effect in designing an optical cloak for a tall industrial building on the Greenwich Peninsula in south-east London

Conrad Shawcross’s largest-scale project to date, the Optic Cloak is an architectural intervention, commissioned by developer Knight Dragon, in which the sculptor has created aluminium cladding for a flue stack 49 metres tall, 20 metres wide and three metres deep, standing on the roadside on the Greenwich Peninsula in south-east London. Making use of the moiré effect, Shawcross has tessellated triangular panels, creating a disrupted surface that allows light through, causing a flux, or undulation, as if the “cloak” were moving. During the evening, the tower will be lit from within, continually redefining the shape of the structure and its surroundings. Inspirations come from such spheres as maritime camouflage, cubism and op art. The Optic Cloak has been designed in collaboration with the architectural practice CF Møller Architects.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/182925452</video:player_loc>
<video:duration>324</video:duration>
<video:publication_date>2016-09-15T18:09:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/zhao-zhao-video-interview</loc>
<video:video>
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<video:title>Zhao Zhao interview | Beijing | July 2015</video:title>
<video:description><![CDATA[Zhao Zhao: ‘You cannot separate art from politics’

A prominent member of the post-1980s generation of Chinese artists and a former assistant of Ai Wewei, the Beijing artist talks about his visually stunning, anti-authoritarian and provocative work. Lilly Wei talked to the artist in his Beijing studio in 2015

Beijing-based artist Zhao Zhao was born in 1982 in Xinjiang, graduating from the Xinjiang Institute of the Arts in 2003. Later, he attended the Beijing Film Academy. He was formerly an assistant to Ai Weiwei, but struck out on his own in 2011. An artist of increasing reputation, he is considered to be a prominent member of the post-1980s generation of contemporary Chinese artists. His work is anti-authoritarian, challenging existing political and social systems, questioning the ideologies that underpin them and advocating free will in his work. A multidisciplinary artist of visually stunning, provocative work, he shows internationally.

Interview by LILLY WEI
Filmed by MARTIN KENNEDY
Translation by Alex Ma]]></video:description>
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<video:duration>1163</video:duration>
<video:publication_date>2016-10-02T17:18:54+00:00</video:publication_date>
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<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/michelangelo-pistoletto-video-interview-blenheim-palace-mirror-paintings-arte-povera</loc>
<video:video>
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<video:title>Michelangelo  Pistoletto: interview | Blenheim Palace | 14 September 2016</video:title>
<video:description><![CDATA[Michelangelo Pistoletto: ‘The mirror is always part of one unique mirror. There is only one mirror that is fragmented in various moments and places’

In the startlingly altered states of Blenheim Palace, the multifarious Michelangelo Pistoletto spoke to Studio International about the history of time as captured in his Mirror Paintings, his rejection of the concept of a signature style, and the conviction that art can transform life

Considered one of the defining members of Arte Povera and acclaimed initially for his Mirror Paintings, represented here in an alluringly theatrical display, Pistoletto justifiably resists the confinement of labels. This compelling installation presents the history of the artist’s assorted identities in the revivified abundance of Blenheim, with the breadth of his materials, ‘poor’ and glittering, well represented. While the performative aspects of Pistoletto’s career (Buongiorno Michelangelo by Ugo Nespolo, 1968-69) are absent here, references to the present day are not, with the current incarnation of the Mappamondo series incorporating British newspapers covering the 2016 EU Referendum. Other novelties include eighteenth-century portraits partly covered in layers of glistening mica and the hallucinatory spectacle of a floating gold car in a fountain, while Pistoletto’s pacifist aspirations continue to drive the ongoing Terzo Paradiso project.

Michelangelo Pistoletto at Blenheim Palace
15 September – 31 December 2016

Interview and translation by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/186116814</video:player_loc>
<video:duration>1203</video:duration>
<video:publication_date>2016-10-08T20:11:38+00:00</video:publication_date>
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<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/peter-liversidge-interview-twofold-sean-kelly-gallery-new-york</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/jaL1Piu7gN0/hqdefault.jpg</video:thumbnail_loc>
<video:title>RL Burnside / Jumper On the Line by Alan Lomax [1978/2010]</video:title>
<video:description><![CDATA[R.L. Burnside at home in Independence, Mississippi, shot by Alan Lomax]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/jaL1Piu7gN0</video:player_loc>
<video:duration>1280</video:duration>
<video:publication_date>2014-08-31T15:45:46+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/joey-holder-video-interview-ophiux-science</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/596857935-9641ff6f09e5802eef7b9fd32f167cfe4670b01caa05870adb61b183c670fc85-d_640</video:thumbnail_loc>
<video:title>Joey Holder interview | Wysing Arts Centre, Cambridge | 8 October 2016</video:title>
<video:description><![CDATA[Joey Holder: ‘I’d like to see a lot more collaboration between the sciences and the arts’

The artist shows Studio International around her ‘futuristic medical room’ installation and explains how what, at first, might seem like science fiction, is pretty much science fact

Working with cutting-edge science, artist Joey Holder (b1981) has created an immersive clinical environment, into which the visitor enters, wearing blue shoe covers, to be confronted with a larger-than-life MRI scanner, tanks containing dried-out deep-sea creatures, and X-ray light boxes, on which magnified bacteria and a curious skull are displayed. This is Ophiux, a speculative pharmaceutical company of the not-too-distant future, working with synthetic biology, to create new, genetically modified life.

During her 2015 residency at Wysing Arts Centre in Cambridge, Holder was introduced to Dr Marco Galardini, a computational biologist at the European Bioinformatics Institute at the Wellcome Trust Genome Campus, Cambridge, and Dr Katrin Linse, senior biodiversity biologist at the British Antarctic Survey, Cambridge. She has collaborated with them on her research to produce both the installation and the accompanying film, recently premiered at Deptford X, and soon to go on a national tour. 

Having studied sciences and art at A-level, Holder chose to follow an artistic career, studying first at Kingston University and later at Goldsmiths University of London, where she obtained her MFA in 2010. Science has remained an enduring interest, however, as have curious and alien life forms, and – no doubt influenced by her time spent as a dive master in Turkey – the underwater world. This complex and thought-provoking exhibition brings together these diverse strands and makes a case for future such discourses between artists and scientists. 

Holder showed Studio International around the installation and explained some of the science fact and science fiction involved.

Joey Holder: Ophiux
Wysing Arts Centre, Cambridge
25 September – 20 November 2016

I]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/187050895</video:player_loc>
<video:duration>953</video:duration>
<video:publication_date>2016-10-12T13:24:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/toby-ziegler-video-interview-post-human-paradise</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/597880370-fad2292e8bbe1d2b94ffdaa4bdbfbc0fdc52eaa406c6f7f49a120aaf76adb0de-d_640</video:thumbnail_loc>
<video:title>Toby Ziegler interview | Simon Lee Gallery, London | 6 October 2016</video:title>
<video:description><![CDATA[Toby Ziegler: ‘In half an hour, you can undo an entire month’s work’

The artist explains his processes of painting and sanding, and using Google’s reverse image search to create works with layers of geological exploration.
    Having grown up with a postcard of Henri Matisse’s Large Reclining Nude (1935) on his parents’ bathroom wall, Toby Ziegler (b1972) was more than familiar with this seminal work, which blurs the lines between the figurative and the abstract. While a student at Central St Martin’s College of Art and Design, Ziegler found himself questioning the relevance of painting in today’s digitised society, and much of his work is an attempt to establish an answer to this. Taking inspiration from iconic paintings, he repaints the images painstakingly on to aluminium sheets, before spraying over them and then sanding them down with an electric sander, revealing both the painted image and the bare metal beneath. Describing his methods as “a perverse way of trying to make a mark”, Ziegler recognises his tussle with primarily painterly issues. 
    But Ziegler also works using Google, searching for the paintings online, gradually reducing the resolution of the images he finds, and repeatedly feeding them back into the reverse image search, which returns increasingly curious, incongruous and diverse responses – in the case of the Matisse, many initially relating to babies and playthings, but latterly turning to cankerous sores and wounds. From these images, Ziegler has composed a slow-moving film, which plays alongside the series of images Matisse himself made as documentation of the progress of his painting and its evolution from illusionistic to two-dimensional space.
    Ziegler spoke to Studio International about his interest in thinking about the body in relation to digital technology and the history of painting in relation to the way we circulate imagery today.

• Post-Human Paradise is on show at the Simon Lee Gallery, London, until 12 November 2016.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/187831693</video:player_loc>
<video:duration>905</video:duration>
<video:publication_date>2016-10-18T10:26:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/bedwyr-williams-the-gulch-barbican-london-review</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/mI-YiaWDgB4/hqdefault.jpg</video:thumbnail_loc>
<video:title>The Velvet Underground - The Gift</video:title>
<video:description><![CDATA[Information about the song:
http://en.wikipedia.org/wiki/The_Velvet_Underground]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/mI-YiaWDgB4</video:player_loc>
<video:duration>501</video:duration>
<video:publication_date>2008-02-09T20:01:58+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cecilia-brunson-interview-willys-de-castro</loc>
<video:video>
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<video:title>Cecilia Brunson interview | Cecilia Brunson Projects, London | 11 October 2016</video:title>
<video:description><![CDATA[Cecilia Brunson: ‘In the case of Willys de Castro, it’s also a perceptual and mental game’

The Latin American art dealer explains the ethos of her Bermondsey gallery and the importance of the Brazilian neo-concrete artist, Willys de Castro. 
    Cecilia Brunson (b1972, Santiago de Chile) set up her gallery space in Bermondsey, south London, in September 2014, and focuses her exhibitions on Latin American artists who have been successful at home and in the US but remain little known in the UK and Europe. Willys de Castro (1926-88) is a perfect example, being pivotal in the neo-concrete movement of the 1950s and 60s, but never having had a solo show in London.
    The exhibition is entitled From Paintings to Objects, 1950-65, and the works on show demonstrate de Castro’s transition between paintings and sketches and his so-called Objetos Ativos, or Active Objects series, through which he sought to create a participatory viewer, who would engage both physically and phenomenologically with his works, moving around them and experiencing them as objects.
    The exhibition is part of a series, Perspectives of Modern and Contemporary Art from Brazil, by Cecilia Brunson Projects in collaboration with Almeida e Dale Gallery in São Paulo, which aims to highlight the contribution of Brazilian artists to 20th-century art. De Castro follows in the footsteps of Claudio Tozzi and Alfredo Volpi shown earlier this year.
    Brunson spoke to Studio International about de Castro’s legacy, the significance of hosting a show of his works right now, and her hopes for the series and her gallery as a whole.
• Willys de Castro: From Paintings to Objects, 1950-65 is on show at the Cecilia Brunson Projects, London, until 9 December 2016.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/188865230</video:player_loc>
<video:duration>550</video:duration>
<video:publication_date>2016-10-25T13:49:23+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/nicolas-herrera-interview</loc>
<video:video>
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<video:title>Nicolás Herrera: El Jardín De Las Mujeres</video:title>
<video:description><![CDATA[Studio International travelled to Cuenca, Ecuador, to talk to Nicolás Herrera about his new work, El Jardín de las Mujeres, or The Garden of Women, a mural at La Casa de la Provincia, where it is permanently installed. It was unveiled to the public last Tuesday (25 October). It is the largest mural in Ecuador, measuring 13.4 by 3.64 metres.

The work pays homage to women from Cuenca and the world. This mural, he explains, “is about life”, and his idea was to create a great garden where every being was included. It is a large composition with more than 40 elements. Beginning on the left with a map of Cuenca located on the trunk of a large tree, this ecological journey takes us through love, justice that gives liberty, a tree of life, birds representing freedom, a traditional “Ayahuma” (a mythological figure, protector of nature and the spirits of the mountains), a musician in full festive attire, a set of figures representing race, abstract mythological figures from the mind’s eye. At the end, we have Las Cholas Cuencanas, three female figures depicted in traditional dress, representing Cuenca, a city of flowers, life, pride and tradition that has embraced the world through its arts, its architecture and its multi-ethnic people.

Herrera, a native of the north Ecuador, from a town called Los Andes in El Carchi, now lives and works in Ibarra, where he financed the building of a museum by selling one painting at a time to collectors worldwide. He has won various awards of recognition and had numerous exhibitions in his native Ecuador, as well as exhibitions in the US and Europe. His work is currently part of a group show in Germany at the Lappersdorfer cultural and community centre Aurelium, entitled Magia Silvestre (Wild Magic), a collection of magical forests and wildlife. His museum, built without any support from the local government, sits on top of a hill, with expansive views of Ibarra (named the “white city” for the colour of its buildings), and Lake Yahuarcocha (“lake of blood” – where the Spanish massacred ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/189445142</video:player_loc>
<video:duration>755</video:duration>
<video:publication_date>2016-10-29T12:13:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/john-akomfrah-video-interview</loc>
<video:video>
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<video:title>John Akomfrah interview | Artes Mundi 7 | Cardiff, 20 October 2016</video:title>
<video:description><![CDATA[John Akomfrah: ‘The question of discourse is absolutely central’

The artist explains the inspirations for his new split-screen film, Auto da Fé, and talks about the importance of the Black Audio Film Collective, of which he was a founding member.

For the past three decades, Ghanaian-born British director, writer and theorist John Akomfrah has been highlighting the legacy of African diaspora in Europe by creating films that explore marginalised histories of European society. Having looked a lot at causality, he now feels drawn to shift his gaze to simultaneity, and his new split-screen film work, Auto da Fé, on show as part of the Artes Mundi 7 exhibition in Cardiff, looks at displacement as a result of religious persecution and what it’s like to live life with the precarity of not being able to take even simple things for granted.

In 2009, during a visit to Barbados, Akomfrah stumbled on a Sephardic Jewish cemetery. Not having known that such a community existed, he wanted to find out more. Auto da Fé refers to the Latin American variant of the Inquisition, resulting when Jews were kicked out, en masse, from Queen Isabella I’s Spain and Portugal in the 15th century. Akomfrah’s film, however, highlights the similarities between what happened then and what continues to happen across the globe today.

In the past, Akomfrah has described his films as “tone poems”. He explains what he meant by this and also reflects on the influence of Andrei Tarkovsky.

Akomfrah was a founding member of the Black Audio Film Collective, which was active between 1982 and1998. In 2008, he was awarded an OBE for his services to the British film industry.

Akomfrah spoke to Studio International at the opening of Artes Mundi 7 in Cardiff.

• The Artes Mundi exhibition runs until 26 February 2017 at the National Museum Cardiff and at Chapter, Cardiff. The prize announcement will be on 26 January 2017.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/189181237</video:player_loc>
<video:duration>902</video:duration>
<video:publication_date>2016-10-27T12:36:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tim-benson-video-interview-faces-of-ebola-sierra-leone</loc>
<video:video>
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<video:title>Tim Benson interview | London | October 2016</video:title>
<video:description><![CDATA[Tim Benson: ‘I wanted my work to have more meaning’

The artist talks about storytelling through portraiture, and the human face of Ebola.

In 2015, artist Tim Benson travelled to Sierra Leone to meet people affected by the Ebola epidemic that claimed thousands of lives in West Africa between 2014 and 2016. With connections to King’s College London, Benson was able to travel to the Connaught hospital in Freetown to meet survivors, doctors and health workers, many of whom were facing difficulties returning to their communities because of the stigma connected with the virus.

Back in his studio in north London, Benson began work on 40 characterful portraits of the people he met in Freetown. These works will form an exhibition at the Mall Galleries Threadneedle Space in London, marking a year since Sierra Leone was officially declared free of Ebola. A selection of audio interviews will accompany the paintings, making this exhibition about more than just powerful likenesses.

Benson spoke to Studio International about what motivated this project, how art can build trust, and painting with a message.

• Faces of Ebola is at the Mall Galleries, London from 7 to 13th November 2016. A proportion of the funds raised by this exhibition will go to the King’s Sierra Leone Partnership (KSLP).

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/190326179</video:player_loc>
<video:duration>1085</video:duration>
<video:publication_date>2016-11-04T20:01:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/ai-weiwei-video-its-all-about-humanity</loc>
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<video:title>Ai Weiwei: Art, Humanity and Politics</video:title>
<video:description><![CDATA[Ai Weiwei: ‘It’s about humanity’

Ai Weiwei is showing at four New York City galleries simultaneously. To mark this, Royal Academy America hosted an informal event at which Ai talked to members and the general public about his work and his mission

Royal Academy America: Private Tour with Ai Weiwei
Lisson Gallery, New York City
5 November 2016

For the first time, Ai Weiwei is showing works at four galleries simultaneously: at the Lisson Gallery, the Mary Boone Gallery (both at the Chelsea and Midtown spaces) and at Deitch Projects, all in New York City. Through his large cast-iron trees, the artist points out how a country lost its forests, and through drawings on a large wall and the Laundromat installation (at Jeffrey Deitch), about the refugee crisis, focusing on the camp at Idomeni, he addresses how migration is about humanity.

On this occasion, at an informal event, where Royal Academy America members and the general public were present to hear Ai Weiwei talk about his work and his mission, he was introduced by Greg Hilty, curatorial director of the Lisson Gallery New York, and took some questions from the audience.

He talked about how and why trees disappeared in northern China, explaining that his trees commemorate what happened in China in the late 1950s and 60s. He talked about migration and said that, historically, people moved around and that many families in New York were refugees, and that we are all immigrants. He also talked about the election in the US, saying that it was not only about refugees, but about human dignity, about human rights, and about what kind of fundamental values we are defending. Refugees, he said, are just one phenomenon in this political situation.

He mentioned that he has visited hundreds of refugee camps all over the world and said that he was planning to go to the US-Mexican border the following day and then to Turkey, Jordan, Israel and Africa. He is making a documentary film on the refugee situation.

He said that in his shows he always tries to include current situa]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/190485621</video:player_loc>
<video:duration>874</video:duration>
<video:publication_date>2016-11-06T18:54:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/gyorgy-jovanovics-video-interview-reliefs-hungarian-neo-avant-garde</loc>
<video:video>
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<video:title>György Jovánovics, interview, PART ONE | The Mayor Gallery, London | 5 October 2016</video:title>
<video:description><![CDATA[György Jovánovics: ‘A relief shows a dynamic promise, which is more than what one can see at first glance’

The Hungarian neo-avant-garde relief artist unravels his enduring interest in the abstract possibilities of drapery, his belief that reliefs should be afforded the status of a fine art in their own right, and the difficulties of staying connected to contemporary art behind the iron curtain.
    From the uncanny, quasi-human figures of his early conceptual experiments, to his quirky, hybrid environments, and the beguiling reliefs that hover between two and three dimensions, György Jovánovics’s (b1939, Budapest) oeuvre is marked by a distinct artistic identity forged in Hungary’s cold war isolation.
    Negotiating the tensions between painting, sculpture and architecture within the condensed, taut framework of the relief sculpture, his idiosyncratic works are fabricated in the medium of plaster, and, less tangibly, through their surrounding light and the viewer’s gaze. In addition to his continuing experiments with reliefs, Jovánovics has also produced a number of public works that include a monumental sculpture for the 1988 Seoul Olympics and a compelling memorial to the victims of Hungary’s 1956 revolution. He also represented his country at the 1995 Venice Biennale.
    He spoke to Studio International about his dialogue with abstraction throughout the history of art, his belief that the traditional reproductive procedures of sculpture undermine its immediacy, and overcoming the cultural seclusion of postwar Hungary.
    György Jovánovics’s Reliefs were recently exhibited at The Mayor Gallery, London.

Interview by ANGERIA RIGAMONTI di CUTÒ
Translation by BÁLINT FERENCZY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/190986218</video:player_loc>
<video:duration>1942</video:duration>
<video:publication_date>2016-11-10T05:01:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>György Jovánovics, interview, PART TWO | The Mayor Gallery, London | 5 October 2016</video:title>
<video:description><![CDATA[The Hungarian neo-avant-garde relief artist unravels his enduring interest in the abstract possibilities of drapery, his belief that reliefs should be afforded the status of a fine art in their own right, and the difficulties of staying connected to contemporary art behind the iron curtain.

Interview by ANGERIA RIGAMONTI di CUTÒ
Translation by BÁLINT FERENCZY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/190900207</video:player_loc>
<video:duration>1101</video:duration>
<video:publication_date>2016-11-09T13:07:23+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jiang-dahai-interview-diffusion-mayor-gallery-london</loc>
<video:video>
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<video:title>Jiang Dahai interview | The Mayor Gallery, London | 2 November 2016</video:title>
<video:description><![CDATA[Jiang Dahai: ‘There are universal values shared among artists and scholars around the world.’

The Chinese-born artist unfolds his search for abstraction in all art, his pursuit of musicality and why all art should be judged by the same standards regardless of nationality

Born in Nanjing in 1946, Jiang Dahai trained in China before moving to Paris where he has been based for many years. His study of Chinese traditional art forms, as well as various instances of European and American modernism, has yielded a singular vision that evades stylistic and geographical boundaries, narrowing the gap between abstraction and figuration. Far from producing facile appropriations, Jiang interrogates and distils eastern and western traditions, extracting what he requires from each, while suggesting the affinities that characterise such diverse artistic moments as the cloud paintings of the Southern Song dynasty, Degas’s monotypes and Rothko’s numinous colour fields. 
On display in London are several of his ineffable, meditatively vaporous cloudscapes whose optical plenitude should ideally be experienced in person. For his concurrent exhibition in Paris, Jiang recently enacted his poised, deliberate process of painting the canvas, not by direct application of the paintbrush but with a nebulous spray of myriad droplets in multiple layers, a technique that echoes his very subject matter.

Jiang Dahai, Diffusion
The Mayor Gallery, London
3 November – 16 December 2016

Carte blanche à Jiang Dahai
Musée Guimet, Paris
19 October 2016 – 6 February 2017

Interview by ANGERIA RIGAMONTI di CUTÒ
Translation by LI XIAOHAN
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/193418103</video:player_loc>
<video:duration>1147</video:duration>
<video:publication_date>2016-11-28T14:19:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/roger-hiorns-video-interview-seizure-artangel-bodies-ikon-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/607054896-b8b7f4b96a35571f7134c6fbb95ac57ae8395035ce71e98806fdc5b17b21f7c6-d_640</video:thumbnail_loc>
<video:title>Roger Hiorns interview | north London | 3 November 2016</video:title>
<video:description><![CDATA[Roger Hiorns: ‘It isn’t enough to put an artwork in the world. You have to think about redesigning the world around the artwork’

The artist explains his methods of exploration and excavation, and why he believes art is not so much about making objects as about designing behaviour 

Roger Hiorns (b1975, Birmingham) is perhaps best known for his installation piece Seizure  (2008), involving the bright blue crystallisation of the interior of an empty council flat on a housing estate near Elephant and Castle, London, commissioned by Artangel. Originally intended to remain only for a couple of years, the 31-tonne structure, for which Hiorns was nominated for the Turner Prize in 2009, was “saved” and transported to the Yorkshire Sculpture Park, as part of the Arts Council Collection, where it is now on semi-permanent display. However, Hiorns’ key concern in all of his works – disparate as they might seem – is “putting the human back into the centre of an artwork”, be that by stuffing a falling mannequin with Heidegger text or secreted brain matter; burying an aeroplane and allowing visitors to enter it underground; presenting a deeply documental installation on variant Creutzfeldt-Jakob disease; or planting two seven-metre-tall black granite furnaces on Bristol’s Temple Quay Central as part of an Art and the Public Realm Bristol commission. 

With an exhibition opening at Ikon Birmingham, and the Bristol project nearing its (as yet unannounced) launch date, Hiorns welcomed Studio International to his studio on a housing estate in north London, where he talked about some of his key projects and the ideas behind – and linking – them. 

• Roger Hiorns’ exhibition at Ikon Birmingham runs from 7 December 2016 to 5 March 2017. More information about The Retrospective View of the Pathway can be found at Art and the Public Realm Bristol’s website (http://aprb.co.uk/projects/all-projects/2013/freetank--roger-hiorns).

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/194881727</video:player_loc>
<video:duration>1293</video:duration>
<video:publication_date>2016-12-08T15:51:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bloomberg-new-contemporaries-2016-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/608091333-3ca25852a568f085cfeb993ee84398d76d04ff674f0957c3c8cc43090b1604f1-d_640</video:thumbnail_loc>
<video:title>Kate Fahey: interview | Bloomberg New Contemporaries 2016, ICA, London</video:title>
<video:description><![CDATA[Kate Fahey is concerned with slowing down how we interact with images. In the age of Google, where our consumption of the visual divorces us from context and meaning, Fahey seeks to reappropriate photographs that have become lost or degraded through continual sharing. Her background in printing leads her to consider the surface of her work, the texture and nature of the paper she uses, returning tactility and poetry to digital images. The result is Cumulative Loss, a hauntingly beautiful digital collage imbued with symbolism. 

Bloomberg New Contemporaries 2016
Institute of Contemporary Arts, London
23 November 2016 - 22 January 2017

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/195536572</video:player_loc>
<video:duration>220</video:duration>
<video:publication_date>2016-12-13T17:06:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/608091884-f9ab419ec3d748f6de5ca70750c47c5e153226ff48e7450bf9b6b44bf7f33b0a-d_640</video:thumbnail_loc>
<video:title>Seungjo Jeong: interview | Bloomberg New Contemporaries 2016, ICA, London</video:title>
<video:description><![CDATA[South Korean artist Seungjo Jeong creates pared-back canvases that explore the relationship between viewer and artist through the almost abstract evocation of objects. His paintings draw on the aesthetics of everyday technology, the shapes that, for example, make up a tape cassette or speakers, without referencing particular brands so that the viewer can project his or her own feelings and memories on to the image. Jeong explains to Studio International what drives his painting and his latest Interface series.

Bloomberg New Contemporaries 2016
Institute of Contemporary Arts, London
23 November 2016 - 22 January 2017

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/195535781</video:player_loc>
<video:duration>293</video:duration>
<video:publication_date>2016-12-13T17:00:33+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/608092482-38baf1bd684cd68c27ff79a1d4d6d43677841e544ad9251d4918c1390aabf4d5-d_640</video:thumbnail_loc>
<video:title>George Ridgway: interview | Bloomberg New Contemporaries 2016, ICA, London</video:title>
<video:description><![CDATA[George Ridgway graduated last year from the Glasgow School of Art. His work traverses painting and installation with an intuitive ease as he subtly translates music, movement and the forces of the natural world into paint. We spoke to Ridgway about his practice and the fluid nature of his work.

Bloomberg New Contemporaries 2016
Institute of Contemporary Arts, London
23 November 2016 - 22 January 2017

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/195535780</video:player_loc>
<video:duration>153</video:duration>
<video:publication_date>2016-12-13T17:00:33+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/kong-ning-video-interview-artist-activist</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/609170873-0090be5659e398f405249fad599d076b75be47d3a52f05b3deca63105ebdc3f0-d_640</video:thumbnail_loc>
<video:title>Kong Ning interview | Beijing | May 2016</video:title>
<video:description><![CDATA[Kong Ning: ‘Being a witness mentally scarred me’

Multidisciplinary artist and environmental activist Kong Ning is based in Beijing. Born in Heilongjiang province in 1958, she studied law, but, deeply disturbed by the inequities of China’s judicial system and a fierce opponent of the death penalty, she decided to become an artist instead. 

Self-taught, she is an architect, painter, film-maker, and performance artist, staging actions across China and elsewhere, one of the latest occurring in November at Times Square and at the 9/11 Memorial in New York City. 

Studio International spoke to Kong Ning at her studio in Beijing.

Interview by LILLY WEI
Translation by CATHERINE CHENG
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/196631367</video:player_loc>
<video:duration>846</video:duration>
<video:publication_date>2016-12-21T15:09:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/maria-nepomuceno-interview</loc>
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/40869398</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T01:40:03+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/linda-stupart-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/JuyXJaAXYcM/hqdefault.jpg</video:thumbnail_loc>
<video:title>A Spell to Bind All Male Conference Panels</video:title>
<video:description><![CDATA[Linda Stupart
A Spell to Bind All Male Conference Panels (performance documentation)
ARCADIA_MISSA 2016]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/JuyXJaAXYcM</video:player_loc>
<video:duration>771</video:duration>
<video:publication_date>2016-06-23T18:42:19+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/-WbFkAaEVdE/hqdefault.jpg</video:thumbnail_loc>
<video:title>Suprematism</video:title>
<video:description><![CDATA[Linda Stupart
Suprematism 
2014]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/-WbFkAaEVdE</video:player_loc>
<video:duration>900</video:duration>
<video:publication_date>2014-05-16T15:17:08+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/165566085</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T01:40:26+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/candida-powell-williams-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/617409565-e665993f63dce73304a7225196f0c4f22100abfbba3970672da4037ac0dcf879-d_640</video:thumbnail_loc>
<video:title>Candida Powell-Williams, interview | Bosse &amp; Baum Gallery, London | 31 January 2017</video:title>
<video:description><![CDATA[Candida Powell-Williams has long seen sculpture and performance as inseparable. Her current immersive installation at Bosse & Baum in Peckham, south London, brings together multiple elements, including both of these, as well as moving image, an artist’s book and even other artists’ editions, produced in an exquisite corpse-type manner throughout the duration of the exhibition. 

Her second solo show with the gallery, The Vernacular History of the Golden Rhubarb grew out of a year-long residency at the British School in Rome, during which Powell-Williams collected implausible stories, documented in such a way as to make them believable. She became fascinated, primarily, by the objects and relics at the heart of these tales, and, in particular, by tourists’ behaviour in response to them. A performance workshop, held before the exhibition opened, offered participants the opportunity to interact with her sculptures, and footage of this has been drawn over and turned into gifs, which can be viewed by scanning QR codes in the gallery foyer. It was important for Powell-Williams to incorporate this public choreography as a work in its own right, rather than just through documentation. Similarly, she is producing an artist’s book, which, on one level, will act as an instruction manual for interacting with the exhibition, but, on another, will be an objet d’art itself. 

Referencing well-known and lesser-known touristic objects from across Rome, represented here in a colourful manner, against a grey archaeological site backdrop, with de Chirico arches and cross-stitched frescoes from the Villa of Livia at Palazzo Massimo, the installation invites viewers in to explore and interpret to the best of their knowledge, adding a sprinkling of their own imagination to complete and enhance the already bizarre tales. 

Powell-Williams showed Studio International around and explained some of her inspirations. 

• Candida Powell-Williams: The Vernacular History of the Golden Rhubarb runs until 19 March 2017 at Bosse & Baum, London

In]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/203188961</video:player_loc>
<video:duration>840</video:duration>
<video:publication_date>2017-02-08T16:21:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yuko-mohri-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/619058399-3623d594719914524065fef7e385517bc3c284462528c54fe957d61a4d32c36d-d_640</video:thumbnail_loc>
<video:title>Yuko Mohri, interview | Moré Moré [Leaky] | White Rainbow, 7 February 2017</video:title>
<video:description><![CDATA[Yuko Mohri: ‘I’m very curious about organic ecosystems’

The Japanese artist Yuko Mohri’s exhibition at White Rainbow is titled Moré Moré [Leaky], and follows recent exhibitions in Taiwan, Japan and the US. Winner of the 2015 Grand Prix Nissan Art Award, Mohri undertook two residencies in London in 2016, the first at the Victoria and Albert Museum and the second at Camden Arts Centre. 

Mohri studied media art with sound art (which she prefers to call “music without musicians”), at the University of Tokyo, and has collaborated with leading Japanese avant-garde musicians Otomo Yoshihide and Ryuichi Sakamoto. Through “sensing hidden energy, usually ignored”, Mohri’s work brings together image, sound and narrative, and asks “how nature and un-nature could have a relationship?” 

Mohri talked to Studio International before the opening of her exhibition Moré Moré [Leaky] and explained some of her inspirations and processes.

Yuko Mohri: Moré Moré [Leaky]
White Rainbow, London
9 February – 11 March 2017

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/204521824</video:player_loc>
<video:duration>1192</video:duration>
<video:publication_date>2017-02-17T07:04:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/armory-show-2017-review-new-york</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/622591562-85b76a2419aa90064750d96d9e7460cef761734d64d3e1374d0062d38e341cb5-d_640</video:thumbnail_loc>
<video:title>Drifter by Studio Drift, Armory Show 2017</video:title>
<video:description><![CDATA[Drifter, a free floating concrete monolith by Studio Drift, founded by Lonneke Gordijn and Ralph Nauta.
Installation view at Pace Gallery, Armory Show 2017, New York City. Dimensions: 4 x 2 metres.

Filmed by Miguel Benavides.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/207497390</video:player_loc>
<video:duration>116</video:duration>
<video:publication_date>2017-03-08T12:59:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/622582330-303e7e8905a717ecaf1dae6f628831b4ca10b91a3433866d2e4882394c9b07f6-d_640</video:thumbnail_loc>
<video:title>Sadaharu Horio, Art Vending Machine, Armory Show 2017</video:title>
<video:description><![CDATA[Sadaharu Horio's Art Vending Machine, Armory Show, New York City, 2017.

Crowds lined up at the Art Vending Machine to exchange a $1 bill for a work produced and signed on the spot by Sadaharu Horio (of the Japanese avant-garde Gutai movement) according to which of the 10 categories you specified: “whipping painting” drew a banging sound followed by a bare canvas and signature; “bordered painting” put a frame around signed blank paper; “instant painting” produced a stroke of wet oil paint.

Filmed by Miguel Benavides]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/207491475</video:player_loc>
<video:duration>56</video:duration>
<video:publication_date>2017-03-08T12:23:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/robert-devereux-when-the-heavens-meet-the-earth-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/622289255-5f089bcafde159a54244e36a5cbf6a6314c454e66014e1c0edf4820a577ed74f-d_640</video:thumbnail_loc>
<video:title>When the Heavens Meet the Earth | Heong Gallery | Downing College, Cambridge</video:title>
<video:description><![CDATA[Showcasing works from Robert Devereux’s Sina Jina African art collection, this small but dense exhibition reveals the breadth and quality of artistic output from the world’s second largest continent 

When the Heavens Meet the Earth – the fourth exhibition at the Heong Gallery at Downing College, Cambridge is showcasing a small selection from Robert Devereux’s African art, or Sina Jina, collection. 

In 2010, the multimillionaire, formerly a partner in the Virgin empire and Richard Branson’s brother-in-law, sold off two-thirds of his collection of postwar British art and used the £4 million proceeds to set up a charity supporting artists in Africa. The African Arts Trust, as it was named, supports grassroots organisations, which, in turn, support African artists with basic needs such as studios and residencies. 

The exhibition specifically seeks to include some lesser-known artists, but there are some established names as well, including El Anatsui, 2013 Turner Prize nominee Lynette Yiadom-Boakye and Ibrahim Mahama, who showed in Venice in 2015 and currently has an exhibition at White Cube Bermondsey, London. Another well-known name is the South African photographer Zanele Muholi, whose work with the LGBTQ community places her at continual risk in a censorious and critical society. 

Ranging across photography, painting, sculpture and film, the exhibition evidences the wealth of artistic creativity and output from the second largest continent in the world.

Studio International spoke to Devereux at the opening of the exhibition.

• When the Heavens Meet the Earth runs until 21 May at the Heong Gallery, Downing College, Cambridge

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/205705477</video:player_loc>
<video:duration>187</video:duration>
<video:publication_date>2017-02-25T15:17:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/oliver-beer-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/624141886-dd01dc788a3ca115e440cc2195d7f37b43e06aff4964b5d8f18e4e33fa44d0d1-d_640</video:thumbnail_loc>
<video:title>Oliver Beer, interview | London | 7 March 2017</video:title>
<video:description><![CDATA[Oliver Beer: ‘We are very fortunate to live in a time when there is complete fluidity between mediums’

Oliver Beer uses sound, film and sculpture to explore the physical properties and emotional value of objects and places. We interview the artist as two new solo exhibitions open in the UK

British artist Oliver Beer (b1985) first trained as a musician at the Academy of Contemporary Music before studying fine art, graduating from Ruskin School of Art, University of Oxford, in 2009, so it’s no surprise that music and sound underpin his explorations of the world around us. One of the main strands of his work involves creating sound pieces from the unique physical properties of specific vessels and buildings; his site-specific compositions have been performed at the Pompidou Centre and the Palais de Tokyo, Paris, as well as in a monastery outside of Rome and in an ancient Turkish bathhouse (Call to Sound, 2015).

This year sees the opening of two major UK solo shows, one currently on at the Ikon Gallery, Birmingham, and another opening next month at the Thaddaeus Ropac Gallery, London. The first represents the fruition of a relationship with Ikon and its director Jonathan Watkins that goes back to 2008, when Watkins bought one of Beer’s graduate pieces (now permanently installed in the foyer). The most comprehensive exhibition to date, it incorporates film and sculpture, and includes a new work commissioned by the gallery, called Reanimation (I Wan’na be Like You, 2017), which is a recreation of a scene from Walt Disney’s The Jungle Book, but with each of the original 2,500 frames for the sequence broken down, sent out to 2,500 Birmingham schoolchildren, from early years to the age of 13, to copy, and then reassembled for the show. In this way, the work is a fleeting but distinctive journey through a generation of young individuals, and a celebration of the collaborative spirit of the original animation.

Beer has shown internationally, including at the Biennale de Lyon and Villa Arson, Nice, at MOMA PS1 and the Wa]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/208742212</video:player_loc>
<video:duration>1266</video:duration>
<video:publication_date>2017-03-16T18:11:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/saad-qureshi-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/627015779-b88a53f7c40e4c22f69b6715f5f4a2f599dd6a3c7d1fdf371dd10d5f8bd17b6c-d_640</video:thumbnail_loc>
<video:title>Saad Qureshi interview | Gazelli Art House, London | 3 March 2017</video:title>
<video:description><![CDATA[Saad Qureshi: ‘You can’t really pick your medium. Your medium picks you’

The artist talks about his seduction by charcoal, his fear of being exposed, and his creation of mindscapes from his own and others’ memories

For his third solo show with Gazelli Art House, Saad Qureshi is stepping out from the shadows and showing two series of drawings – one made with charcoal and brick dust, the other with scorched lines on paper – which, although very physical and sculptural in their own way, move away from his usual medium of sculpture. “I think it was really brave of me to go ahead and do a solo show,” Qureshi says. “There’s no room for error, there’s nothing to hide behind.” He only recently rediscovered his love for charcoal – a medium he had set aside since the days of compulsory life drawing – and was seduced by the sound it made, as he rubbed it on plywood in his studio. “That was it: there was no looking back.”

Qureshi’s monumental landscapes – or “mindscapes”, as he prefers to call them – are hybrids of several geographical places compressed into one, often fantastical and geographically impossible. He never does any physical planning, conceiving of his imagery only in his mind’s eye, before mapping it out impulsively, using Indian ink and a towel, on top of his prepared plywood surface, coated in a paint he mixes out of brick dust. On top of this, he then “goes crazy” with the charcoal. The result is at once photographic and alien. Known, but uncanny. Qureshi explores how time and memory play tricks on the mind.

His exhibition at Gazelli Art House coincides with the launch of his first major public commission, Places For Nova, in Victoria, London, which was where he first began working with brick dust.

Qureshi shared his enthusiasm for time, memory, landscape and drawing with Studio International.

• Saad Qureshi: time | memory | landscape runs until 16 April 2017 at Gazelli Art House, London.

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/210817556</video:player_loc>
<video:duration>1689</video:duration>
<video:publication_date>2017-03-30T14:24:14+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/norman-hyams-video-interview-ethos-hannah-barry-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/627706384-d2d76882ebb7e8f8817e36326c62352b2b60598b0fec229665775abab2817b30-d_640</video:thumbnail_loc>
<video:title>Norman Hyams interview | Hannah Barry Gallery, London | 28 March 2017</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/211586617</video:player_loc>
<video:duration>1326</video:duration>
<video:publication_date>2017-04-04T19:55:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sam-cornish-interview-kaleidoscope-colour-sequence-1960s-british-art</loc>
<video:video>
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<video:title>Kaleidoscope: Colour and Sequence in 1960s British Art</video:title>
<video:description><![CDATA[Sam Cornish: ‘We started with this idea that all works would have to contain repetition, sequence and symmetry’ 

The co-curator of Kaleidoscope: Colour and Sequence in 1960s British Art discusses how this relatively unsung period in art history was characterised by more than just bright colours and glossy surfaces

Kaleidoscope: Colour and Sequence in 1960s British Art, a new exhibition at Longside Gallery in Yorkshire Sculpture Park, includes key works from this period in British art; often referred to as the “new generation”. Consisting of both painting and sculpture, this exhibition curated by Natalie Rudd and Sam Cornish, presents pieces from the Arts Council Collection and other major collections that collectively make a strong case that the new generation were not just about bold colours and smooth surfaces, but were, in fact, more indebted to repetition, sequence and symmetry.

Co-curator Sam Cornish explains the thought process behind this new show, which features the work of more than 20 artists including David Annesley, Anthony Caro, Robyn Denny, Tess Jaray, Phillip King, Bridget Riley, Tim Scott, Richard Smith and William Turnbull. 

• Kaleidoscope: Colour and Sequence in 1960s British Art is at Longside Gallery in Yorkshire Sculpture Park until 18 June 2017.

Interview by ALEXANDER GLOVER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/212321808</video:player_loc>
<video:duration>557</video:duration>
<video:publication_date>2017-04-07T17:12:28+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/james-capper-the-making-of-six-step-video</loc>
<video:video>
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<video:title>James Capper: the making of Six Step</video:title>
<video:description><![CDATA[We visited James Capper over the course of four months, first filming him in his London studio where he explained the initial concept for his sculpture Six Step and finally following him to its installation at the Venice Biennale in 2015

‘Drawing is the most important place where a concept begins,’ James Capper says, explaining the start point of his fantastical machines, which require a huge amount of planning and preparation before manufacture. Drawing, he says, allows him to “zone out”, to develop things that he wouldn’t be able to do physically in the studio.

Capper takes us through the painstaking process of dreaming up and then creating his new machine, Six Step. He starts with pen drawings on paper. Drawings, he says, are not aesthetic add-ons, but an old-school draughtsman’s method of coming up with ideas. After arriving at a concept, it is necessary to look at the engineering, which involves him and a draughtsman sitting once a week, number crunching. The drawings are then refined and redrawn before being 3D modelled for precision on computer, with the help of an AutoCAD designer. Finally, the sculpture is fabricated in his studio in Bermondsey, south-east London. These days, he works with laser-cut steel plate, which, he says, “feels more like ship-building. It means you can go off the square.”

Derived from a protototype called Hydrostep, the amphibious Six Step has a selection of interchangeable tools for mark-making and six telescopic legs and a boat-like belly that allows it to navigate a wide variety of terrain, including the salt-marsh, low-water area around Venice, where Capper finally shows us the sculpture on show at the Venice Biennale.

Six Step was commissioned by Alma Zevi, and shown at the Marie-Rose Kahane studio in Venice, 29 April – 2 October 2015.

Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/212712225</video:player_loc>
<video:duration>730</video:duration>
<video:publication_date>2017-04-11T03:42:34+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ipek-duben-video-interview-they-onlar</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/629335144-800a3effd7d1889017545dc35f53efea6261058e987e6c64edf111a5f9a27662-d_640</video:thumbnail_loc>
<video:title>Ipek Duben interview | Fabrica, Brighton | 7 April 2017</video:title>
<video:description><![CDATA[Ipek Duben: ‘I’m suggesting, with this project, that we should stop to listen’

The Turkish artist discusses her work THEY/ONLAR, a multiscreen video installation previously seen at SALT, Istanbul, Turkey, and now showing for the first time in the UK at Fabrica, Brighton.

Kate Tempest, guest director for this year’s Brighton Festival, wanted the programme to reflect the deep anxiety and uncertainty many feel in the UK, and in mainland Europe, about our relationships to ourselves and to others. Tempest summarises her programme as ‘Everyday Epic’ – art that helps us to connect to ourselves and others through an exploration of our individual stories and differences. The multi-screen video installation THEY/ONLAR (2015), by Ipek Duben (b1941, Istanbul), “is a timely work to present at what many people feel to be a crisis point”, says Fabrica co-director Liz Whitehead.

THEY/ONLAR focuses on how Turkish society views “They” or “the Other” through an exploration of the diversity of gender, ethnicity and sexuality that exists in the country. For this project, Duben has featured several individuals telling their own stories as a reflection on the discrimination many people experience in Turkey. Although these stories expose individual histories, attitudes and prejudices, Duben believes that we can learn much about ourselves and how to interact with others, in the greater global context, through listening more to personal stories.

• Ipek Duben: THEY/ONLAR is at Fabrica, Brighton, until 29 May 2017.

Interview by ALEXANDER GLOVER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/213162000</video:player_loc>
<video:duration>691</video:duration>
<video:publication_date>2017-04-13T19:00:17+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/eddie-martinez-interview-cowboy-town-timothy-taylor-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/doj3LSWTRr0/hqdefault.jpg</video:thumbnail_loc>
<video:title>Eddie Martinez's Risky Business | Art21 &quot;New York Close Up&quot;</video:title>
<video:description><![CDATA[Why would an artist change his signature style after proven success? Walking the graffiti-filled streets of his Greenpoint neighborhood and working in his nearby Williamsburg studio, Brooklyn-based artist Eddie Martinez discusses the motivation to shift his paintings from Pop-like figurations to pared down abstractions. An active graffiti artist in his teens and twenties, Martinez describes both the allure and difficulty of graffiti's inherent riskiness, and reveals how his work now is an equally risky endeavor, artistically and professionally. A montage of Martinez's previous paintings —brightly colored and unabashedly representational paintings of flowerpots and cartoonish characters—exemplifies the prodigious output that brought him commercial attention and success, but now represents a style he "feels wholly committed to abandoning." Despite the expectations of his gallery and collectors, Martinez says, "It's just impossible for me to keep making the same image I made six years ago." He describes how he's both excited and frightened to forge a fully abstract style, to paint without easy reliance on old imagery. Months afterwards the results of Martinez's stylistic shift—near mural-sized canvases of primary colored forms set against open white backgrounds—are shown on exhibition at The Journal Gallery in Brooklyn. For Martinez, the change was a necessary leap of faith, one he hopes his followers will continue to support.

Eddie Martinez (b. 1977, Groton, Connecticut) lives and works in Brooklyn, New York. Learn more about the artist at:
http://www.art21.org/newyorkcloseup/artists/eddie-martinez/

CREDITS | New York Close Up Created & Produced by: Wesley Miller & Nick Ravich. Editor: Mary Ann Toman. Cinematography: John Marton, Nick Ravich, & Rafael Moreno Salazar. Sound: Nick Ravich. Associate Producer: Ian Forster. Design & Graphics: Stephanie Andreou, Crux Studio & Open. Artwork: Eddie Martinez. Thanks: Franny, Sara Hantman, Emilia Olsen, The Journal Gallery. An Art21 Workshop Production. © Art21, Inc. 2013.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/doj3LSWTRr0</video:player_loc>
<video:duration>426</video:duration>
<video:publication_date>2013-06-07T18:52:05+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rachel-maclean-video-interview-spite-your-face-venice-biennale-2017</loc>
<video:video>
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<video:title>Rachel Maclean, interview | Spite Your Face | Scotland + Venice 2017</video:title>
<video:description><![CDATA[Maclean is representing Scotland at the Venice Biennale with her new film, a dark fairytale titled Spite Your Face. She talked to us before the biennale about the film, nationalism, fairytales, and how narratives can be so powerful that audiences prefer the fiction to fact

Rachel Maclean: “I was interested in the power of narrative…and how, if lies are told to substantiate (a story), often disproving the lie is not enough to crack or affect the power of the narrative.”

Scottish artist and film-maker Rachel Maclean continues in the compelling, sumptuously styled, satirical vein that is now her trademark with a new 30-minute film, Spite Your Face, a dark Venetian fairytale, commissioned for the Scotland + Venice presentation at the 57th Venice Biennale.

Screened within the darkened interior of a newly deconsecrated church, Chiesa di Santa Catarina, in Cannaregio, Maclean’s work becomes the altarpiece, shown in portrait format as a large-scale projection. It weaves together visual and narrative references to Catholic religious mythology (in particular, that of the ascension and redemption) with the famous Italian 19th-century fairytale about Pinocchio, the puppet who wants to become a “real boy”, and the familiar rags to riches cliché peddled by today’s mainstream media.

For Venice, Maclean has tweaked her usual baroque aesthetic to a more limited but emotionally heightened palette of gold, silver and blue, inspired by research she conducted in preparation for the piece. There are elaborate costumes that reference period Venetian finery, as well as settings that evoke the great religious paintings of the middle ages. This “high” visual tone jars with frequent moments of cartoonish violence and cheesy, promotional kitsch to conjure a uniquely disturbing tale of corruption and depravity. There is real bite to Maclean’s critique of the contemporary “post-truth” political rhetoric and the disappearance of more moral or ethical aspirations in the new digitally facilitated, clickbait media landscape.

Set within two w]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/217730442</video:player_loc>
<video:duration>996</video:duration>
<video:publication_date>2017-05-16T16:16:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/nathaniel-mellors-erkka-nissinen-the-aalto-natives-video-interview-venice-biennale</loc>
<video:video>
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<video:title>Nathaniel Mellors and Erkka Nissinen: The Aalto Natives | Pavilion of Finland, Venice</video:title>
<video:description><![CDATA[Mellors and Nissinen represent Finland at this year’s Venice Biennale. They discuss handmade puppets, homemade film sets, creation myths involving eggs, the flimsy narratives on which national identities are built, and whether you have to love something in order to make fun of it

‘All of these things (creation and national identity myths) are just about people generating little stories to entertain and manipulate people.’ Nathaniel Mellors.

Nathaniel Mellors and Erkka Nissinen’s film The Aalto Natives (2017) is a narrative multimedia installation offering an immersive theatrical experience around nationalism and identity. Finnish national characteristics and creation myths are explored and exploded in exuberant and irreverent style in an hour-long piece that plays on several screens around the Aalto pavilion, and incorporates dialogue between two sculptural animatronic figures, Geb and Atum, one of which is a large, talking egg. They play two terraforming aliens who revisit the Finland they created millions of years earlier to try to make sense of the culture. 

It is very much a homemade production: the pair built their own film sets in six weeks, in Mellors’ studio in Los Angeles, and made all their own puppets. They have used “more or less every kind of puppetry in this piece”, according to Nissinen, including claymation, stop-motion hand-drawn animation, CGI and hand-puppetry. The puppetry and animation provide a deceptively lighthearted, satirical context within which to interrogate serious issues of globalisation, shifting borders, racism, migration and national identity. ‘All of these things (creation and national identity myths) are just about people generating little stories to entertain and manipulate people,’ says Mellors.

The curator is Xander Karskens.

Nathaniel Mellors (b1974, Doncaster) and Erkka Nissinen (b1975, Jyväskylä) have established both solo and collaborative projects since meeting each other during a residency at the Rijksakademie van Beeldende Kunsten in Amsterdam in 2007. Mellors, w]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/218913159</video:player_loc>
<video:duration>766</video:duration>
<video:publication_date>2017-05-25T03:59:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
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<url>
<loc>https://www.studiointernational.com/index.php/tom-phillips-video-interview-connected-works-flowers-gallery-london</loc>
<video:video>
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<video:title>Tom Phillips, interview | Flowers Gallery, London | 25 May 2017</video:title>
<video:description><![CDATA[Tom Phillips: ‘I’m still reading books. Nothing changes and everything changes’

The artist talks about his love of words, the human drive to make marks and the more spiritual side of his work

Tom Phillips has just turned 80 and, to mark this milestone, Flowers Gallery in London has put on, not so much a retrospective, as a survey of his lesser-known works. This collection of witty and playful pieces is testament to Phillips’s intellect and his talent as a storyteller. It includes a cage constructed from words, Wittgenstein’s Cage (2009), a visual representation of the eponymous philosopher’s theory that the limits of our world are set by the limits of our language. William Shakespeare and Samuel Beckett also feature. Phillips has constructed a library of book titles, all of which can be found in Hamlet and the pertinent words from Beckett’s play The Unnamable, “I can’t go on, I’ll go on” are stencilled on to artist palettes.

Phillips is perhaps best known for A Humument, a work that has emerged over the past 50 years from a forgotten Victorian novel he picked up for a few pennies in Peckham Rye in south-east London. Every page of this book has been played with, coloured in and illustrated, with only a selection of words left legible. In doing this, Phillips has teased out a new story, an epic poem of sorts, from the original text. This chance acquisition was perhaps the most productive in a long career of collecting (hoarding is perhaps a more accurate term), old books, postcards, soil and even his own hair.

Studio International went to Flowers Gallery in London to talk to Phillips about his love of words, the human drive to make marks and the more spiritual side of his work.

Tom Phillips: Connected Works
Flowers Gallery, Kingsland Road, London
26 May – 1 July 2017

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/220446864</video:player_loc>
<video:duration>859</video:duration>
<video:publication_date>2017-06-06T06:15:44+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/samson-young-songs-for-disaster-relief-video-interview-hong-kong-venice-biennale-2017</loc>
<video:video>
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<video:title>Samson Young: Songs for Disaster Relief | Hong Kong in Venice</video:title>
<video:description><![CDATA[Young’s Venice Biennale collateral event for Hong Kong explores the disquieting cocktail of components that comprise the charity single. He talks about the power of music, fake news and what our cultural products say about human nature.

Samson Young is a composer and sound artist, whose work anatomises and manipulates the alchemical power of sound and film by revealing the way culture and context mediate our experience of it. For the Venice Biennale, Young occupied four rooms near the Arsenale with his work Songs for Disaster Relief, an installation that he describes as “an album unfolding in space”. 

The show is an immersive investigation into the psychological, cultural and aesthetic mechanisms of the disaster relief pop song. The main room features a dissection of the song Do They Know It’s Christmas?, which gave birth to the Live Aid phenomenon, fundraising for the Ethiopian famine in the 1980s. The lyrics – a saccharine mixture of phrases from the heartfelt to the bathetic – are embroidered in silver on to a theatrical curtain that stretches around the perimeter of the room. 

The room itself is styled like the lounge of a knowingly kitsch, contemporary hotel, all mid-century modern furniture and neon lights. It is supposed to represent the fantasy palazzo of Boomtown Gundane, a fictional character whom Young discovered while investigating a “fake news” story. The story claimed Gundane was a South African musician whose response to the UK’s Do They Know It’s Christmas? song was Yes, We Do!, a parody of a disaster single, the proceeds of which were donated to the UK to “fund instruction in discipline, literacy and contraception at British schools”. 

Young has decorated the lobby with various icons in reference to this fictional character, including framed fake gold and platinum discs. Snatches of melody saturate the space with a syrupy sweetness, switching from angelic choral voices and sweeping piano chords to lift muzak, highlighting both the formulaic - yet affecting - quality of these disaster relief a]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/219583224</video:player_loc>
<video:duration>699</video:duration>
<video:publication_date>2017-05-30T16:45:44+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tadaaki-kuwayama-radical-neutrality-video-interview</loc>
<video:video>
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<video:title>Tadaaki Kuwayama: interview | Mayor Gallery, London | 6 June 2017</video:title>
<video:description><![CDATA[Tadaaki Kuwayama: ‘Here is only the art itself’

The Japanese-born artist recounts his refusal to dictate how spectators should view his work, his visual dialogue with Frank Stella, and the desire to void his art of meaning.

Born in Nagoya in 1932, Tadaaki Kuwayama rejected the doctrinaire strictures of the Japanese nihonga tradition, preferring to move to New York in 1958 where he encountered an art scene on the cusp of a new wave of currents such as conceptual art, minimalism and pop. With an aversion to abstract expressionism, Kuwayama produced distilled, richly coloured, discreetly reflective fields of paint without trace of manual intervention, the focus of the current exhibition at the Mayor Gallery in London. 

Intent on making the relationship with the surrounding space as important as the works themselves, Kuwayama increasingly favoured serial arrangements, sometimes adopting anodised metal, as a means of shunning the existential drama and connotations of creativity associated with the individual painting. Above all, the pristine uniformity and quiet, otherworldly theatre of these works are testament to Kuwayama’s resolve to avoid received notions of composition, colour, narrative, hierarchy and individuality.

Tadaaki Kuwayama: Radical Neutrality
The Mayor Gallery, London
7 June – 28 July 2017

Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/221809726</video:player_loc>
<video:duration>992</video:duration>
<video:publication_date>2017-06-15T17:40:04+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/jodie-carey-video-interview-earthcasts-edel-assanti-london</loc>
<video:video>
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<video:title>Jodie Carey: interview | Deptford, London | 6 May 2017</video:title>
<video:description><![CDATA[Jodie Carey: ‘I like my works to be imbued with a silence and a stillness’

The artist talks about her developing practice, the impact of motherhood, her concerns with mortality and the fragility of human life, and her redefinition of the monumental

Jodie Carey is interested in ideas of ageing, memory, time passing and the shadowy boundary between forgetting and remembering, and her monumental sculptures and installations have been influenced by such genres as still life and vanitas. She originally studied textiles, before switching to fine art and attending Goldsmiths and the Royal College of Art, and traces of her own path are evident in her painstaking and labour-intensive artworks. Since having her first baby in 2016, and returning to her studio three weeks later, she has moved away from her more decorative and ornamental earlier works and begun to strip back her work and make it more subtle.

Carey, whose works develop through the process of making, describes her art not as a job but as an extension of who she is. She prefers more traditional and “simpler” processes, such as carving, weaving and drawing directly on to walls, eschewing anything heavily fabricated. She juxtaposes materials and scale, questioning the nature of the monument and exploring how something transient and fragile might also be quite monumental in its own right.

Carey invited Studio International to her south London studio while she was making works for her new installation, Earthcasts, at Edel Assanti, London. Burying lengths of salvaged timber in the ground, she created rudimentary moulds, into which she then poured plaster. The resulting sculptures, which she worked into by hand, sometimes adding a lick of white paint or a shade of coloured pencil, are of a human-scale and could equally be age-worn human figures or gnarled tree trunks – again, the human and the natural is a juxtaposition Carey enjoys exploiting. There is a material roughness to her pieces, which she describes as “very physical objects”.

Jodie Carey: Earthcasts
Ede]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/223497622</video:player_loc>
<video:duration>831</video:duration>
<video:publication_date>2017-06-28T14:20:36+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/henri-scars-struck-interview-we-know-you-ve-got-soul</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/662WRj6tw7U/hqdefault.jpg</video:thumbnail_loc>
<video:title>Crow Trailer cut</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/662WRj6tw7U</video:player_loc>
<video:duration>63</video:duration>
<video:publication_date>2017-06-13T16:33:38+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/george-drivas-laboratory-of-dilemmas-video-interview-greece-venice-biennale-2017-charlotte-rampling</loc>
<video:video>
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<video:title>George Drivas: Laboratory of Dilemmas | Greek Pavilion, Venice Biennale, 2017</video:title>
<video:description><![CDATA[For the 57th Venice Biennale, the Greek artist offers his customary blend of architecture and film in a narrative video installation that explores the resonances between an ancient story by Aeschylus, involving a group of women seeking asylum, and a 20th-century scientific experiment

For Greece’s Venice pavilion, George Drivas presents Laboratory of Dilemmas, a riveting architectural, biological and mythological exploration of refugees and repercussions. He has constructed a glossy black labyrinth within the neoclassical pavilion, through which visitors wander while absorbing two narratives. One is Aeschylus’s ancient story The Suppliant Women, involving a group of refugees whose pleas for asylum are debated, and then acted out with a variety of consequences, by their reluctant hosts. The other, dominant, narrative is a fictional documentary of a genuine biological dilemma, delivered in bite-sized chunks on screens set within the labyrinth. The story concerns a 20th-century scientific community’s ethical and scientific difficulties when a major experiment, to create hepatitis-resistant cells, takes an unexpected turn: new cells appear that unite with their host cells to create their own cell culture. 

The dilemma is explored here in discrete episodes on screens set within the labyrinth structure, and then debated with all the gravitas of a full-on ethical enquiry, on a huge central screen at the heart of the building. The decision, debated in this stark, monochrome “court” setting (with a cast including actor Charlotte Rampling), is whether to kill the new cells and all that potential, or allow them to flourish.

“The labyrinth is a challenge,” says Drivas. “The way it is used in Greek history, it’s not really a game. It’s a challenge where you enter and exit as a winner. This is the way the protagonist uses it …’ He hopes that the structure reflects the twists and turns of our mental processes. Ultimately, he hopes that it provokes some interesting questions.

“Art can create dialogue,” says Drivas. “This is t]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/223585036</video:player_loc>
<video:duration>674</video:duration>
<video:publication_date>2017-06-29T05:28:11+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jesse-jones-tremble-tremble-venice-biennale-2017-video-interview-ireland</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/645069347-73b8ed2880ec7dcc13883da462b44a07aaa25104f9ec39590facfd97633f520c-d_640</video:thumbnail_loc>
<video:title>Jesse Jones, interview | Tremble, Tremble | Pavilion of Ireland, Venice 2017</video:title>
<video:description><![CDATA[Gender inequality was one of many human rights issues that artists wrestled with at the 57th Venice Biennale, with one of the most powerful statements coming from the Irish pavilion, in the Arsenale. Here, artist and film-maker Jesse Jones has constructed a huge theatrical evocation of her own creation myth, that of the giantess 

Much of Irish artist and film-maker Jesse Jones’s work is inspired by women’s rights to bodily self-determination, and she is a keen supporter of those who wish to repeal the eighth amendment to the Republic of Ireland’s constitution, which criminalises abortion. But the visual and aural cocktail she has conjured for the 57th Venice Biennale goes much deeper than modern gender politics. Her Irish Pavilion work Tremble Tremble is trying to rinse our conscious and subconscious minds free from millennia of patriarchal dogma, and implant a new creation myth: that of the female giantess. To work this magic, she has set a potent stage, the dominant feature of which is two huge screens on which Irish actress Olwen Fouéré appears like a figure from a Shakespearian shipwreck, at times tiny, and at others huge, intoning skin-pricklingly powerful texts that she and Jones have devised, which includes the words from a medieval manuscript for identifying and prosecuting witches, The Malleus Maleficarum, here spoken backwards. 

Jones developed this piece with curator Tessa Giblin – formerly at Dublin’s Project Arts Centre and now director at Edinburgh’s Talbot Rice Gallery – so that it maximises emotional and visual impact in its dark, high-ceilinged Arsenale setting. The audience is loosely corralled in front of the screens by two giant female bones, inspired by the earliest discovered bipedal “human” ancestor, “Lucy”, unearthed in the 1970s in Ethiopia. The viewing space is semi-enclosed by full-height black voile curtains, with the image of a woman’s bare arm depicted on the upper part of each one – although one is unaware of these arms until, aided by black-clad assistants, the curtains sweep alo]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/225677676</video:player_loc>
<video:duration>842</video:duration>
<video:publication_date>2017-07-15T12:54:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/stephen-chambers-the-court-of-redonda-venice-biennale-2017-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/648040964-0e3135315459aa6df9774f5245d5054d1752f6c0bfd1d6a776ea76286e0a9b56-d_640</video:thumbnail_loc>
<video:title>Stephen Chambers interview | The Court of Redonda | Venice Biennale 2017</video:title>
<video:description><![CDATA[UK artist Stephen Chambers talks about looking for the extraordinary within the ordinary, about the appeal of fictional kingdoms, the relationship between art and literature, and being led by his instincts to do what he ‘can’t help doing’

For his Venice Biennale presentation, UK painter and printmaker Stephen Chambers has conjured a cast of 101 imaginary courtiers, whose quietly introspective, quizzical visages adorn the white walls of the Piano Nobile of Ca’ Dandolo, a 17th-century palazzo overlooking the Grand Canal, much as the typical court or ancestral portraits of the “great white male” adorn the walls of Europe’s institutions and mansions. But this is not a typical court. In fact, with his selection of fictional appointments, Chambers admits he is “bringing to the high table those that are more likely to be fed in the garden shed”. 

This work, The Court of Redonda – nearly two years in the making - draws on a remarkable, seemingly true story of a tiny, uninhabited island in the West Indies, called Redonda, which a passing merchant trader had the ambition to claim as his own in 1865, electing himself monarch. The title passed down to his son, who then declared that it should follow a literary lineage. From that point on, the kingship was offered to poets and writers. It was the writings of Spanish novelist Javier Marías, one of Redonda’s more recent sovereigns, and Marías’s own eclectic choice of courtiers (including film director Pedro Almodóvar and English novelist AS Byatt) that inspired Chambers with his imaginary court of 101 different ethnicities, cultural affiliations (carefully indicated by clothing and hairstyles) and professions - not just poets, philosophers, artists and writers, but also patients, pharmacists, harlots and “bums”.

There is something very eastern about the colouring and presentation of these portraits, but largely western in their clothing and expressions – a combination that is highly appropriate to this Venetian setting, where the ancient worlds of the east and west have long]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/226479670</video:player_loc>
<video:duration>1286</video:duration>
<video:publication_date>2017-07-21T13:48:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/harold-cohen-video-interview-2015</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/649517330-c59b48637fc68ebd6767e8430ce16e4351d8a8b97689349983dc562ce8891610-d_640</video:thumbnail_loc>
<video:title>Harold Cohen: interview | Encinitas, California | 6–7 May 2015</video:title>
<video:description><![CDATA[Harold Cohen: I was probably the only person who considered the computer to be potentially an autonomous art making entity

Pioneer of computer art Harold Cohen died last year at the age of 87. In 2015, in one of the last interviews of his life, he talked to Studio International about his long career.

Harold Cohen was born in London in 1928, but moved to the US in 1968 and died there in April last year. In this conversation, one of his last filmed interviews, made in May 2015 in his home studio in Encinitas, California, he recounted his career since its beginning in London. 

In the late 1960s, he already had an established career as a painter. In 1965, the Whitechapel Gallery held a retrospective of his oeuvre, and in 1966 he was invited to represent the UK at the Venice Biennale, which further consolidated his position in the art world. Two years later, however, when participating in an academic project in the United States, he was introduced to the language of computer programming and the theory of artificial intelligence, which led to a radical change in his life and art.

Thereafter, Cohen turned his attention to the use of computer programming to create art. His biggest ambition was to try to reproduce human cognition in a machine and discover what the outcome would be. He was the first artist to experiment with artificial intelligence to relate its theories to art practice. The understanding of computational language as something also belonging to the artistic universe occurred through the efforts of pioneers such as him. 

Interview by CAROLINE MENEZES and FABRIZIO POLTRONIERI
Filmed by JONATTAS POLTRONIERI]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/229249502</video:player_loc>
<video:duration>574</video:duration>
<video:publication_date>2017-08-11T04:53:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/simon-patterson-video-interview-safari-an-exhibition-as-expedition</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/650677945-225176ce1cd16b3293e160ed95c8b4f37b0d8490acb6e97bf0a3202f8144c1db-d_640</video:thumbnail_loc>
<video:title>Simon Patterson, interview | De La Warr Pavilion | 18 July 2017</video:title>
<video:description><![CDATA[Simon Patterson: ‘It’s about you filling in the gaps … the viewer completes the work and keeps changing it’

Simon Patterson talks about his show Safari: An Exhibition as Expedition, at the De La Warr Pavilion in Bexhill-on-Sea, and about the concepts that inform his work.

The practice of the British artist Simon Patterson (b1967, Leatherhead, Surrey), who was shortlisted for the Turner Prize in 1996, has woven together diverse entities. He has played with and subverted maps, systems, classification and documentation since his inclusion in Damien Hirst’s Freeze exhibition in 1988, when he displayed text works such as The Last Supper Arranged According to the Sweeper Formation (Jesus Christ in Goal). Later works include The Great Bear (1992), a reinterpretation of London’s underground map that replaces the names of stations with those of notable characters – King’s Cross becomes Piero della Francesca, Earl’s Court becomes Captain Cook. In 2002, Patterson completed his Cosmic Wallpaper at the University of Warwick, in which he renamed the constellations to reveal a history of the rock band Deep Purple. Then, in 2011, he designed his poignant commemoration to Wilfred Owen’s work, La Maison Forestière,turning the Forest House in Ors (where Owen had written his last letter to his mother just before he died in 1918), into a building “… that looks like an imaginary thing, a model of a building, a space to think in, not a space to live in.” Exhilarating, bewildering and thought-provoking, Patterson’s eclectic and energetic investigations into the various systems and conditions of our times entertain, baffle and inform in equal measure.

Safari: an Exhibition as Expedition
De La Warr Pavilion, Bexhill-on-Sea, Sussex
20 May – 3 Sept 2017

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/227551422</video:player_loc>
<video:duration>3102</video:duration>
<video:publication_date>2017-07-29T13:41:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/maryam-najd-non-existence-flag-project-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/652623832-5297aba6e02909f566ba3a9e2e2a2c07a959ea2b0f0f682ecd977fd30693fe21-d_640</video:thumbnail_loc>
<video:title>Maryam Najd interview | Antwerp | July 2017</video:title>
<video:description><![CDATA[Maryam Najd: ‘I became interested in reaching a certain perfectionism in how you use paint’ 

Iranian-born artist Maryam Najd talks about identity and culture in her practice, her love of materials and her Non Existence Flag Project, which was due to be exhibited in Beijing this autumn, until the Chinese Ministry of Education banned the show claiming the exhibition posed ‘an unpredictable political risk’ 

The work of Maryam Najd, who moved to Belgium from Iran more than two decades ago, displays her interests in figurative and abstract painting, and her extensive knowledge and appreciation of materials. At one end of her studio, on a long table, many beautifully cared for and variously shaped brushes lay ready for her work; at the other end, by a large easel – an opaque white glass table palate – pots of pigment, bottles of solvents and mediums are arranged in careful order. Resolutely determined not to be fixed or interpreted by the other’s perception of her place of origin, Najd’s images may be said to work towards the possibility of unfixing, perhaps even dissolving, boundaries between entities, whether geographical, conceptual, philosophical or cultural.

Najd talked to us about her recent works, and the concepts behind her practice. 

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/225699864</video:player_loc>
<video:duration>2491</video:duration>
<video:publication_date>2017-07-15T19:31:11+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/emily-peasgood-halfway-to-heaven-folkestone-triennial</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/653431698-1337d2d7d337b2e3c146c7d946a127351d0d596e77cf4a3c8909491baaa36f85-d_640</video:thumbnail_loc>
<video:title>Emily Peasgood, interview | Halfway to Heaven | Folkestone Triennial 2017</video:title>
<video:description><![CDATA[Emily Peasgood’s sound piece Halfway to Heaven is set in a Baptist graveyard, a high hump of soil, weeds and tumbling headstones wedged between a road and a terrace of houses. Studio International talked to her about its inspiration and meaning.

It dates back to the 18th century, when Baptists were not allowed to be buried in consecrated ground because their democratic and anti-elitist practices went against the Anglican doctrine. Peasgood has composed a work for five voices, whose songs emerge from funerary boxes adorned with wild flowers. Activated by visitors through passive infrared sensors inside the boxes, each voice is haunting enough in isolation, relating the story of the person buried below, but when sufficient people visit the spot to trigger all five voices, it coalesces into a moving, 17-minute-long ensemble piece that combines a churchy melodiousness with less orthodox contemporary harmonies. The work is not about religion, says Peasgood. “It talks about the history of the site and stories of the people, but the main premise is that people have to work together as a community to trigger the music.”

Emily Peasgood: Halfway to Heaven
Folkestone Triennial 2017
2 September – 5 November 2017

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/232378381</video:player_loc>
<video:duration>327</video:duration>
<video:publication_date>2017-09-04T14:57:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jonathan-wright-fleet-on-foot-folkestone-triennial-2017</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/653433187-748d87c03d4d884c169b3632d39a5d26c6fc04ea3f9aa9d401b5ed45d7f0e61c-d_640</video:thumbnail_loc>
<video:title>Jonathan Wright, interview | Fleet on Foot | Folkestone Triennial 2017</video:title>
<video:description><![CDATA[Local artist Jonathan Wright delved deep into local narratives to devise his tribute to the local fishing community, Fleet on Foot. Studio International discusses the origins of this celebration of the town's remaining fishing fleet.

As one of three artists exhibiting again this time (Alex Hartley and Diane Dever, who has run the Folkestone Fringe for many years, are the others), Wright was inspired by the golden posts that mark the waterside perimeter of St Mark’s Square in Venice, paying tribute to that city’s once-great naval fleet. Along the high street, he has placed gold-plated 3D replicas of the last 10 fishing boats that sail regularly out of Folkestone harbour. Fifty years ago, says Wright, “there used to be 100”.

Jonathan Wright: Fleet on Foot
Folkestone Triennial 2017
2 September – 5 November 2017

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/232379668</video:player_loc>
<video:duration>182</video:duration>
<video:publication_date>2017-09-04T15:09:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/studio-ben-allen-the-clearing-folkestone-triennial-2017</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/653882455-2d3ebfd94b8e6e6ed00426cae0e65b73c818166dd520a9bca3a2efec727a4cf7-d_640</video:thumbnail_loc>
<video:title>Studio Ben Allen, interview | The Clearing | Folkestone Triennial 2017</video:title>
<video:description><![CDATA[On the first floor cafe/bar of Folkestone’s Quarterhouse, a performance venue for music, theatre, dance and comedy, architect Ben Allen has created an ornate gothic pavilion as a “visitor centre” for the triennial. The Clearing was inspired by a request from the curatorial team for an immersive work. Studio International asked Allen where the idea for this structure came from and what it is trying to express.

Having recently finished a long stint in Olafur Eliasson’s Berlin studio, immersive is second nature for Allen. The title is inspired by a Heideggerian term, meaning a space in which anything at all can manifest, or ideas can be revealed. The Clearing also evokes trees, hence the gothic, tree-like structure featuring geometries inspired by medieval French vaulting. Says Allen: “In our work we’re very interested in how buildings make people feel. It’s a very sensory space and this structure changes the acoustic and makes light feel very different.” With mirrors placed either side of it, the effect is magnified.

Studio Ben Allen: The Clearing
Folkestone Triennial 2017
2 September – 5 November 2017

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/232740754</video:player_loc>
<video:duration>305</video:duration>
<video:publication_date>2017-09-06T18:10:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jose-pedro-croft-video-interview-uncertain-measure-venice-biennale-2017</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/655875038-8eb8dd6ceb9ee16b5821f028a39461d17520ff1ffb3e17b0659da063b4a970b6-d_640</video:thumbnail_loc>
<video:title>José Pedro Croft: Uncertain Measure | Portugal in Venice 2017</video:title>
<video:description><![CDATA[For his Portugal Venice Biennale commission, artist José Pedro Croft has made a series of six glass-and-steel sculptures that lurch and loom around the gardens of Villa Hériot, on the Giudecca. He talks about the uniquely Venetian dialogue between precariousness and permanence, as well as the monumentality and simplicity of a nearby Álvaro Siza project, both of which have inspired his project, Uncertain Measure. 
    Portuguese artist José Pedro Croft (b1957) conjures a giddy sequence of toppling glass-and-steel oblongs on the lawns of Giudecca’s Villa Hériot in his work Uncertain Measure. Their dimensions – 8m high x 3m wide are intended to evoke (albeit in two dimensions) the apartments (which are 8m x 3m x 3m) in the remarkable social housing project by Portuguese architect Álvaro Siza, which sits behind the Villa Hériot. Their steel frames echo the pilings that support the island itself, while the tilting slabs of red, blue or semi-opaque glass conjure simultaneously a sense of weight and fragility, throwing up unexpected views and reflections that shift as this mercurial city’s light conditions change.
    Made with specialist architectural glass, each sculpture weighs in at three tonnes, and the process of manufacturing and transporting them to Venice was quite an undertaking. The glass planes act like sails, says Croft, so their ability to withstand strong winds also had to be factored in: “They look precarious but each is as strong as a building.”
    For Croft, sculptures and their context are inseparable, carrying the spirit of their original inspiration and situation even when placed elsewhere. He is increasingly celebrated for his site-specific and permanent pieces in conjunction with very specific architectures and landscapes – even infrastructure, in the case of a huge project he is undertaking in northern Portugal, where he has placed a series of glass and metal screens around a huge dam and its landscaping, also designed by Siza.
    Croft initially studied painting, but moved towards stone sculpt]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/233882740</video:player_loc>
<video:duration>384</video:duration>
<video:publication_date>2017-09-14T15:11:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/james-richards-video-interview-music-for-the-gift-venice-biennale-2017</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/657489049-cc3cd87bf3d3b878f394121ac3488bebb66033e68135148e86d9257e5d011960-d_640</video:thumbnail_loc>
<video:title>James Richards: Music for the gift | Wales in Venice, 2017</video:title>
<video:description><![CDATA[Wales has always punched above its weight at the Biennale, and 2017 is no exception. This year – for its eighth successive appearance - the selected artist is James Richards, a multimedia artist whose work combines layers or fragments of video, sound and still images to reveal ‘the possibility of the personal amid the chaos of mass media’.

Based in the modest chapel of Santa Maria Ausiliatrice, James Richards’ work for the Venice Biennale, titled Music for the gift, occupies several rooms. In the chapel itself, the Cardiff-born, Berlin-based artist has placed a site-responsive, six-channel sound installation, Migratory Motor Complex (2017), the fruit of a collaboration with students from the Royal Welsh College of Music and Drama (RWCMD), where he recently had a residency. The piece reveals Richards’ background as a percussionist, as it segues with fine judgment of pace and impact through its spine-tingling sequence: from the relentless chant of a football crowd to the sound of breathing; the hypnotic verbal instruction “gentle”; the smash of glass breaking; children’s playground chatter. The curiosity of the listener is instantly engaged by this multisensory experience - its eclectic aural choreography so alien in this spiritual setting, complete with serene frescoes of ascensions and crucifixions, and yet perfectly attuned to the intimate realm of myth, aspiration, oppression and collective submission that this ancient chapel represents. The resulting interior-exterior emotional conflict is nicely expressed in an interlocking grid of bespoke benches created for Richards and this space by RWCMD students (who also appear in the work), its geometry echoing that of the ancient floor tiles.

Other work on show includes What Weakens The Flesh is the Flesh Itself (2017), a video collaboration with Steve Reinke, which takes as its starting point a series of photographs found in the private collection of Albrecht Becker - a production designer, photographer and actor imprisoned by the Nazis for his homosexuality – reve]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/234073871</video:player_loc>
<video:duration>533</video:duration>
<video:publication_date>2017-09-15T18:58:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/katriona-beales-interview-are-we-all-addicts-now</loc>
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/236120154</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T01:44:41+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jenny-holzer-softer-review-blenheim-palace-oxford</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/660341695-9b7076de91f1eb2ae82fba16e506c78b9b13c8d83a2d3c69bc7409bd1ff55b20-d_640</video:thumbnail_loc>
<video:title>Jenny Holzer. On War (2017) and Statement (2017) | Blenheim Palace, Oxford | 2017</video:title>
<video:description><![CDATA[In her current exhibition at Blenheim Palace, Holzer responds to the building’s military history with more than 50 works examining the brutality of war

Blenheim Palace, Oxford
28 September – 31 December 2017

Filmed by Anna McNay.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/237819660</video:player_loc>
<video:duration>38</video:duration>
<video:publication_date>2017-10-11T17:53:22+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cai-guo-qiang-fireflies-review-philadelphia</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/rlyzC_CRRoA/hqdefault.jpg</video:thumbnail_loc>
<video:title>&quot;Fallen Blossoms&quot; Cai Guo-Qiang at PMA 2009</video:title>
<video:description><![CDATA["Fallen Blossoms" Cai Guo-Qiang's gunpowder explosion drawing of a flower blossom at the Philadelphia Museum of Art, Dec. 11, 2009.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/rlyzC_CRRoA</video:player_loc>
<video:duration>91</video:duration>
<video:publication_date>2009-12-12T18:46:03+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/661364551-3dcecb7e1c18020c9646ba3f2dbc7c2d380364a6e4f90b9223d60ec1537b2ba5-d_640</video:thumbnail_loc>
<video:title>Cai Guo-Qiang: Fireflies, 2017</video:title>
<video:description><![CDATA[Philadelphia’s most illustrious thoroughfare celebrated its 100th anniversary with a spectacular and enchanting live performance from Cai Guo-Qiang.
Video clip of the Grand Opening: Video by 33 Studio and WeFilmPhilly, Courtesy of the Association for Public Art.

Benjamin Franklin Parkway, Philadelphia, 15 September – 8 October 2017.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/238615010</video:player_loc>
<video:duration>54</video:duration>
<video:publication_date>2017-10-17T12:24:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-hartt-in-the-forest-review-graham-foundation-chicago</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/ytAsIJX-77k/hqdefault.jpg</video:thumbnail_loc>
<video:title>Artist Talk: David Hartt</video:title>
<video:description><![CDATA[Canadian-born artist David Hartt speaks about his installation "Interval," comprising essayistic films and photographs shot in Sakhalin Island, Russia, and Whitehorse, Canada. Recorded at the Art Institute on Chicago on 10/8/2015. 
For more, visit http://www.artic.edu/exhibition/david-hartt-interval]]></video:description>
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<video:duration>2846</video:duration>
<video:publication_date>2015-11-04T15:15:24+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yuri-pattison-context-collapse-review-work-leisure-technology-mothers-tankstation-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/AfK8h73bb-o/hqdefault.jpg</video:thumbnail_loc>
<video:title>Larry Page Google CEO Complete Q &amp; A at Google I/O 2013</video:title>
<video:description><![CDATA[larry page q&a http://www.mobilegeeks.com Google CEO Larry Page takes the stage at Google IO for a 35 minute question and answer.  He doesn't hold back about how he feels about Microsoft so you know it's he's having an honest moment with his community.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/AfK8h73bb-o</video:player_loc>
<video:duration>2043</video:duration>
<video:publication_date>2013-05-15T20:38:00+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nicolas-herrera-enchanted-nature-deforestation-and-the-environment-review-beijing</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/664023385-035a7ef8d0168a41db9cc0ebf37e8e532c94c0c0d080e39d0784023478bd6956-d_640</video:thumbnail_loc>
<video:title>Nicolás Herrera: Enchanted Nature – Deforestation and the Environment | Beijing 2017</video:title>
<video:description><![CDATA[Dame Jillian Sackler International Artists Exhibition Program
Arthur M. Sackler Museum of Art and Archaeology at Peking University, Beijing, China
29 September – 29 December 2017

The drawings and paintings for Enchanted Nature: Deforestation and the Environment emanate from Nicolás Herrera’s poetic mind and are inspired by his native country of Ecuador and the amazing Amazon forest and the lamentable yet predictable consequences of globalisation. Although he has painted nature throughout his career, this is the first time that he has created a set of large-scale paintings and on a specific theme that affects, and is caused by, humanity. 

From 61 drawings, 12 were selected and painted on-site in Beijing. Through his style, composition of elements and colour palette, he has dramatised the importance of preservation and conservation. These works include trees, birds and animals, but here trees become human figures, leaves become birds, animals or insects. These magical works, composed to excite the viewer’s imagination about the environment, are installed in the main and adjacent galleries of the Arthur M Sackler Museum of Art and Archaeology at Peking University.

As the standard of living has increased in developing nations, so has the demand for specialty hardwoods for architecture, flooring and furniture. Some of these hardwoods can only be found deep in the Amazon forest. To reach these old virgin trees, a web of illegal roads has been created throughout the Amazon. As the number of roads increase, so does the number of trees being cut down. It is estimated that more than 20% of the trees have been felled in the past four decades, which is more than we lost in the previous 450 years.
 
Deforestation greatly affects the environment because it depletes the supply of oxygen globally. It can also cause drought and fires, ruining rivers and communities that depend on the rainforest for daily living. A forest gives birth and protection to thousands of species of animals, birds and insects, and deforestation changes]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/240659621</video:player_loc>
<video:duration>498</video:duration>
<video:publication_date>2017-10-31T09:22:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Nicolás Herrera: Deep Forest, 2017</video:title>
<video:description><![CDATA[Time-lapse video of Nicolás Herrera painting Deep Forest at the Dame Jillian Sackler International Artists Exhibition Program, Arthur M. Sackler Museum of Art and Archaeology at Peking University, Beijing, China.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/240514240</video:player_loc>
<video:duration>94</video:duration>
<video:publication_date>2017-10-30T12:18:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/zarah-hussain-video-interview-i-dont-think-something-thats-spiritual-precludes-the-use-of-technology</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/665005919-d1ba15d90114683aea50928a88cd90435b8b441504a568f3424d8d00274a4af3-d_640</video:thumbnail_loc>
<video:title>Zarah Hussain, interview | London | 17 October 2017</video:title>
<video:description><![CDATA[Zarah Hussain: ‘I don’t think something that’s spiritual precludes the use of technology’

Zarah Hussain (b1980, Cheshire, UK) places her work at “the intersection of science and spirituality”. She combines a lifelong fascination with – and extensive training in – hand-drawn Islamic geometry with the latest digital software to create hypnotic, looping animations made with code. Her work also encompasses apps, paintings and sculptures

Her largest work to date, Numina, won the People’s Choice Award at the Lumen Digital Art Awards in London in September 2017 – gaining more public votes than any other work that has been nominated in the award’s four-year history. The installation combines an eight-minute long sequence of animated 12-fold geometry projected over a sculpture of 42 rhomboids with a simpler hexagonal geometry. It was originally commissioned by the Barbican and inhabited its foyer from October 2016 to January 2017. Since that point, her career seems to have gained momentum, with representation by the Hopstreet Gallery in Brussels, and further exhibitions scheduled for 2018.

Hussain, who had an early passion for maths, geometry and art – encouraged by a secondary school teacher – initially pursued a professional career in the media. She joined the BBC in Manchester, after gaining a degree in English and history at Manchester University. It was while researching an article for the BBC that she came across the Prince’s School of Traditional Arts in London, and realised that here was a chance to unlock the geometric, sacred and historical secrets of the ancient art form of traditional hand-drawn Islamic geometry that had fascinated her since childhood. Gaining a full, paid scholarship on the strength of her portfolio, she moved to London and underwent two years of rigorous training to gain her master’s in 2004.

She slowly built up her profile with individual commissions and group exhibitions around the UK, and combined her art practice with freelance media work until 2011. In 2014, she was given a solo scu]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/241408231</video:player_loc>
<video:duration>1942</video:duration>
<video:publication_date>2017-11-05T13:21:53+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/maria-alyokhina-video-interview-pussy-riot-post-soviet-actionism-saatchi-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/668518723-d632708e715c3988a32cf9b8c05caed10909d1d4632327373ce446352440bef1-d_640</video:thumbnail_loc>
<video:title>Pussy Riot: Maria Alyokhina interview | Saatchi Gallery, London | 15 November 2017</video:title>
<video:description><![CDATA[Maria Alyokhina: ‘The government media calls us enemies of the people … but I haven’t met anyone on the street who hates us’

Political activist and Pussy Riot member Maria Alyokhina talks to Studio International at the Saatchi Gallery about fighting government propaganda and the support the group receives from fellow artists.

The activist art collective Pussy Riot formed in 2011 when Vladmir Putin changed the constitution in order to run for a third term as president of Russia a move that sparked protests across the nation. Three of Pussy Riot’s members, Nadezhda Tolokonnikova, Maria Alyokhina and Yekaterina Samutsevich, were arrested in 2012 and put on trial for hooliganism motivated by religious hatred after performing a protest song in the Cathedral of Christ the Saviour in Moscow. 

The lyrics of Punk Prayer took issue with corruption in the Russian church and openly criticised Putin, calling for the “mother of God” to “become a feminist” and to “drive Putin away”. Until this point, the group had remained anonymous in their brightly coloured clothes and signature balaclavas, but the trial and subsequent sentencing of two of the three women – Alyokhina and Tolokonnikova – saw them thrust into the international spotlight. 

After serving a two-year sentence in a penal colony, during which time they suffered regular humiliations, including forced gynaecological examinations, they were released as part of an amnesty timed to coincide with the 20th anniversary of the Russian constitution and, conveniently, only months before the Sochi Olympics. Alyokhina, with typically uncompromising defiance, called the release a PR stunt and prepared for the next demonstration – this time at the Olympics, where the group were attacked with horsewhips by patrolling Cossacks.

Undeterred by their treatment to date, Pussy Riot grows more prominent, and their audience increasingly international. They now produce glossy music videos aimed at highlighting injustice and lambasting those in power at home and abroad. Songs, such as I ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/244174815</video:player_loc>
<video:duration>721</video:duration>
<video:publication_date>2017-11-23T04:05:10+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/william-kentridge-interview-ursonate-performa-kurt-schwitters-dada-sigmund-freud-psychoanalysis</loc>
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/246851860</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T01:45:49+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/koken-ergun-interview-i-soldier</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/6B-AKStkIto/hqdefault.jpg</video:thumbnail_loc>
<video:title>I SOLDIER (BEN ASKERİM) - 2005 - COMPLETE - Köken Ergun - documenta</video:title>
<video:description><![CDATA[“I, Soldier” is the first part of Köken Ergun’s video series in which he deals with the state-controlled ceremonies for the national days of the Turkish Republic. The nationalistic attributes attached to these large-scale ceremonies are underlined in a non-descriptive and almost voyeuristic point of view. I, Soldier was shot at the National Day for Youth and Sports, the day that marks the start of the independence war of the Turkish public under the leadership of Mustafa Kemal Atatürk against the Allied Forces back in 1919. The annual ceremony held at the biggest stadium of each city consists of figurative dances of high school students, choreographed in a timeless socialist-realist manner. In the last decade, popular songs have replaced the usual military marches, which accompanied the choreography. In this video a nationalist hip-hop song is played during the gymnastic demonstrations of the military school students, backed by a stern poem of a high-ranking soldier about the virtues of “The Soldier”.

Special Mention, Zagreb Film Festival 2006
Sphinx Award, Videomedeja 2007

https://isoldiertheflag.wordpress.com/
http://indexofworks.com/]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/6B-AKStkIto</video:player_loc>
<video:duration>434</video:duration>
<video:publication_date>2017-01-13T19:16:14+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/from-ear-to-ear-to-eye-review-nottingham-contemporary</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/675348933-9130537e32f39b41b9ef06eb3a467a938da21da3ff7970c6104eb016d02de458-d_640</video:thumbnail_loc>
<video:title>From Ear to Ear to Eye: Sounds and Stories From Across the Arab World | Nottingham Contemporary</video:title>
<video:description><![CDATA[From Ear to Ear to Eye: Sounds and Stories From Across the Arab World
This powerful show fuses art and music in an attempt to open ears and eyes to life in the Arab world.

Music is a powerful force for opening hearts and minds. This immersive, sound-infused show at Nottingham Contemporary is an attempt to peel away the prejudices and stereotypes that prevail in Europe when it comes to parts of the Arab world that – these days- are more typically associated with conflict.

Nottingham Contemporary, 16 December 2017 – 4 March 2018.

Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/249453777</video:player_loc>
<video:duration>341</video:duration>
<video:publication_date>2018-01-02T18:35:55+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Ania Dabrowska interview | Nottingham Contemporary | 15 December 2017</video:title>
<video:description><![CDATA[Ania Dabrowska: ‘By the retelling of archival stories we have the power to articulate new ideas of how we want to formulate our own identities’

Ania Dabrowska (b1973) is a Polish-born artist now living in London. She works with photography, moving image, installation, text and sound, and has a particular interest in the political and creative potency of archives within contemporary culture. She has had solo and group shows in the UK, Germany, the US, India and the Middle East, and has participated in several residencies

Studio International spoke to Dabrowska about her exhibit A Lebanese Archive at the opening of the group show From Ear to Ear to Eye at Nottingham Contemporary.

It was while on a SPACE residency at the Arlington hostel for homeless people in Camden, north London, in 2010 to 2012, that she encountered Diab Alkarssifi, a Lebanese-born photography enthusiast who presented her with two plastic bags stuffed with photographs, film and negatives. It was part of an archive he had put together from personal and found artefacts, spanning more than 100 years of Lebanese life. The other half, he told Dabrowska, was back in his home town of Baalbek, and, in 2013, she undertook her first trip to the region to try to unearth this companion archive, but also to connect the history, legacy and life of this man, and the places and spaces his archive recorded. 

For the Nottingham Contemporary show, Dabrowska has created an immersive installation of these multiple geographic and personal journeys – the initial one into Alkarssifi’s archive, the resulting trips to the Lebanon, as well as the interrogations these events inspired in her practice. A multi-part display includes her own photos of the places she visited, a three-screen rotating display of 1,500 images, both archive and contemporary, and vitrines showing Alkarssifi’s original prints accompanied by her own notations and codifications for the book she went on to publish, in conjunction with the Arab Image Foundation. 

She says: “I think there is something]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/248382746</video:player_loc>
<video:duration>1068</video:duration>
<video:publication_date>2017-12-21T16:37:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/latif-al-ani-interview-photographer-i-never-thought-iraq-would-arrive-at-what-it-has-today</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/YY-V-Bl7GU8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Ageless Iraq Reel 1 (1950-1959)</video:title>
<video:description><![CDATA[Reel 1.  Directed by Graham Wallace.  Cameraman - Reg Cavender.  Editor - Jocelyn Jackson.  Sound - W.S. Bland and George Newberry.  L/S of aeroplane flying over countryside.  Various aerial shots of Iraq and its rivers.  C/U of a shepherd looking up at the sky.  Aerial shot of ruins.  L/S of train travelling along - palm trees in foreground.  Aerial shot of Mosque of Khardimain.  Views from the train and shot of passengers disembarking in Baghdad - they are presumably tourists as we see travelling bags with lots of destination stickers on them.  C/U of sign at the railway station - Baghdad West.  L/S from high angle of the city.  Various shots of Baghdad.  Narrator speaks of the city's history and of Arabian Nights.  L/S of water buffalo walking into a lake with children gathered around in the foreground.  Schoolgirls play volleyball in their school uniforms.  L/S and C/U of one of the players.  M/S of classmates applauding.  L/S of an outdoor swimming pool.  "The twentieth century has come to Baghdad" states the narrator.  L/S of city street.  Pan down to show men at an outdoor cafe.  Two of the men play backgammon.  Bazaar.  C/Us of a man beating metal.  M/S of two white tourists (the woman holds a small fan) looking at Persian rugs to buy.  The husband talks to the salesman, the woman purses her lips!  High angle of a row of Iraqi policemen.  An officer inspects uniforms and the men march off.  High angle shot of passengers getting on to a bus.  C/U of a policeman directing traffic.  High angle shot of busy streets.  Race track - horses walk in front of the camera.  C/U of spectator in traditional dress.  Shots of the race.  C/U of spectator seen before following the race with binoculars.  Narrator mentions the fact that all thoroughbreds are descended from Arabian stock. C/U of group of men and young boy celebrating the end of the race.  C/U of an elderly man wearing traditional headscarf steering a small boat.  C/U of the sail.  View of palm trees.  Fishing boats.  Men climb up palm trees to collect coconut]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/YY-V-Bl7GU8</video:player_loc>
<video:duration>591</video:duration>
<video:publication_date>2014-04-13T15:51:38+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/edmund-clark-video-interview-intervention-control-censorship-part-of-what-i-do</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/680752293-9026c8ac747be9825b96430c070896594f12d7a4caa0c83482d5932876504827-d_640</video:thumbnail_loc>
<video:title>Edmund Clark, interview | London | 6 January 2018</video:title>
<video:description><![CDATA[Edmund Clark: ‘The intervention, the control, the censorship is part of what I do’

Edmund Clark discusses his recent residency at the UK’s only wholly therapeutic prison, HMP Grendon; his time spent on Bagram Airfield in Afghanistan; and how intervention and censorship have become a part of his work

Edmund Clark isn’t one to pick easy subjects for his work. As an editorial photographer, he found himself working with teenage fathers and elderly prisoners, and this set him on his route to working with terror suspects, prisoners in Guantánamo Bay, and, most recently, a three-year residency at the UK’s only wholly therapeutic prison, HMP Grendon, where he worked with the inmates to produce four new bodies of challenging work, each employing methods new to his practice, which are now on show at the Ikon Gallery, Birmingham.

Pressed flowers trapped within a lightbox enclosure, the size of an average cell (1.98m2); a five-screen film of journeys around the prison’s corridors, grounds and perimeter (Vanishing Point); a film and book (My Shadow’s Reflection) comprising architectural images of the prison and pinhole camera images of the prisoners – blurred beyond recognition and speaking, Clark says, of how prisoners are not really seen in contemporary political discourse; and a longer 74-minute film work (Oresteia), showing a form of psychodrama episode, based on the Greek tragedy, with prisoners playing – and responding to – the various characters, exploring notions of acceptable violence, catharsis and empathy.

Clark has also recently spent time on Bagram Airfield in Afghanistan, taking photographs, which evoke the intangible yet intensely felt presence of the mountains beyond and the unseen insurgents they hide. These, along with reproductions of paintings of the mountains found at the base, and a towering column of razor wire, comprise a second exhibition at Flowers, New York.

Simultaneously, Clark is having his first major solo exhibition in the US at the International Center of Photography, New York, where he i]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/253654099</video:player_loc>
<video:duration>1922</video:duration>
<video:publication_date>2018-01-31T12:50:26+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/threesome-3x3-review-new-art-projects-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/V4UWxlVvT1A/hqdefault.jpg</video:thumbnail_loc>
<video:title>OPPRESSED MAJORITY (Majorité Opprimée English), by Eleonore Pourriat</video:title>
<video:description><![CDATA[On what seems to be just another ordinary day, a man is exposed to sexism and sexual violence in a society ruled by women... (10 minutes)

With Pierre Benezit, Marie-Lorna Vaconsin, Marie Favasuli, Céline Menville...
First song: Comme un garçon, by StereoTotal
Last theme: Pocket Harmony feat. Moïra Conrath]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/V4UWxlVvT1A</video:player_loc>
<video:duration>660</video:duration>
<video:publication_date>2014-02-05T17:55:25+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/marguerite-humeau-echoes-review-tate-britain</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/682003480-fc8f4b426d87c7d863c1db95455c5052c23a2e5335e34883a9edc90c19347aec-d_640</video:thumbnail_loc>
<video:title>Marguerite Humeau: Echoes | Installation view, Tate Britain, London 2018</video:title>
<video:description><![CDATA[A loud, breathy, disembodied voice emanates from the room containing Marguerite Humeau’s installation. It is a hissing voice – a woman’s voice, a spirit of unknown intentions echoing from within a chamber painted in a vicious, acid yellow. In the centre of the room sits a conundrum. Two abstracted white objects are mounted on frames. One looks like a visualisation of sound waves, and seems to have a tail and a small head resembling a sentient orchid, if you can imagine such a thing. The other seems to be some symmetrical, alien organ. They are fed (or are they being milked?) by thin tubes containing a strange, orange mixture, which lead back to two opaque tanks, one holding a pale white-blue liquid, the other a deep red one … 
by EMILY SPICER
(Read the review in full at Studio International).

Tate Britain, London, 18 November 2017 – 15 April 2018]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/254762203</video:player_loc>
<video:duration>45</video:duration>
<video:publication_date>2018-02-07T17:32:39+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jason-brooks-interview-im-interested-in-airbrushing-in-detail</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/682797807-38cff1ddd27016fb1d10603f5b352ea87d8272a98ded110c0101ef13e086dbd1-d_640</video:thumbnail_loc>
<video:title>Jason Brooks, interview | Gloucestershire | 13 January 2018</video:title>
<video:description><![CDATA[Jason Brooks: ‘In a world that wants to eradicate detail by airbrushing it out, I’m interested in airbrushing it in’.

Ahead of his exhibition The Subject is Not the Subject at Marlborough, London, Jason Brooks shows Studio International around his Gloucestershire studio, revealing some of his inspirations and motivations.

For his third exhibition with Marlborough, London, Jason Brooks (b1968) has put together a three-part show of staggering proportions. One room is filled with his huge, incredibly detailed and cinematically cropped, black-and-white portraits of friends and people he considers to have a “discerning eye”. In fact, the airbrushed works are painted solely in black, with any white areas being the paper showing through. Familiar faces surround the viewer – writer and political commentator Will Self, artist Sue Webster, war photographer Don McCullin, fashion designer Erdem – names we probably recognise, but whose faces we maybe do not. Standing under the gaze of so many supersized pairs of eyes, we, the viewer, become the viewed – an intriguing, but unsettling experience.

In another space, Brooks is showing his landscape works: remakes of amateur paintings he has collected over the past couple of decades at car boot sales. Taking these vignettes as inspiration, he “goes on a journey” with them, combining airbrush, acrylic and oil paints in such a way as to explore all aspects of painterly language, as well as his place within art history. In his Gloucestershire studio, he showed us two small works bought on separate occasions, inspired by John Constable’s The Hay Wain (1821), and clearly part of a diptych. In the gallery, viewers can see Brooks’s response to these.

For the final space – conceived as a darkened chapel – Brooks has created a three-metre-tall, black sculpture of the Virgin Mary, veiled, and based on a 19th-century bust. She is surrounded by devotional imagery of Christ and vanitas paintings.

While these three strands are quite disparate and one might be forgiven for not immediately re]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/255356289</video:player_loc>
<video:duration>1029</video:duration>
<video:publication_date>2018-02-12T05:28:53+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sophie-herxheimer-video-interview-im-after-precision-in-poetry</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/683399823-ae28f59863dd4c6c9e8745f7568c24478788f479e70b5cb620f4828a4aad0eb8-d_295x166</video:thumbnail_loc>
<video:title>Sophie Herxheimer: interview | Picturing &amp; writing, life stories &amp; poetry</video:title>
<video:description><![CDATA[Studio International visited Herxheimer at her house and studio in Brixton to talk about the ideas and inspirations that inform her work.
Film and interview by MK PALOMAR.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/253396478</video:player_loc>
<video:duration>1422</video:duration>
<video:publication_date>2018-01-30T04:37:49+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/680217308-78b2eeb7e366a48bcca5621771f46a9c9d5ce299696a174cef9add9a2b65f476-d_295x166</video:thumbnail_loc>
<video:title>Sophie Herxheimer: interview |  Ideas and inspirations</video:title>
<video:description><![CDATA[The poet, writer and image-maker talks about the ideas and inspiration that inform her work.
Interview and film by MK PALOMAR.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/253349517</video:player_loc>
<video:duration>1258</video:duration>
<video:publication_date>2018-01-29T19:30:53+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cybernetic-serendipity-history-and-lasting-legacy</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/8b52qpyV__g/hqdefault.jpg</video:thumbnail_loc>
<video:title>SAM - Cybernetic Serendipity</video:title>
<video:description><![CDATA[Sound Activated Mobile

More information can be found at http://www.senster.com/ihnatowicz/SAM/sam.htm]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/8b52qpyV__g</video:player_loc>
<video:duration>108</video:duration>
<video:publication_date>2008-07-15T20:54:54+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/home-strike-alexandra-kokoli-basia-sliwinska-malgorzata-markiewicz-su-richardson-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/690249060-853df1cab59da6d63b14e6b9405adb407469d7a9cf42ee6a4f1b3e182453cf00-d_640</video:thumbnail_loc>
<video:title>Home Strike | L’étrangère, London | 8 March – 21 April 2018</video:title>
<video:description><![CDATA[Alexandra Kokoli and Basia Śliwińska: ‘As long as ‘home’ remains confining … it will continue to loom large in art practices informed and committed to feminism’ 

Curators Kokoli and Śliwińska and artists Małgorzata Markiewicz and Su Richardson talk about the exhibition Home Strike at I’étrangère in London 

Studio International visited the Home Strike exhibition during the gallery’s “Resistance Lunch”, held in celebration of International Women’s Day and the opening of the exhibition. Collaboratively curated by Alexandra Kokoli, senior lecturer in visual culture at Middlesex University, and Basia Sliwinska, senior lecturer in culture and historical studies at University of the Arts London, Home Strike revisits 1970s feminism and “proposes to inflict its currency through intersectional considerations of class and the biopolitical”. In their accompanying text, Kokoli and Sliwinska warn us of the “shifting notion of Home”, and the problematic sense of belonging. 

Referencing French philosopher Gaston Bachelard, who argued that home (the oneiric house – the house where we were born) is where our psychological selves are formed, where, for instance, we learn how to climb a stair, Kokoli and Sliwinska counter this cosy concept by addressing the uncomfortable reality of the unacknowledged labour of women in the home.  In Home Strike, the “domestic space is disrupted by the works of four women artists” whose practice focuses on exploring and resisting (in various and ingenious ways), “the persistent feminisation of domestic ideologies, household maintenance and the exploitation of women’s bodies”. 

The video work titled Fountain (2000) by the Istanbul-based artist and activist CANAN displays her heavily lactating breasts – as the milk drips from her nipples, the heightened audio track echoes around the gallery space, sounding like an insistent resonant tap. This “feminist Fountain,” states the exhibition catalogue by Kokoli and Śliwińska, “exorcises the phallic arrogance of Duchamp’s readymade while also challen]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/261215868</video:player_loc>
<video:duration>533</video:duration>
<video:publication_date>2018-03-21T18:22:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/690252030-cae49212a1a770a7109af22eedad26d8042e3c948acbb1312f98622a647c4504-d_640</video:thumbnail_loc>
<video:title>Su Richardson, interview | L’étrangère, London | 8 March 2018</video:title>
<video:description><![CDATA[Su Richardson talks about her work in the exhibition Home Strike at I’étrangère in London. 

Birmingham-based artist Sue Richardson, known for her Postal Art Event work Burnt Breakfast (1975), exhibits crocheted works made in the 1970s and also more recently constructed body parts “indicating bitter fantasies”. Insisting on the “revalidation of craft” and challenging the “white-cube aesthetic” with humour and dexterity, Richardson achieves form and colour seldom seen in objects made by hand using needles and wool. Yet while Richardson’s works entice a haptic and optical delight of materials, playing with memory and childhood, they also “subvert the womanly connotations of ‘labour of love’ cooking and craft”, poking fun at petty hierarchies in art institutions, and questioning the position of the woman and the mother in the home.

Studio International visited the Home Strike exhibition during the gallery’s “Resistance Lunch”, held in celebration of International Women’s Day and the opening of the exhibition. Collaboratively curated by Alexandra Kokoli, senior lecturer in visual culture at Middlesex University, and Basia Sliwinska, senior lecturer in culture and historical studies at University of the Arts London, Home Strike revisits 1970s feminism and “proposes to inflict its currency through intersectional considerations of class and the biopolitical”. In their accompanying text, Kokoli and Sliwinska warn us of the “shifting notion of Home”, and the problematic sense of belonging. 

Home Strike
L’étrangère, London
8 March – 21 April 2018

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/261216644</video:player_loc>
<video:duration>477</video:duration>
<video:publication_date>2018-03-21T18:28:47+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/690272667-36e4e9f8ca48932fe9ba01e6adeea95a4fb783491b2676c9e0362b1d4fb79095-d_640</video:thumbnail_loc>
<video:title>Małgorzata Markiewicz, interview | L’étrangère, London | 8 March 2018</video:title>
<video:description><![CDATA[Małgorzata Markiewicz talks about her work in the exhibition Home Strike at I’étrangère in London.

In the video The Resistance Kitchen (2017), Krakow-based artist Małgorzata Markiewicz, responding to the policies from the current rightwing Polish government that violate women’s rights; tells us: “Things are going bad, to put it mildly. And not just here in Poland.”  Wearing military garb, Markiewicz presents the viewer with readily available natural poisonous ingredients, including belladonna, otherwise known as deadly nightshade, and lily of the valley. She proceeds to give instructions as to how to mix these plants into poisonous dishes. This, she tells us, “may be the only tool of resistance available to women”. 

Also displayed in the Home Strike exhibition are tea towels printed with botanical-like drawings of poisonous plants, awarding them scientific credibility, and so Markiewicz, states the exhibition catalogue “turn[s] the tables on [a woman’s] obligation to nurture and cherish … confronting the bourgeois expectation for women to entertain [in the home] … that simultaneously renders them as complicit objects of desire”. 

Home Strike
L’étrangère, London
8 March – 21 April 2018

Interview by MK PALOMAR
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/261225578</video:player_loc>
<video:duration>488</video:duration>
<video:publication_date>2018-03-21T19:47:26+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/langlands-and-bell-interview-internet-giants-masters-of-the-universe</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/690842955-b5958571c45b5c773ee5489fed9b97d1bb31b93ba183abd2abba062370b25202-d_640</video:thumbnail_loc>
<video:title>Langlands &amp; Bell, interview | Shoreditch, London | 28 February 2018</video:title>
<video:description><![CDATA[Langlands & Bell: ‘We like to be catapulted into the unknown; we like a challenge’

For their new show at Birmingham’s Ikon gallery, they have turned their shared gaze on to the giants of the technological age – among them Google, Amazon, Alibaba and Facebook - and the structures they have created as their new headquarters. Through architectural models, plans, digital animations, portraits and relief sculptures they explore the profound influence these companies are having on our lives.

Interviewed in their Shoreditch studio, before the show, Langlands said: “Architecture is our consciousness made solid … One of the things we have noticed is that this very powerful role that architecture has had for thousands of years, some of it has been relinquished to algorithms – these new structures (are) the architecture of information. None of us knows the extent of this or how far it could go. It looks like it could go a very long way.”

Benedict Langlands (b1955) and Nikki Bell (b1959) first began collaborating as fine art students in the 1970s at Middlesex Polytechnic (now Middlesex University), and have continued to do so in a practice that this year celebrates its 40th anniversary.

From their first collaboration, design – interiors, graphics, typography, architecture, technology – has been a core preoccupation. They have used a multitude of media and methods to explore its use as a tool for mediating our relationship with the world around us, socially, culturally and geographically.

Their first collaborative work was an installation called Kitchen, for which they trawled derelict houses in London for old kitchen equipment and furniture and placed this filthy version next to a gleaming, brand new chrome one (which you could see only by looking through a portal cut into the filthy one).

In 2004, the pair were nominated for the Turner Prize for their work The House of Osama Bin Laden (2003), an interactive animation which investigated the aftermath of the war in Afghanistan, where they spent two weeks researching the]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/261748127</video:player_loc>
<video:duration>1921</video:duration>
<video:publication_date>2018-03-25T19:14:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/michele-oka-doner-video-interview-bringing-the-fire-david-gill-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/692590065-2139a0366784185222e7da5111adf252af7c9d2e15f2cf880459679305f68891-d_640</video:thumbnail_loc>
<video:title>Michele Oka Doner, interview | David Gill Gallery, London | 21 March 2018</video:title>
<video:description><![CDATA[Michele Oka Doner: ‘We can’t repair the Earth if we don’t fall in love with it’

American artist and author Michele Oka Doner shares some of her explorations of nature and ritual from across her five decade-long practice

Walking into London’s David Gill Gallery, there is a sense of stillness and peace, the gentle scent of burning wax hovers on the air like in a chapel, and visitors are transported a million miles away from the hustle and bustle of Piccadilly’s rush hour. This is the work of Michele Oka Doner (b1945, Miami Beach), who, now in her fifth decade of artistic practice, has a longstanding interest in nature, the elements, ritual and wanting to make people slow down, stop and take a closer look at the world around them.

Her second solo show at the gallery pivots on a large bronze work, Altar II, a complex cast, jigsawed back together, from an intriguing and manifestly beautiful tree root, which Oka Doner retrieved from the Hudson river, while visiting friends in New York, with the help of a tow truck and a 12-minute gap between trains on the Metro-North line. It is kept company by a number of smaller Burning Bushes and Shaman Sticks, all flickering bright with heavily dripping candles, creating a gentle, almost transcendental, glow. On the walls, there are huge, androgynous, black-and-white figures, printed in relief from ink-infused organic material. Inspired by the myth of Prometheus and the basic attributes that distinguish humanity from any other animal species, Oka Doner believes that all art begins with the sacred, and she relishes the excitement of discovery and transformation, creating something that is ultimately shared.

Oka Doner’s work ranges in scale from jewellery and furniture to set and costume design for the Miami City Ballet, and she has undertaken a number of large-scale public art commissions as well, including Radiant Site at New York’s Herald Square underground station and A Walk on the Beach at Miami international airport. In London for the opening of her exhibition, before headi]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/262891707</video:player_loc>
<video:duration>1287</video:duration>
<video:publication_date>2018-04-02T18:27:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rie-nakajima-video-interview-cyclic-ikon-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/691747312-2d3ca27919af023b0d7cc86711dc74e8e83b7a9092d3e7088c1089b49a0422fa-d_640</video:thumbnail_loc>
<video:title>Rie Nakajima - Cyclic | Ikon, Birmingham | 21 March – 3 June 2018</video:title>
<video:description><![CDATA[Rie Nakajima: ‘What I am making is to be experienced through your body, through your perception and through your sense’

Japanese artist Rie Nakajima’s practice sees everyday objects turned into semi-autonomous mechanisms that come alive in the most inventive ways

Artist Rie Nakajima was born in Yokohama, Japan, in 1976, and lives and works in London. She is known for her experimental kinetic works, in which she sets everyday items into motion with the help of electrical devices. The analogue nature of these installations are laid bare, so that batteries and wires readily explain the movement of the objects that she rigs up in interactive arrangements. But this does nothing to diminish the strangeness of their autonomous activities as a bucket is turned into a drum by a motorised pipe, or a plastic bottle dances on the end of a string.

All of her assortments are the stuff of bric-a-brac. Batteries, tin foil, bowls and sponges are animated by a series of ingenious processes, which lends them an uncanny sense of frustrated energy. Powered by batteries and small motors, the likes of which you might find in a vacuum cleaner, they vibrate and tinkle, filling the large, empty gallery space with whirs and chimes. Her past work has also sometimes relied on natural forces. Wind Touch (2016) partly depended on the weather to work, and other pieces have employed pendulums or dripping water, relying on gravity to keep moving.

Nakajima’s exhibition, Cyclic, at the Ikon Gallery in Birmingham, sees such unassuming objects as a packet of seeds transformed into a miniature rain stick; rubber tubing sporadically convulses against a wall like a landed fish, a bin bag slowly inflates, seemingly of its own accord. Whistles rattle in porcelain bowls like theatrically chattering teeth and the whole gallery space seems haunted by restless forces. Every object is both separate and connected in its ingenuity. “I think about how time and space should be experienced,” she says. “The next thing I think about is how space should be created]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/262463842</video:player_loc>
<video:duration>118</video:duration>
<video:publication_date>2018-03-29T17:48:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/miguel-chevalier-video-interview-meta-cities-virtual-reality</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/694319741-5123a515c28950143ac197bf670af3626b1975d36c612b5ec75ba60a154cd689-d_640</video:thumbnail_loc>
<video:title>Miguel Chevalier, interview | Paris | 3 February 2018</video:title>
<video:description><![CDATA[Miguel Chevalier: ‘I feel that I live in what’s happening today’

Ahead of two simultaneous solo shows in London, pioneering computer artist Miguel Chevalier invited Studio International into his Paris studio to discuss his interest in making the real virtual and the virtual real

Miguel Chevalier (b1959, Mexico City) is a true pioneer of computer art. He has been using computer science as a means of expression in the field of visual arts since 1978, when, as a student, he managed to negotiate out-of-hours access to use the rather sizeable machines at the Optics Centre at the French National Centre for Scientific Research. In 1983, he spent some time in the new digital department at the Pratt Institute in New York, before returning to Paris to continue his experimentation and, ultimately, win the support of some key curators and critics, who enabled him to show and develop his work.

Chevalier sees his digital and virtual compositions as very much a continuation of art history, throughout which new young generations of artists have sought to experiment and push the boundaries of the possible. More recently, he has begun to create real, physical objects, using techniques such as laser cutting and 3D printing to work backwards from his virtual imaginings. Simultaneously, using touchpads and VR, he creates interactive works that invite viewers to traverse the boundaries of reality, entering a virtual world.

A longstanding interest of Chevalier’s is the development of cities and urban planning. For a double exhibition across London’s Mayor Gallery and Wilmotte Gallery, he is expanding his Méta-cities project to create an immense interactive installation in the latter architectural space and a more domestic representation of the same ideas in the Mayfair space, exploring the many potential scales and instantiations of a digital work.

Studio International visited Chevalier in his Paris studio to discuss his career, his commitment to the digital as a “very open tool”, and his interest in making the real virtual and th]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/264512589</video:player_loc>
<video:duration>1281</video:duration>
<video:publication_date>2018-04-12T17:17:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/role-play-collaborative-creativity-creative-collaborations-cybernetic-serendipity-review</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Wywqz631Raw/hqdefault.jpg</video:thumbnail_loc>
<video:title>Welcome - Jillian Sackler</video:title>
<video:description><![CDATA[This talk was presented during the National Academy of Sciences Arthur M. Sackler Colloquium Creativity and Collaboration: Revisiting Cybernetic Serendipity in Washington, D.C. March 13-14, 2018.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Wywqz631Raw</video:player_loc>
<video:duration>182</video:duration>
<video:publication_date>2018-03-28T15:48:11+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/P6Ibz2TjI8Y/hqdefault.jpg</video:thumbnail_loc>
<video:title>Annual Sackler Lecture, Branches from the Same Tree - David Skorton</video:title>
<video:description><![CDATA[This talk was presented during the National Academy of Sciences Arthur M. Sackler Colloquium Creativity and Collaboration: Revisiting Cybernetic Serendipity in Washington, D.C. March 13-14, 2018.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/P6Ibz2TjI8Y</video:player_loc>
<video:duration>2028</video:duration>
<video:publication_date>2018-03-26T18:34:10+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/mVKvKfS1KI0/hqdefault.jpg</video:thumbnail_loc>
<video:title>Leonardo da Vinci - Art Science as Virtuous Cycle of Rendering - Curtis Wong</video:title>
<video:description><![CDATA[This talk was presented during the National Academy of Sciences Arthur M. Sackler Colloquium Creativity and Collaboration: Revisiting Cybernetic Serendipity in Washington, D.C. March 13-14, 2018.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/mVKvKfS1KI0</video:player_loc>
<video:duration>1600</video:duration>
<video:publication_date>2018-04-11T18:38:48+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/xH19VRSOG7g/hqdefault.jpg</video:thumbnail_loc>
<video:title>Visualization as Lingua Franca in Machine Learning - Fernanda Viegas</video:title>
<video:description><![CDATA[This talk was presented during the National Academy of Sciences Arthur M. Sackler Colloquium Creativity and Collaboration: Revisiting Cybernetic Serendipity in Washington, D.C. March 13-14, 2018.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/xH19VRSOG7g</video:player_loc>
<video:duration>1582</video:duration>
<video:publication_date>2018-03-28T15:37:50+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/693615083-9aa48c3ffe6133df09ec8988337cc59406807c8e41a0c152eb2542aca42978fd-d_640</video:thumbnail_loc>
<video:title>Liese Zahabi | Role/Play: Collaborative Creativity and Creative Collaborations | NAS, Washington DC, 12 March 2018</video:title>
<video:description><![CDATA[Role/Play: Collaborative Creativity and Creative Collaborations at the National Academy of Sciences, Washington DC, brought together 54 graduate students from North America representing a wide range of disciplines to present their work to each other. Organized by Liese Zahabi and Molly Morin.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/263502257</video:player_loc>
<video:duration>386</video:duration>
<video:publication_date>2018-04-06T08:21:44+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/695162349-74ac83d658b45ce6deeb41ab5bb34c6fba1e15b4a28a0f78198d4424d1a1034a-d_640</video:thumbnail_loc>
<video:title>Molly Morin | Role/Play: Collaborative Creativity and Creative Collaborations | 12 March 2018</video:title>
<video:description><![CDATA[Role/Play: Collaborative Creativity and Creative Collaborations at the National Academy of Sciences, Washington DC, brought together 54 graduate students from North America representing a wide range of disciplines to present their work to each other. Organized by Liese Zahabi and Molly Morin.

The student symposium was spearheaded by Liese Zahabi, a graphic/interaction designer and assistant professor of graphic/interaction design at the University of Maryland, and Molly Morin, an artist working at the intersection of digital and analogue practices who is assistant professor of art at Weber State University.

Morin gave a lecture titled Informational Material: poetic data visualisation, CNC fabrication, and embodied systems, in which she elaborated on her approach to art-making, which involves creating material representations of data through generative drawing, digital fabrication and fabric sculptures. Morin received degrees in sculpture before taking on her role at Weber, where she fosters methods for making art with digital tools.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/263536738</video:player_loc>
<video:duration>569</video:duration>
<video:publication_date>2018-04-06T11:53:27+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/693694605-ec71a296e7a633b8086742a734aaacab92acec338f73074f6a524c9ba521f038-d_640</video:thumbnail_loc>
<video:title>Adam Haar Horowitz | Role/Play: Collaborative Creativity and Creative Collaborations | NAS, Washington DC, 12 March 2018</video:title>
<video:description><![CDATA[Adam Haar Horowitz, a charismatic researcher at the cutting-edge MIT Media Lab, spoke about his work relating to hypnagogia, the liminal space between wakefulness and sleep. The topic was immediately captivating – and easy to relate to – given that this is a mental state that applies to all of us. Haar Horowitz believes that technology has the ability to reveal parts of ourselves that otherwise remain invisible, and studies how to control and capture dreams during the moment of hypnagogia, asserting that such access leads not only to revelation but, ultimately, wellbeing. Haar Horowitz studied mindfulness meditation and mind-wandering during his earlier work at MIT’s McGovern Institute for Brain Research, and also spent time as an artist-scientist at the Marina Abramović Institute.

Role/Play: Collaborative Creativity and Creative Collaborations brings together 54 graduate students from North America representing a wide range of disciplines to present their work to each other. Organized by Liese Zahabi and Molly Morin.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/263504728</video:player_loc>
<video:duration>331</video:duration>
<video:publication_date>2018-04-06T08:40:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Jifei Ou | Role/Play: Collaborative Creativity and Creative Collaborations | NAS, Washington DC, 12 March 2018</video:title>
<video:description><![CDATA[Jifei Ou, another member of the Media Lab at MIT, is a compelling designer whose subject matter is transformable materials. Starting with the premise that physical materials are generally thought to be static and permanent, Jifei seeks to reformat such materials with digital characteristics, making them programmable, for instance, or able to change their shape. Bio-mimicry and bio-derived materials inform his research, and the natural world is just as informative to his thinking as digital technology. The new materials that result from these experiments could be used to serve a number of purposes, from the construction of responsive living environments to the enhancement of existing interactions with products.

Role/Play: Collaborative Creativity and Creative Collaborations at the National Academy of Sciences, Washington DC, brought together 54 graduate students from North America representing a wide range of disciplines to present their work to each other. Organized by Liese Zahabi and Molly Morin.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/263503716</video:player_loc>
<video:duration>364</video:duration>
<video:publication_date>2018-04-06T08:32:51+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:video>
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<video:title>Amy Wetsch | Role/Play: Collaborative Creativity and Creative Collaborations | NAS, Washington DC, 12 March 2018</video:title>
<video:description><![CDATA[An installation by Amy Wetsch, an MFA student at Mount Royal School of Multidisciplinary Art, filled the foyer outside the conference hall. The work detailed her continuing explorations of the human immune system through the medium of sculpture. Wetsch’s practice considers the impact of disease and illness on the body, specifically in relation to auto-immune conditions, something with which the artist has personal experience. Her fascination with the body’s misdirected inclination to attack itself provides the impetus for her visual explorations.

Role/Play: Collaborative Creativity and Creative Collaborations at the National Academy of Sciences, Washington DC, brought together 54 graduate students from North America representing a wide range of disciplines to present their work to each other. Organized by Liese Zahabi and Molly Morin.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/263505936</video:player_loc>
<video:duration>334</video:duration>
<video:publication_date>2018-04-06T08:49:33+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/women-cant-paint-review-turps-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/HVQIFaPmO4I/hqdefault.jpg</video:thumbnail_loc>
<video:title>Jean Cooke (1927-2008)</video:title>
<video:description><![CDATA[Dr Robert Travers, Director of Piano Nobile Gallery, talks to artist Jean Cooke about her life, her practice and her tumultuous marriage to fellow artist John Bratby.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/HVQIFaPmO4I</video:player_loc>
<video:duration>207</video:duration>
<video:publication_date>2015-04-14T10:11:09+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-shrigley-video-interview-life-model-ii-fabrica-brighton-festival-2018</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/696613900-4edba79c91c3cb731ae408ef409623186273a41aec8816616648de3e2c615b8a-d_640</video:thumbnail_loc>
<video:title>David Shrigley, interview | Life Model II, Fabrica, Brighton | 13 April 2018</video:title>
<video:description><![CDATA[David Shrigley talks about his large-scale installation Life Model II at Fabrica Gallery in Brighton, part of the Brighton Festival for which he is this year’s guest director 

On the Brighton Festival’s website, Shrigley describes Life Model II as an artwork that begets other artwork … [with] a three-dimensional sculpture of the life model … trying to stand still. Shrigley tells us: “It’s a good thing to make a sculpture of something that is trying to stay still.” Perhaps he is suggesting that the idea of motion (or fidget) is important to have in mind when it comes to making art that isn’t moving. 

Shrigley is so well known for his interestingly scribbly surreal and subversive images and texts that getting past the cameras and journalists to interview him before the opening of his show was a complicated navigation – a lot of people want a bit of Shrigley, his wit, his sideways view, his easy presence. But there is a deception in his work – not one of any malice or duplicity, but one related to his self-deprecation and to the perception of people who have no understanding of the world of making writing and drawing. 

Shrigley’s work looks easy to do, intuitive and fluid, a stream of consciousness (or so it seems), appearing as though effortless, as it splodges and splashes across pages and prints and books and walls. But the kind of drawing that appears to repeatedly and perpetually fly so free from the constraints of form, fashion and aesthetic conventions takes years of dedicated hard work, skill and a unique sort of brilliance to achieve. 

Shrigley is like a really fit ballet dancer pirouetting his ink across white space and leaving gloriously subversive traces of skew-eyed thinking in his wake. Perhaps Shrigley’s unusual physicality (he is 6ft 5 inches tall), has contributed to his unique view of the world. He is also unusually generous for an artist: generous with his time, his ideas and his work. And his work is much more diverse than might at first be expected – there are books, sculpture, installation,]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/266359132</video:player_loc>
<video:duration>984</video:duration>
<video:publication_date>2018-04-24T13:46:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/adapt-to-survive-notes-from-the-future-review-hayward-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/stxaxcnTxZ8/hqdefault.jpg</video:thumbnail_loc>
<video:title>I Hate Karl Marx by Rainer Ganahl</video:title>
<video:description><![CDATA[I HATE KARL MARX, 2010

For this video playing in the year 2045 Karl Marx has reincarnated as Chinese. He controls the world and the entire world is Chinese, speaks Chinese, dresses and eats Chinese (the same way it is today English/American). Marx's specter to haunt the world could not be stopped by any capitalist alliance. The young German lady speaking and screaming entirely in Chinese suffers a melt down in front of Marx' statue on Karl Marx Allee expressing her discontent and opposition.

DVD 5 min 43 sec.
more go : www.ganahl.info
see stills and more material here; www.ganahl.info/Ihatekarlmarx.html]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/stxaxcnTxZ8</video:player_loc>
<video:duration>349</video:duration>
<video:publication_date>2010-10-07T15:51:01+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/vera-molnar-interview-computer-art-paris-mayor-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/705529418-8ae6483579680e04404a2851c611838107a6076785d1b3be2a90a88e414f061c-d_640</video:thumbnail_loc>
<video:title>Vera Molnár, interview | Paris | 11 July 2017</video:title>
<video:description><![CDATA[Vera Molnár: ‘I have no regrets. My life is squares, triangles, lines’

The pioneer of computer-assisted art recounts her love affair with lines, the balancing of order and chaos, and preparing to be surprised.

Born in Budapest in 1924, Vera Molnár moved to Paris in the late 1940s, pursuing a lifelong fascination with geometric forms, both in her solo practice and as a co-founder of GRAV (Groupe de Recherche d’Art Visuel). Attuned from childhood to the possibilities of a system-based art, Molnár conjured up a “machine imaginaire” whose hypothetical programmes altered the concrete bones of her images, rotating, disordering, and fracturing specific elements in multiple iterations.

Later, facilitated by the freeing spirit of 68, Molnar gained access to actual computers, the imagined machine now real. Throughout, her ingenious research has probed the question of what a machine can accomplish, whether intervening on geometric forms, printed or handwritten letters.

Avoiding premeditation, Molnár fine-tunes her programmes as the works unfold, favouring an instinctive method that enables greater receptiveness to the unpredictable, an approach she has called “the conversational method”. In addition to the computer’s evident speed and scope for calculation, Molnár values its greater finesse and intuitive potential in realising an imagined image: “This may sound paradoxical, but the machine, which is thought to be cold and inhuman, can help to realise what is most subjective, unattainable, and profound in a human being”.

Writing New Codes: Cordeiro / Mallary / Molnár
The Mayor Gallery, London
6 June - 27 July 2018

Interview and translation by ANGERIA RIGAMONTI di CUTÒ
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/273642211</video:player_loc>
<video:duration>2585</video:duration>
<video:publication_date>2018-06-06T02:48:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/eleanor-pinfield-interview-london-underground-deserves-best-artists-in-world</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/705820546-300c8797f6f55e9b5bb675de91e48bdb78ae687b0e15b3bd366c8e7f4ecdfc0b-d_640</video:thumbnail_loc>
<video:title>Heather Phillipson | my name is lettie eggsyrub | 2018</video:title>
<video:description><![CDATA[Art on the Underground has an audience beyond the reach of any gallery - five million passengers every day – and 270 stations across London’s tube network in which to display work. Yet, despite its vast reach and the fact that it has commissioned artists including Cindy Sherman, David Shrigley, Mark Titchner, David Batchelor and Assemble, few people outside the art world have heard of it.

Its programme for 2018-19 kicks off this summer with an immersive new multimedia work by Heather Phillipson (b1978) at Gloucester Road underground station, where a disused platform has become a permanent display space for three-dimensional art. Phillipson is one of an impressive lineup of established and emerging female artists of many ages and nationalities selected to mark the centenary year of the Representation of the People Act (whereby all men and some women over the age of 30 were granted the vote).

Words by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/273896114</video:player_loc>
<video:duration>154</video:duration>
<video:publication_date>2018-06-07T09:59:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/james-edgar-sam-walker-video-interview-we-think-of-assembly-point-as-part-of-our-collaborative-practice</loc>
<video:video>
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<video:title>James Edgar and Sam Walker | Assembly Point, London | 25 April 2018</video:title>
<video:description><![CDATA[James Edgar and Sam Walker: ‘We think of Assembly Point as part of our collaborative practice’

James Edgar and Sam Walker talk about Assembly Point, their co-founded gallery, studio space and publishing company, which they set up in 2015 in south London.

James Edgar (b1978) and Sam Walker (b1986) met when they were students on the MA fine art course at Camberwell College of Arts. Walker has worked in gallery spaces in London, managing curating and setting up shows, and Edgar has many years experience in printing and publishing, and runs the letterpress studio at Camberwell College of Art.

While they were students, Edgar and Walker researched art spaces in New York and London, looking at the different ways they were operated, in terms of finance, collaboration and creative community. The pair collaborated on their MA show, producing a gallery space within the exhibition, and while they also make work individually, they graduated together as Edgar-Walker in 2013.

Studio International visited Edgar-Walker at Assembly Point, the contemporary arts space they co-founded in Peckham, south London in 2013, and heard about the ideas behind their enterprise, the people involved and the many and varied events and ventures associated with it, from studios to book launches and publishing, gallery exhibitions, performances and the sale of limited-edition artworks.

Edgar-Walker have built a wonderful creative hub, a supportive community for the artists who have studios on site, and – very rare in our current social and financially troubled times – a place that celebrates and encourages creative practice, particularly supporting artists whose work has not yet been widely exhibited. There is much to be celebrated in the magnificent environment of Assembly Point, and south London is richer for this substantial and important arts space. 

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/274584346</video:player_loc>
<video:duration>1273</video:duration>
<video:publication_date>2018-06-11T18:04:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/true-colours-video-interview-newport-street-gallery-london-sadie-laska-helen-beard-boo-saville</loc>
<video:video>
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<video:title>Helen Beard, interview | True Colours, Newport Street Gallery, London | 12 June 2018</video:title>
<video:description><![CDATA[The exhibition True Colours, curated by Damien Hirst at his Newport Street Gallery, brings together three female painters, Helen Beard, Sadie Laska and Boo Saville, whose practice encompasses interestingly different usages of colour, form and subject. 

Helen Beard’s striking and marvellously simplified, flat colour images, take you by surprise in a number of ways. The fresh colour forms pack a satisfying punch even before the viewer has undergone the gradual realisation that the paintings portray a varied range of sexual acts.

True Colours: Helen Beard, Sadie Laska and Boo Saville
Newport Street Gallery, London
6 June – 9 September 2018

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275906410</video:player_loc>
<video:duration>248</video:duration>
<video:publication_date>2018-06-19T15:49:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/708303870-caa98f27ba512b3119c53726cf720d7f582801bd6ffbefa9c3231a2033157553-d_640</video:thumbnail_loc>
<video:title>Sadie Laska, interview | True Colours, Newport Street Gallery, London | 12 June 2018</video:title>
<video:description><![CDATA[The exhibition True Colours, curated by Damien Hirst at his Newport Street Gallery (opened in 2015 to display Hirst’s expansive collection to the public), brings together three female painters, Helen Beard, Sadie Laska and Boo Saville, whose practice encompasses interestingly different usages of colour, form and subject.

New York-based Laska, who is both a painter and a drummer, brings her improvisation skills into her wall-based works, using collage, small objects and brushed colour in flight. Each work embraces the tactility of materials and the motion of thoughts and actions in the process of making.

True Colours: Helen Beard, Sadie Laska and Boo Saville
Newport Street Gallery, London
6 June – 9 September 2018

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275905516</video:player_loc>
<video:duration>251</video:duration>
<video:publication_date>2018-06-19T15:44:00+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/708533007-fc53a1600e03e24a84f812a42a942b64488f1c9e78ed8566130fa9077e114775-d_640</video:thumbnail_loc>
<video:title>Boo Saville, interview | True Colours, Newport Street Gallery, London | 12 June 2018</video:title>
<video:description><![CDATA[The exhibition True Colours, curated by Damien Hirst at his Newport Street Gallery (opened in 2015 to display Hirst’s expansive collection to the public), brings together three female painters, Helen Beard, Sadie Laska and Boo Saville, whose practice encompasses interestingly different usages of colour, form and subject. 

Boo Saville’s fields of colour shimmer, each massive painting drawing you in and, once you are up close, their surfaces seem to conjure immersive spaces, as though the air has suddenly been coloured and there is space to fall in. Such a physical and emotional impact is reminiscent of Rothko’s Chapel in Houston, where his 14 black and coloured hue paintings cover the internal space.  

True Colours: Helen Beard, Sadie Laska and Boo Saville
Newport Street Gallery, London
6 June – 9 September 2018

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275904187</video:player_loc>
<video:duration>273</video:duration>
<video:publication_date>2018-06-19T15:36:55+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/708302296-39bf68b0bc6e5c0378da34b0da426d75577e7ef224d82e2eb75a4ee47a3b16d5-d_640</video:thumbnail_loc>
<video:title>True Colours: Helen Beard, Sadie Laska and Boo Saville</video:title>
<video:description><![CDATA[The exhibition True Colours, curated by Damien Hirst at his Newport Street Gallery (opened in 2015 to display Hirst’s expansive collection to the public), brings together three female painters, Helen Beard, Sadie Laska and Boo Saville, whose practice encompasses interestingly different usages of colour, form and subject. For those who have not visited Newport Street, the gallery spaces are cathedral-like in scale and use the idea of a white cube to maximum effect. There is room to view every work from a good, airy distance, and while taking a first look at this exhibition, it is impossible not to be astonished at the immersive colours of the works.

The catalogue (a fabulous, large-format, newspaper-type object) and the small A4 fold-out gallery plan are both lovely and, in any other circumstances, the difference between the printed images and the objects in the gallery would not be worth mentioning, but here the gap between the two is significant and unavoidable. First, my apologies to the patient gallery lady whom I marked 0 out of 10 for colour printing of the works. Second, I credit Belinda Bowring, director of communications, for pointing out that this is one reason we need galleries and paintings in the real world, because the physical impact of the works and the immersive emotional resonance of the colours are impossible to imitate even backlit online, let alone on any sort of paper.

New York-based Laska, who is both a painter and a drummer, brings her improvisation skills into her wall-based works, using collage, small objects and brushed colour in flight. Each work embraces the tactility of materials and the motion of thoughts and actions in the process of making.

Beard’s striking and marvellously simplified, flat colour images, take you by surprise in a number of ways. The fresh colour forms pack a satisfying punch even before the viewer has undergone the gradual realisation that the paintings portray a varied range of sexual acts.

Saville’s fields of colour shimmer, each massive painting drawing you]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275897150</video:player_loc>
<video:duration>235</video:duration>
<video:publication_date>2018-06-19T14:57:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/theaster-gates-black-madonna-review-kunstmuseum-basel</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/710864803-2d9b843a84c22fd3a86bd620e13f210e26c675caba646a2f2c18cd07165f1580-d_640</video:thumbnail_loc>
<video:title>Theaster Gates | Ave Maria, an Exercise in Reproduction, 2018 (Excerpt)</video:title>
<video:description><![CDATA[Theaster Gates: Black Madonna
Kunstmuseum Basel
9 June – 21 October 2018
... we step into a darkened room, where Gates’s choreography reaches its crescendo. On a large screen, there is a choir of entirely white people dressed in black. They hold up their black-bound scores and sing the most beautiful, incandescent Ave Maria – a feat of collective musicality made possible by the ink-fuelled machinations of the black, printing press, clearly audible, wheezing and clanking in the downstairs room. The film is Ave Maria, an Exercise in Reproduction (2018).

Short installation clip by Veronica Simpson.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/277960836</video:player_loc>
<video:duration>62</video:duration>
<video:publication_date>2018-07-02T06:28:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/joana-vasconcelos-video-interview-guggenheim-bilbao-im-your-mirror</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/712188450-a2f47e4712ae60c9623a23c8670092ba75b3ce934525878b22a800501844c05a-d_640</video:thumbnail_loc>
<video:title>Joana Vasconcelos, interview | I’m Your Mirror, Guggenheim Bilbao | 28 June 2018</video:title>
<video:description><![CDATA[Joana Vasconcelos: I’m Your Mirror

Joana Vasconcelos has filled the Guggenheim Bilbao with work from the past 20 years. She talks about craft, the importance (or otherwise) of scale, and how she seeks to expose and explode the myths and realities around female experience

Joana Vasconcelos: I’m Your Mirror 
Guggenheim Bilbao
26 June – 11 November 2018

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/278230776</video:player_loc>
<video:duration>746</video:duration>
<video:publication_date>2018-07-03T18:16:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/teresa-lawton-video-interview-dorset-paintings</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/oFZPSQKjwwc/hqdefault.jpg</video:thumbnail_loc>
<video:title>Scene on The Cobb, Lyme Regis - from The French Lieutenant's Woman (1981)</video:title>
<video:description><![CDATA[Filmed at the actual location the Cobb at Lyme Regis, the splendidly evocative first encounter between Jeremy Irons and Meryl Streep in this tragic cinematic romance.  Basically he takes a shine to the moody redhead and decides to forego his horny bit of upper-class totty (who is not short of a bob or two) in favour of a bit of how's your father with the impoverished old misery guts who spends all her time sulking around Lyme Regis waiting in vain for the return of the lover who jilted her, the eponymous French Lieutenant..  Both characters deserve all the misery they get cause they are a pair of misguided fuckwits who neither of them recognise they are onto a good thing.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/oFZPSQKjwwc</video:player_loc>
<video:duration>138</video:duration>
<video:publication_date>2010-06-01T17:13:10+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/714149764-c65c865bc19ea6f4ccda3f814fdcdff8a9310b1d7a38ba697a272bf6e4d98203-d_640</video:thumbnail_loc>
<video:title>Teresa Lawton, interview | Tipping the Balance | 11 July 2018</video:title>
<video:description><![CDATA[Teresa Lawton’s paintings are inspired by her love of Dorset, where she explore the shapes and colours of the landscape, always in awe, she says ‘of the silence and mystery of nature’ 

Teresa Lawton travelled extensively throughout Europe, America and Greece, before studying painting at Winchester College of Art, and then returning to her home county of Dorset, where she now lives and paints. Spending hours in the Dorset landscape Lawton begins her day “up with the lark, before most people are out of their beds” walking her dogs “miles into the forest or along the coast”. Lawton explains that she “likes to be alone, alert and quiet”, watching as “the landscape changes with the weather and light, creating so many variations” that she is “never short of inspiration or ideas”. 

Lawton is interested in “isolated and unloved places with a story to tell,  rooms full of light, shadows in the woods, changing light falling into the sea”. The Dorset coast is full of stories both ancient and modern. Smugglers and pirates knew their position at night on Chesil beach by the size of the stones where their boast made landfall, fossils of molluscs and brachiopods are common finds along that part of the Jurassic coast, and Meryl Streep in The French Lieutenant’s Woman stood battling the wind and heartbreak, wrapped in a cape at the end of the cob in Lyme Regis. 

Lawton’s paintings explore the various shapes and colours of the landscape, the ploughed pink fields, the pale rocks, and the different forms of trees, patterned environments occasionally visited by birds or animals. “Always in awe of the silence and mystery of nature,” if she is not walking in the landscape, then her studio is her favourite place to be. 

Teresa Lawton: Tipping the Balance
The Gallery at Duke’s, Dorchester
12 – 26 July 2018 

Interview by MK PALOMAR
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/280601411</video:player_loc>
<video:duration>445</video:duration>
<video:publication_date>2018-07-18T15:00:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-chipperfield-interview-no-reason-for-architecture-to-exist-as-an-independent-thing</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/3L_7R8XjEYI/hqdefault.jpg</video:thumbnail_loc>
<video:title>Biennale Architettura 2018 - David Chipperfield Architects</video:title>
<video:description><![CDATA[16. Mostra Internazionale di Architettura
FREESPACE
26 maggio - 25 novembre 2018
La Biennale di Venezia]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/3L_7R8XjEYI</video:player_loc>
<video:duration>401</video:duration>
<video:publication_date>2018-05-31T09:40:47+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/intersection-international-art-and-culture-review-beijing-sackler</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/718396859-edaedb3ea672624dcfec844ea6161b38fefe0c95d3431c63ad49b15682efe31f-d_640</video:thumbnail_loc>
<video:title>E.V. Day, interview | Peking University, Beijing | 27 May 2018</video:title>
<video:description><![CDATA[In a riveting, large-scale work called Moss Ball: A Meditation on the Overview Effect (2018), E.V. Day makes some unlikely, and therefore all the more intriguing, connections. She imaginatively links together disparate structures in an associative, appropriative weave, likening a moss ball, a decorative item in a formal baroque garden, to the view of the Earth from the point of view of an astonished astronaut seeing it from space for the first time as well as to the explosive sensuality that is Bernini’s Ecstasy of Saint Teresa and to his gilded architectural fantasias with their cascades of slender golden rods that represent rays of heavenly light. A gorgeous three-dimensional starburst (she calls it a “sputnik”) is affixed to the flat surface of her moss ball cum globe like a constellated brooch, tethered to a slender wire that traverses the gallery to the opposite wall, suggesting a divine shaft of light.

Intersection: International Art and Culture
Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
27 May – 27 August 2018
Interview by LILLY WEI
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/274965488</video:player_loc>
<video:duration>800</video:duration>
<video:publication_date>2018-06-13T17:15:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/707610382-308d528499f7831ccf632db91e41e6e5dce189fff5c418e6ee51fbf0be658211-d_640</video:thumbnail_loc>
<video:title>Mark Fox, interview | Peking University, Beijing | 27 May 2018</video:title>
<video:description><![CDATA[Mark Fox, who was brought up as a Catholic, has issues with certain of the religion’s doctrines and belief systems, in what he calls a “love/hate response”. His work, Offering, is a jumble of tangled words taken from religious text, each cut out individually as if it were a bead on a rosary. The cutting suggests a form of penance or prayer, each word handled, considered, the whole reassembled doctrine then draped over a ladder that had been utilised in the installation. Fox says that the ladder represents his family, who are blue collar, as if to reiterate that the tenets of Catholicism are upheld by such salt-of-the-earth people – who should be able to access them without intermediaries, a contention that has long roiled the Catholic church.

Intersection: International Art and Culture
Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
27 May – 27 August 2018
Interview by LILLY WEI
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275327637</video:player_loc>
<video:duration>987</video:duration>
<video:publication_date>2018-06-15T16:58:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/710927496-ff14eb5387f9b76452001a1f1313615e18ba8ad62da08837beeb4d05450f17a7-d_640</video:thumbnail_loc>
<video:title>Patricia Guzman, interview | Peking University, Beijing | 27 May 2018</video:title>
<video:description><![CDATA[Patricia Guzman’s expertly executed realism makes her paintings appear photographic, as she documents faces that attract her sympathy, often closeup. Here, the deep-set eyes of her subject, an elderly man, gaze steadily outward; if you look carefully, you can see a figure reflected in them, which is that of the artist, but it could also stand in for the viewer, who can imagine he or she has been integrated into the painting, held by that unflinching, encompassing regard.

Intersection: International Art and Culture
Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
27 May – 27 August 2018

Interview by LILLY WEI
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275331978</video:player_loc>
<video:duration>636</video:duration>
<video:publication_date>2018-06-15T17:28:14+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/716421798-eca6139525194b4d0d6372e95280c8bba1aeed723fb45fc46dbb08bfb47d80db-d_640</video:thumbnail_loc>
<video:title>Tai Xiangzhou, interview | Peking University, Beijing | 27 May 2018</video:title>
<video:description><![CDATA[Tai Xiangzhou is committed to a traditional lexicon, his ink paintings magnificent, deeply indebted to classic Chinese ink paintings while they simultaneously demonstrate the influence of baroque and mannerist paintings and contemporary practices.

Intersection: International Art and Culture
Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
27 May – 27 August 2018

Interview by LILLY WEI
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/281650601</video:player_loc>
<video:duration>736</video:duration>
<video:publication_date>2018-07-25T12:07:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/718639135-c738601b96243385e303d0f10194ea3d2057f11be8f5218620fda349a910b0bd-d_640</video:thumbnail_loc>
<video:title>Frieder Nake, interview | Peking University, Beijing | 27 May 2018</video:title>
<video:description><![CDATA[Frieder Nake’s work is from 1965, a pioneering example of computer art in which the image is wholly machine-generated. It has “zero meaning”, he likes to say, even if somewhat ironically. A series of black lines in a kind of sheaf is a reminder of the simple, if groundbreaking beginning of the genre, a far cry from what can be done today.

Intersection: International Art and Culture
Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
27 May – 27 August 2018
Interview by LILLY WEI
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/275329242</video:player_loc>
<video:duration>1158</video:duration>
<video:publication_date>2018-06-15T17:10:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bao-pei-video-interview-intersection-peking-university-beijing</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/716868793-45ff70c63ee1f69f44e9b503934d79d94d4f73a8beee7293a5b1004c6855ce05-d_640</video:thumbnail_loc>
<video:title>Bao Pei, interview | Peking University, Beijing | 27 May 2018</video:title>
<video:description><![CDATA[Bao Pei uses ink and paper in the tradition of Chinese ink painting, but makes her work abstract, and uses knives instead of brushes because she believes the delivery of the ink, the markings, are more forceful that way, conveying greater emotional depth and range.

She talks about the void in her work as a visualisation of space-time and existential in content. An empty chair in one of her paintings might symbolise that which has yet to occur as well as that which has already past, she says, a metaphor for the human condition as one of perpetual change, of constant becoming, being. She also seems to say that something is gained but more certainly, something is lost. 

Intersection: International Art and Culture
Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
27 May – 27 August 2018

Interview by LILLY WEI
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/282748048</video:player_loc>
<video:duration>732</video:duration>
<video:publication_date>2018-08-01T17:05:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/mary-kuper-interview-language-shift-endangered-poetry</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/hdUbIlwHRkY/hqdefault.jpg</video:thumbnail_loc>
<video:title>The Concept of Language (Noam Chomsky)</video:title>
<video:description><![CDATA[Linguist Noam Chomsky, professor at MIT, discusses the ways in which language changes over time and how the idea of a national language is a modern phenomenon. In this University of Washington interview, Upon Reflection host Al Page speaks with Chomsky about how languages are systems of communication rooted in human nature.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/hdUbIlwHRkY</video:player_loc>
<video:duration>1664</video:duration>
<video:publication_date>2014-03-13T00:03:33+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/vanessa-brazeau-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/575551728-b66e5d6f73d44107902409b86670111f1971ac541f79a5fb14a06da48034d8a1-d_640</video:thumbnail_loc>
<video:title>Thesis Body</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/170412075</video:player_loc>
<video:duration>187</video:duration>
<video:publication_date>2016-06-12T22:02:57+00:00</video:publication_date>
<video:uploader>Vanessa Brazeau</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/573896106-2ff94bb4cba8271833f9fa21797d8590059207d541dd44ed5c70a5daec4c002d-d_640</video:thumbnail_loc>
<video:title>Prison Body</video:title>
<video:description><![CDATA[Vanessa Brazeau
PRISON BODY, 2015
Video, 1:08
copyright Vanessa Brazeau, 2015]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/168408740</video:player_loc>
<video:duration>68</video:duration>
<video:publication_date>2016-05-27T18:09:39+00:00</video:publication_date>
<video:uploader>Vanessa Brazeau</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/720801614-2b15d48503158d3c4720fbf9ef55364272f42bb6883a4924998215520879fe2d-d_640</video:thumbnail_loc>
<video:title>Onomatopee 142 - Achievement # 4 - Vanessa Brazeau</video:title>
<video:description><![CDATA[Onomatopee 142 / Research project
WE ARE THE MARKET!
‘WE WANT INCLUSIVITY, AND WE ARE HERE TO TAKE IT!’
 

MORE INFO ON HTTP://WWW.ONOMATOPEE.NET

Total running time of the show is from April 2017 to 26 March 2018

The centre of the city is the place for meeting and consumption. It is where everyone goes, it’s where our culture is consumed and lived. However, the offering there is limited, and not a lot is allowed. It’s not everybody’s space, but the space of the majority. Yet even for that majority, there is no free choice, so it is also place for the silent majority. Meanwhile, every human being wants an inclusive culture, with free offering and free access. Although our culture turns out not to be free, but forced.
With this project we ask what could be on offer, and what perhaps ought to be? Many free-thinkers such as designers, philosophers, journalists, artists and others take space to explore this. In short: WE ARE THE MARKET! calls out to freedom in the capitalist commons, within the cultural production of the high street.

Public gallery and publisher Onomatopee Projects, organiser of this venture, has a space for free imagination in the heart of Eindhoven. Here they provide their services free of charge - partially paid for by the spokesperson of the people’s sovereignty - yet hidden behind all the commercial forces.

As an alternative, focused on a public service for the interest-less imagination which is exclusive to the arts, Onomatopee goes onto the streets in action against mollycoddling and in defence of an inclusive world: in an ultimate stimulation of a truly liberal culture. They make question the role witin our collective responsibility regarding public culture. Now the focus is on target audiences and life in bubbles alienates us, public space is becoming increasingly more exclusive.

Our culture is our responsibility: we demand inclusivity!  


Featuring achievements by: Harmen de Hoop, BURO SNDVG (a snodero-group member), David Blamey, Teun Castelijn, Nolwenn Salaun, Jennifer Moon & Laub, S]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/269160176</video:player_loc>
<video:duration>856</video:duration>
<video:publication_date>2018-05-11T06:09:04+00:00</video:publication_date>
<video:uploader>Onomatopee Projects</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/724360133-6f5dd4a946bdb012d3fbbb39d6f38328022b69602784d46e68de2753fc7c79a7-d_295x166</video:thumbnail_loc>
<video:title>Flex_with_DAX</video:title>
<video:description><![CDATA[FLEX WITH DAX - a revolutionary fitness app and stock market visualizer changing the way we understand and relate to economic fluxuations.

Video produced by Nicolas Buenaventura: http://www.mucharata.com/]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/288843345</video:player_loc>
<video:duration>100</video:duration>
<video:publication_date>2018-09-08T02:03:29+00:00</video:publication_date>
<video:uploader>Vanessa Brazeau</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ian-davenport-video-interview-colourscapes-waddington-custot-horizons-dallas-contemporary</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/728164274-8b4bde790501a0d027b0515f48feddb299575045e5cb9374fd1eba9597ba4e13-d_640</video:thumbnail_loc>
<video:title>Ian Davenport, interview | Colourscapes, Waddington Custot, London | 18 September 2018</video:title>
<video:description><![CDATA[Ian Davenport discusses works done over the past year, now at Waddington Custot, London, as well as the three decades of his work on show at Dallas Contemporary…

Success came early in the career of painter Ian Davenport (b1966): within three years of graduating from Goldsmiths, he had staged his first London solo show and been nominated for the Turner Prize. But from his early monochrome experimentations to his current vital, multi-hued works, the physicality of his approach, the repetitions of gesture and rhythm – and, more recently, the decision to allow his stripes of poured paint to extend from the bottom of a vertical canvas into a pooled and sensuous horizontal puddle - have transported his works into a fascinating space somewhere between painting and sculpture.

He has cited Andy Warhol and Jackson Pollock as influences – both were supreme colourists, but Warhol resonates for his courage to interrogate the power of repetition; Pollock for that heady combination of control and unleashed physical expression. More recently, Davenport has been taking inspiration from the work of other artists, taking the palette and mood of a specific work as a starting point for his own explorations. In Colourscapes, his current show at Waddington Custot, London, for example, there is a huge, rainbow-hued painting inspired by Pierre Bonnard (Mirrored Place, 2017), and another richly tinted work sparked by a close encounter with Vincent Van Gogh’s The Harvest.

Damien Hirst - a fellow Goldsmiths alumni – articulated Davenport’s unique talents nicely in his introduction to the latter’s 2014 monograph, extolling his ability to “paint confidently with exploding energy, furiously and on a grand scale, using conceptual and sculptural ideas, and with his own physical techniques to create phenomenal contemporary paintings”. In this interview, he discusses the works exhibited in the Waddington Custot show, all of which were all produced in the last year, and those from Horizons, the simultaneous major solo show at Dallas Contemporary]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/290968080</video:player_loc>
<video:duration>1332</video:duration>
<video:publication_date>2018-09-20T14:36:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/oceania-review-royal-academy-of-arts-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/729263581-9c445022f618f5659bf3f87e1d2d02e6a4b97f5e62d1875f9a864e58ec433de4-d_640</video:thumbnail_loc>
<video:title>Lisa Reihana | In Pursuit of Venus [Infected], 2015-17 | Venice Biennale 2017</video:title>
<video:description><![CDATA[Reihana represented New Zealand with this work at Venice Biennale last year, and it takes its inspiration from an incredible (and highly romanticised) wallpaper design by the French painter Jean-Gabriel Charvet. Les Sauvages de la Mer Pacifique (c1804) was loosely based on Captain Cook’s accounts of his voyages in the South Pacific as he and his crew charted the path of Venus across the night sky. The series of images – all done with woodblocks – are beautiful, if also a rather absurd neo-classical take on peoples of the region. But Reihana transforms Charvet’s designs and breathes life into them, populating the Frenchman’s backdrop with actors playing out encounters between the diverse island populations and the British navy.

The encounters brought irreversible change, disease, abuse and fighting, but began with curiosity on both sides. Reihana’s actors play out gift and information exchanges and demonstrate the fragile alliances that were forged in the beginning. But tensions flair in this idyllic landscape of verdant palm trees and glittering seas, as violence and misunderstandings gain momentum. Eventually, the desperate Captain Cook is shot dead on a beach as he tries to kidnap a Hawaiian chief. Music and barely audible dialogue gently steer our understanding of these tableaux vivants, but the visual impact is what keeps us transfixed, the contrast between skinny British redcoats and statuesque Maori warriors, and the feeling of watching something unravel. It is like being a sort of time tourist, passing through, seeing everything at an objective distance with the lessons of history ringing in your ears.

Words by EMILY SPICER from her review of the Oceania exhibition, Royal Academy of Arts, London, 29 September – 10 December 2018. 
Short iPhone clip of the installation at the Venice Biennale, 2017 by MARTIN KENNEDY.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/292788109</video:player_loc>
<video:duration>32</video:duration>
<video:publication_date>2018-10-01T15:19:42+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/the-old-stile-press-frances-nicolas-mcdowall-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/729420081-28f053cff402d71fa90634af420576b76127c27879ac0d8f3279bfc29c42191f-d_640</video:thumbnail_loc>
<video:title>Nicolas and Frances McDowall, interview | The Old Stile Press | 11 September 2018</video:title>
<video:description><![CDATA[Nicolas and Frances McDowall started the Old Stile Press almost 40 years ago. They talk to Studio International about the many and varied books they have produced in that time

In her text outlining the background history of the Old Stile Press from 1979-99 (The Old Stile Press … in the Twentieth Century), Dorothy A Harrop tells us how Nicolas McDowall “became enraptured by visual images as he explored books in the company of his grandmother”. McDowall’s fascination with the “mis en page” – the juxtaposition between words and images and the space linking and separating them – began when, aged four, he was sitting on his grandmother’s knee as she read him an edition of Shakespeare’s Midsummer Nights Dream, with illustrations by William Heath Robinson. “It was there I gained my tremendous love of drawings, made with black ink, and just as important, of the white spaces left in between,” he says.

McDowall’s career in publishing began with Edward Arnold, publishers of educational textbooks, where he quickly rose up the ranks from editor to manager to director, but it wasn’t until he established his own private press in 1979 that his “true talent as orchestrator of original illustrated editions came to the fore”, says Harrop.

McDowall studied philosophy at the University of St Andrews, where he met his future wife, Frances Pickering, who was studying English and music. Frances was the daughter of the journalist and newspaper executive Sir Edward Pickering, known as “Pick” to his boss, the Daily Express proprietor Lord Beaverbrook. (Beaverbrook assigned Pickering to mentor the young Rupert Murdoch through his early Fleet Street years at the Daily Express.) Pickering encouraged a love of literature and printing in Frances, but, sadly, his participation in her life was short lived: Frances was only seven when he divorced her mother and after her father later remarried, he no longer played a part in their lives.

Nicolas and Frances married in 1963, first living in Blackheath, London, where Frances (after having worked ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/289765518</video:player_loc>
<video:duration>2888</video:duration>
<video:publication_date>2018-09-13T17:13:58+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/dan-graham-rock-n-roll-video-interview-lisson-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/731182316-121f990b9c958546809c00d5f7bd2f742cbc10604db6fc3399f96305135a6720-d_640</video:thumbnail_loc>
<video:title>Dan Graham, interview | Rock’n’Roll, Lisson Gallery, London | 1 October 2018</video:title>
<video:description><![CDATA[‘I hope my pavilions will be destroyed because that was not the work’

As Dan Graham’s new show opens at the Lisson Gallery in London, he talks about his early days as a New York gallerist, his love of music and why he doesn’t believe his famous pavilions are important

Dan Graham (b1942, Illinois) has had a varied and fascinating career. A self-taught artist, his first real engagement with the world of contemporary art was in 1964, when he and some friends opened the John Daniels Gallery in Manhattan. Here he put on Sol LeWitt’s first one-man show and exhibited works by Donald Judd, Dan Flavin and Robert Smithson. It was common at that time for all artists to consider themselves artist-writers, he says, and he rapidly established a name for himself as a social and cultural analyst, reviewing everything from rock music and TV shows to architecture and urban planning. He has kept up his writing while developing a multimedia practice that includes photography, performance, installation and sculpture. 

Over the past three decades, his two-way mirrored or half-mirrored glass and steel pavilions – often described as halfway between architecture and sculpture - have become familiar sights on the rooftops and in the landscapes of leading cultural institutions, including the Dia Art Foundation in New York, Documenta, the Hayward Gallery in London and Hauser & Wirth Somerset. Combining the glassy perfection of corporate atria (another topic Graham has written about) with the inviting curves and tactility of children’s play equipment, and the optical illusions of fairground mirrors, he has described his more recent pavilion series – including Child’s Play (2015-16) for the Museum of Modern Art’s Sculpture Garden – as “fun houses for children and photo ops for parents”.

Graham, who is based in New York, talked with Studio International in London as his 10th exhibition for the Lisson Gallery opened. For this show, he presents a new curvilinear stage-set along with oversized models that demonstrate his work within both urba]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/294244124</video:player_loc>
<video:duration>1440</video:duration>
<video:publication_date>2018-10-09T17:41:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/billy-apple-artist-has-to-live-like-everybody-else-1961-2018-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/732775872-2c42e9c25bf5f47adb583b65bf339e34f19a48b18891ebbb145b73a44f43a5ce-d_640</video:thumbnail_loc>
<video:title>Billy Apple interview | The Artist Has to Live Like Everybody Else 1961–2018</video:title>
<video:description><![CDATA[1 October 2018, The Mayor Gallery, London.
 
Billy Apple is not just an artist – he’s a trademarked brand. He talks about exchanging his art for a knee operation and his new exhibition at the Mayor Gallery, London

In 1962, Barrie Bates changed his name to Billy Apple, a decision that marked a lifelong pursuit of collapsing art into life. Born in New Zealand in 1935, he moved to the UK in 1959 to study at the Royal College of Art, London. As a student, he became closely involved in the rise of pop art, producing work alongside his friend and art school companion David Hockney. Over the coming decades Apple turned himself into a brand (he is currently working on a line of Billy Apple cider), produced works of art that directly address his financial requirements, and presented his own bodily movements as a form of self-expression. 

After leaving the Royal College of Art, Apple moved to New York, living temporarily in the loft of the sculptor Eva Hesse. In 1964, he participated in the seminal exhibition The American Supermarket – a theatrical affair in which a supermarket was installed inside Bianchini Gallery on the Upper East Side. Apple exhibited posters and prints advertising red and green apples, as well as painted bronze sculptures of the eponymous fruit, alongside Warhol’s Campbell’s soup cans, and Jasper Johns’s tins of beer.

In 1974, a survey of work produced by Apple between 1964 and 1970 was staged at the Serpentine Gallery, London. The exhibition was censored on the grounds of obscenity after objections were raised over the decision to exhibit shit, semen and blood-stained tissues on the gallery walls.

In the early 80s, Apple began the series Art Transactions, for which he traded and bartered prints in exchange for items and services he required – whether train tickets, cars or healthcare. (Apple is planning to trade a work to pay towards an operation on his knee.) 

In doing so, Apple makes visible the economic needs of artists, strategising art as a tool for getting by, while also producing a diary ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/294247509</video:player_loc>
<video:duration>3532</video:duration>
<video:publication_date>2018-10-09T18:02:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/magdalena-abakanowicz-presence-essence-identity-mielnicka-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/734102561-89394c3461db2e622cdddb1f198ebbcada90e49b321a7fc0c4d6abf8e9135040-d_640</video:thumbnail_loc>
<video:title>Magdalena Abakanowicz: Presence, Essence, Identity</video:title>
<video:description><![CDATA[Magdalena Mielnicka, an expert on Abakanowicz, talks about the irrepressible Polish artist’s extraordinary life and her uncanny sculptures, currently on show at Stara Kopalnia Science and Art Centre, Wałbrzych.

The early life of Magdalena Abakanowicz (1930-2017) was shaped by the politics of her time. She was born into a noble family – her father had been a tsarist general, purportedly descended from Genghis Khan, who fled to Poland after the outbreak of the Russian Revolution. He married Helena Domaszowska, the daughter of Polish nobility, and lived on her family’s estate, east of Warsaw, where the young Abakanowicz spent her formative years. In 1943, tragedy struck when drunken German soldiers broke into the family home and shot her mother, severing her arm below the shoulder. Helena survived, but this single event was to leave a lasting impact on the young artist-in-making.

Following the war, when Poland was placed under communist rule, Abakanowicz assumed a new identity to disguise her privileged background. She enrolled in art school, but the regime’s institutional intolerance of the avant garde was stifling. Rejected from the sculpture course at the Warsaw Academy of Fine Arts – her work was considered too formalist – the young artist focused instead on painting. Socialist realism was the only state-approved artistic style and anything else was considered inflammatory, even dangerous. Still, Abakanowicz pushed the boundaries, choosing to paint with gouache on enormous stitched-together bed sheets.

Despite these challenges, and perhaps because of them, Abakanowicz would develop her own visual language, addressing the human condition as she saw it, and building an international reputation with exhibitions abroad. Her works have such universal appeal that they are permanent fixtures in public spaces in Jerusalem and across the United States. In Japan, her Space of Becalmed Beings, a work consisting of 40 bronze, hollow backs, forms part of a memorial in Hiroshima, where her visual language has particular re]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/296605075</video:player_loc>
<video:duration>649</video:duration>
<video:publication_date>2018-10-23T05:53:04+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/artes-mundi-8-review-anna-boghiguian-otobong-nkanga-video-interviews</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/736976465-f5306661cf53bcc991ae10624d4884142954fa3fb9e06967e76b8a13797f4a5c-d_640</video:thumbnail_loc>
<video:title>Anna Boghiguian interview | Artes Mundi 8, Cardiff | 25 October 2018</video:title>
<video:description><![CDATA[The artists shortlisted for Artes Mundi 8 aim to stir our consciences on everything from abuse of the Earth’s resources to the creep of surveillance and the steel industry’s impact.

On entering the exhibition on the museum’s first floor, the first piece we encounter is an installation by Anna Boghiguian (b1946, Cairo) exploring the steel industry and its impact on human civilisation. 
A Meteor Fell from the Sky (2018) unfolds like a scattered, collaged storybook, with intensely figured drawings, slices of shimmering sheet steel, Boghiguian’s signature paper cut-outs (hard-hatted steel workers), some perching precariously on industrial structures, and mini-meteors created from mesh, concrete and paint, all set against a vibrant background wall colouring of intense pink, yellow and blue; these are the same colours that apparently burn so brightly against the darkness and clamour of a steel foundry. 
The Egyptian-born Boghuiguian is said to live a nomadic life and, for this piece – with the encouragement of Artes Mundi founder and curator Karen MacKinnon - she travelled to India and also to Port Talbot in Wales, to draw out stories of the associated steel magnates and their workers.
On one wall, she has handwritten one of several subtexts, describing how: “The industrial revolution … has transformed itself to digital revolution and virtual reality (new ways to interact, to think, to be). The mind has become a machine that responds to the input downloaded by the public. The public opinion becomes the police force that decides the moral/ethical values of our being. Treating people as criminals.”

She spoke with Studio International about her travels and research for this piece, the founding of India’s first steel business, Tata Steel -  which, by an interesting twist of fate, now also owns the steel industry of Port Talbot - and how this material is currently being manipulated by assorted superpowers to influence global economies and politics.

• The Artes Mundi exhibition runs until 24 February 2019 at the National ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/298055248</video:player_loc>
<video:duration>1035</video:duration>
<video:publication_date>2018-10-30T18:30:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/737344459-57b38f6c24b3f1a6b689e470ff64aab1d868eaa28d1fd14633c3d465426ded6b-d_640</video:thumbnail_loc>
<video:title>Otobong Nkanga interview | Artes Mundi, Cardiff | 25 October 2018</video:title>
<video:description><![CDATA[The artists shortlisted for Artes Mundi 8 aim to stir our consciences on everything from abuse of the Earth’s resources to the creep of surveillance and the steel industry’s impact. 

Nigerian-born, Belgium-based Otobong Nkanga (b1974), has long been exploring - through drawings, installations, performance, photographs and sculptures - the links, both fragile and enduring, that connect  humans to the land around us via the resources we use and abuse. 
For Artes Mundi 8, she is showing two large works, set within a strangely somber and meditative space at the far end of the gallery, with its own pyramidal roof. 
Placed on a black carpet, the contemplative quality of these pieces induces an instant hush in the visitors. We see a circle within a circle of elemental items within her sculptural piece Manifest of Strains (2018), occasionally hissing loudly (to represent air) and heating up (fire). This is framed by a large tapestry, titled Double Plot (2018).

She talks to Studio International about her inspirations for these pieces, and her enduring preoccupations with the reciprocity or interconnectedness of emotion and action around the world.

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/298058110</video:player_loc>
<video:duration>1058</video:duration>
<video:publication_date>2018-10-30T18:49:54+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/christo-interview-art-is-useless-surrounded-islands-perez-museum-miami</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/708978549-4a327e60a2d0726efa4f805adb594aa5ded712e5201198a7971430274973edf1-d_640</video:thumbnail_loc>
<video:title>The London Mastaba</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/276448339</video:player_loc>
<video:duration>27</video:duration>
<video:publication_date>2018-06-22T09:42:40+00:00</video:publication_date>
<video:uploader>Christo and Jeanne-Claude</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/mariko-mori-oneness-review-arthur-m-sackler-gallery-washington</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/744536855-bf9f24ca6b52b9dc12c62659e9e758530ab7dc212393f5e8558453956092103b-d_640</video:thumbnail_loc>
<video:title>Mariko Mori: Oneness</video:title>
<video:description><![CDATA[The Japanese performance artist Mariko Mori made a special three-day trip from her home in London to appear at the annual fundraiser of the Arthur M Sackler Gallery in Washington DC. The party was called Found in Translation: Spirit of Tokyo – and featured the exhibition Japan Modern: Photography from the Gloria Katz and Willard Huyck Collection (which continues until 24 January 2019).

Mori, who is inspired by eastern and western mythology, performed Oneness in the Moongate Garden of the Sackler Gallery. As dusk fell, she and her two female helpers (wearing concealed heat pads on the cold, clear evening) slowly proceeded to the centre of the garden, creating a sublime art piece lasting 10 minutes. Mori left behind a bowl of pearls, which attendees could keep, as she and her attendants disappeared through the Moongate.

Arthur M Sackler Gallery, Washington, DC
16 November 2018.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/305123670</video:player_loc>
<video:duration>591</video:duration>
<video:publication_date>2018-12-07T15:11:38+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/fernand-leger-new-times-new-pleasures-review-tate-liverpool</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/bMKiF2eb8ks/hqdefault.jpg</video:thumbnail_loc>
<video:title>Fernand Leger - &quot;The Girl With A Pre-Fabricated Heart&quot;</video:title>
<video:description><![CDATA[From the 1947 experimental film Dreams That Money Can Buy, produced, written and directed by Hans Richter.  Lyrics by John La Touche.  Sung by Libby Holman.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/bMKiF2eb8ks</video:player_loc>
<video:duration>494</video:duration>
<video:publication_date>2010-11-25T19:13:53+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/gustavo-perez-monzon-interview-rosa-de-cancio</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/742542242-d5df467284f6c81a9896a0dee315c253f0c48eb9a7399f39cb6bf6b961da3f19-d_640</video:thumbnail_loc>
<video:title>Gustavo PÉREZ MONZÓN introduces 'Rosa de Cancio'</video:title>
<video:description><![CDATA[Gustavo PÉREZ MONZÓN introduces his first exhibition at Richard Saltoun Gallery, 'Gustavo PÉREZ MONZÓN', featuring a site-specific installation and new works on board. From 23 November 2018 until 5 January 2019. 

Please visit our website for more information: 
https://www.richardsaltoun.com/artists/248-gustavo-prez-monzn/exhibitions/]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/303513170</video:player_loc>
<video:duration>60</video:duration>
<video:publication_date>2018-11-29T10:02:49+00:00</video:publication_date>
<video:uploader>Richard Saltoun</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/janet-biggs-like-walking-on-mars-review-tenerife</loc>
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<video:thumbnail_loc>https://i.vimeocdn.com/video/745839742-a98a62a6793d712e5c192e49f1709501949c39e04603fa9f16a9ba6fbf43b5b9-d_640</video:thumbnail_loc>
<video:title>Janet Biggs: Seeing Constellations in the Darkness Between Stars (excerpt)</video:title>
<video:description><![CDATA[Four channel video installation, Museo de la Ciencia y el Cosmos, La Laguna, Tenerife, Spain.
14 November 2018 – 14 January 2019

Seeing Constellations in the Darkness between Stars, focuses on the interdependency of art and science, specifically music and technology. Jason Barnes, a drummer who uses a prosthetic limb following the amputation of his lower arm, is shown expertly playing with both his whole and prosthetic arm. As the film progresses, there is a scene in which his artificial limb is contrasted briefly with the arm of a Mars Rover in the adjacent screen. They are very similar and serve as a glimpse into the future in which the human and the technological might be so merged that they are interchangeable in ways we can’t yet imagine. What we think is still in the realm of science fiction will soon be reality, if it isn’t already.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/306159652</video:player_loc>
<video:duration>109</video:duration>
<video:publication_date>2018-12-13T06:21:12+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ceal-floyer-interview-lisson-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/_VJlHWESyLI/hqdefault.jpg</video:thumbnail_loc>
<video:title>Perry Como - Catch a Falling Star (Audio)</video:title>
<video:description><![CDATA[Music video by Perry Como performing Catch a Falling Star (Audio). (C) 2017 RCA Records, a division of Sony Music Entertainment

http://vevo.ly/t9wOAC]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/_VJlHWESyLI</video:player_loc>
<video:duration>151</video:duration>
<video:publication_date>2017-05-19T20:38:13+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/joseph-hillier-video-interview-messenger-sculpture-plymouth</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/756417679-48ee287134a037ce83d9c9ed9536c71c8e01988872e9f2d9e2ad26022bb6e571-d_640</video:thumbnail_loc>
<video:title>Joseph Hillier: interview | Messenger</video:title>
<video:description><![CDATA[Joseph Hillier: ‘Figurative sculpture in a public space presents a real opportunity to stir something in people’

Sculptor Joseph Hillier talks about his most ambitious project to date, its design, and what it takes to construct a bronze that weighs 9.5 tonnes.

This spring, the largest bronze sculpture to be cast in the UK will be erected at the entrance to the Theatre Royal in Plymouth. Standing seven metres tall and nearly nine metres wide, Joseph Hillier’s Messenger will depict a young actress caught mid-rehearsal for a production of Othello with the theatre company Frantic Assembly. She strikes a dynamic pose, a brief, energetic crouch that the artist chose to capture and recreate on a truly monumental scale. She appears on the brink of some great leap forward, poised and ready for action, frozen in time, for ever about to launch into the future.

Hillier’s huge sculpture is being cast piece-by-piece using the lost-wax technique at the Castle Fine Arts Foundry in Llanrhaeadr ym Mochnant, Wales. But this process has undergone some modernisation. The actress’s stance was captured using 360-degree Computer Aided Design and then cut into polyurethane foam by machine and broken down into 200 separate sections for the labour-intensive process of casting. The resulting bronze panels will then be welded together, with the final assembly taking place on site in Plymouth.

Hillier, who was born in Cornwall in 1974, lives in a rural village near Newcastle in the UK. He is an associate member of the Royal British Society of Sculptors, with no shortage of public commissions to his name. But Messenger will be his most daring. Studio International visited the Castle Fine Arts Foundry in Wales to speak with Hillier about this project, and to see the work in progress.

Interview by EMILY SPICER
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/313636580</video:player_loc>
<video:duration>804</video:duration>
<video:publication_date>2019-01-27T07:19:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/imre-bak-video-interview-works-mayor-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/762745928-8a901664c6c8aee8f5df1b643ad62ca6d64ccf285883e1be5b0023687568f75a-d_640</video:thumbnail_loc>
<video:title>Imre Bak, interview | Mayor Gallery, London | 15 February 2019</video:title>
<video:description><![CDATA[Imre Bak: ‘In today’s language, we need to achieve some kind of balance between the local and the global’

The neo-avant-gardist recalls cold war isolation, his enduring commitment to geometric abstraction, and the importance of maintaining Hungarian traditions in his art.

Born in Budapest in 1939, Imre Bak shaped his artistic identity in the culturally cloistered situation of postwar Hungary. Acutely receptive to the new tendencies proliferating in western Europe and America, from the start Bak also acknowledged the artistic precedents of his own country, both the pioneering modernism of László Moholy Nagy and Lajos Kassák, as well as Hungarian folk art. 

His signature works, currently on display at the Mayor Gallery, are precisely composed formal geometric structures with penetrating colour fields and sharply defined contours, the ‘hard-edge’ of the eponymous movement, or ‘hard-edge with paprika’ as it was once flippantly called. Bak would also respond to the conceptualising zeitgeist of the 70s, exploring the relationship between image, text and meaning, at times assimilating Hungarian ethnographic motifs, a distinctive synthesis informed by a genuinely cosmopolitan impulse.

Imre Bak, Works 1967-1981, The Mayor Gallery, London, 13 February – 29 March 2019.

Interview by ANGERIA RIGAMONTI di CUTÒ
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/320335796</video:player_loc>
<video:duration>954</video:duration>
<video:publication_date>2019-02-27T15:04:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/julianne-swartz-interview-joy-still-grace-farms-connecticut</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/763228266-43b7fbefb542706a1d7175f20a94f288b00766f59b8b377db979ecf7b456ff23-d_640</video:thumbnail_loc>
<video:title>Julianne Swartz, Joy, Still, 2018 (excerpts)</video:title>
<video:description><![CDATA[Joy, Still is a site-specific sound installation by the New York-based artist Julianne Swartz (b1967, Arizona) that opened last September and is on view until 3 March 2019. It is primarily located in Grace Farm’s Sanctuary, the topmost pavilion that houses an elegant amphitheatre. Grace Farms, not at all a typical country farm, is a non-profit, high-minded, multi-use centre that opened in New Canaan, Connecticut, in autumn 2015, dedicated to social justice, art, the environment, faith, community and more. 

The building, designed by the Pritzker-prize-winning Japanese architectural firm Sanaa, is a gem, fashioned as a long, fluid, serpentine sweep with switchbacks so that the entire glass-walled, light-saturated structure is visible from all vantage points. Known as the River, which it resembles in form, it is scrupulously, seamlessly integrated into its surroundings. Inside and outside converse in a dialogue that is as much about space, light and movement as it is about solid structure. It ascends slowly, almost anti-gravitationally, as if progressing toward an experiential, existential state of serenity and even enlightenment.

A three-part project created in 2018, Swartz’s enterprise is perfectly matched to its site, and begins (although there is no real predetermined sequence for viewing) with Transfer Objects, also called poem books. They are four endearing wooden objects placed randomly in the library, their plump comfortable shapes inviting hugs, like a favourite toy. Visitors are encouraged to pick them up, to take them to a seat, to listen to them, the polished wood smooth as silk against the skin. When you hold it to your ear, you hear a reading of a poem. Or if you choose the one for sight, you peer into a pinhole and see a short poem.

The other two parts are Prelude/Postlude, a four-channel soundtrack that is an introduction to the theme, and Joy, Still, a 16-channel composition that is the culmination of the project and made for the Sanctuary, the sound elements embedded in the plenum beneath the fl]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/320171557</video:player_loc>
<video:duration>262</video:duration>
<video:publication_date>2019-02-27T04:56:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/phoebe-boswell-video-interview-the-space-between-things</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/764302876-18714693d5114b23fdeab551ecc86a8eabe678fc97ef478486ff009c002ff05b-d_640</video:thumbnail_loc>
<video:title>Phoebe Boswell interview | Autograph, London | 25 February 2019</video:title>
<video:description><![CDATA[Phoebe Boswell – interview: ‘Grief is not a personal thing. It’s a human condition’

Boswell’s latest exhibition, The Space Between Things, which includes a video of her undergoing an eye operation, uses art as a way to connect with others whose wounds may otherwise remain unseen

Phoebe Boswell’s exhibition The Space Between Things, at Autograph in London, was produced in the aftermath of a significant personal trauma. Before the artist arrives for our interview, I watch a video in the upstairs gallery of her undergoing eye surgery. Later, she tells me that she made the film in black and white in order to spare the viewer the full goriness. Despite this, I still find myself looking away. Boswell, however, seems to possess the determination to stare down painful episodes, and use art as a way to connect with others whose wounds may otherwise remain unseen. Installed on the floor beneath the video of the eye, a monitor plays an angiogram of her heart, which she describes as “broken”.

Boswell was born in Nairobi in 1982 to a Kikuyu mother and British Kenyan father, and grew up in the Middle East before moving to the UK. Over the past few years, she has made a name for herself as an artist expressing the multi-faceted experience of the diaspora. (She was awarded the Special Prize by the Future Generation Art Prize at the 2017 Venice Biennale.) The Space Between Things was produced between her family home in Zanzibar and London. The title of the exhibition suggests a number of interstitial spaces: the spaces of healing and grieving, between cultures and homes, and between a variety of mediums. 

The backbone of Boswell’s practice is drawing, but she is equally adroit when using video, animation and spoken word. In the downstairs gallery at Autograph, visitors are invited to stand on sensor pads that trigger spoken-word recordings, while watching drone-footage of the artist floating in the ocean or drawing patterns in the sand. On the walls is a mural that Boswell produced onsite: unflinching self-portraits of the ar]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/321550465</video:player_loc>
<video:duration>1641</video:duration>
<video:publication_date>2019-03-05T13:15:56+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/protest-and-remembrance-miriam-de-burca-joy-gerrard-mary-griffiths-barbara-walker-video-interviews</loc>
<video:video>
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<video:title>Miriam de Búrca interview | Alan Cristea Gallery, London | 26 February 2019</video:title>
<video:description><![CDATA[Miriam de Búrca: ‘The sites themselves are very charged: very beautiful but also very tragic’

With her detailed drawings of plants growing on the graves of Ireland’s excommunicates and other unblessed souls, De Búrca, now on show in Protest and Remembrance at Alan Cristea, hopes to restore the dignity of those the Catholic church abandoned

Through her work, Miriam de Búrca (b1972, Munich) seeks to draw attention to burial sites in Ireland known as cilliní, where, as recently as the 1980s, anyone deemed unworthy by the Catholic church of a burial in consecrated ground was laid to rest – or, rather, not to rest, since theology teaches that their unblessed souls remain for ever in limbo. These unfortunate and unknown strangers include stillborn or unbaptised babies, unmarried mothers, those who have taken their own lives, the mentally ill and excommunicates.

The absence of headstones adds to the wilful desire to make people forget and to suppress this long chapter of Irish history. But De Búrca believes it should be remembered – those buried should be remembered – and, by making careful drawings of the plants growing on the graves and, in the process, paying absolute attention to detail, she seeks to pay back some of the attention that those buried have been denied. Having finished with the sods of earth in her studio, she then returns them to the graves, hoping further to show a sign of respect and return some of the lost dignity.

Protest and Remembrance
Miriam de Búrca | Joy Gerrard | Mary Griffiths | Barbara Walker
Alan Cristea Gallery, London
28 February – 30 March 2019

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/323295247</video:player_loc>
<video:duration>722</video:duration>
<video:publication_date>2019-03-12T16:58:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:title>Joy Gerrard interview | Alan Cristea Gallery, London | 26 February 2019</video:title>
<video:description><![CDATA[Joy Gerrard: ‘I’m interested in how we witness and interpret these events’

In her depictions of mass protests, Gerrard aims to make visible those who attend. For Protest and Remembrance at Alan Cristea, she focuses on anti-Trump and anti-Brexit marches.

Working with hand-ground Japanese ink, Joy Gerrard (b1971, Dublin) makes small drawings and large canvases depicting bird’s-eye views of mass protests, here specifically anti-Brexit and anti-Trump marches from June 2018. Consciously working from media images – primarily stills from helicopter footage – which she collects in their hundreds, Gerrard selects those images that she will turn into her monochrome drawings, getting to know the image and memorialising it in the process. From these, she then may select a couple to work up into a large canvas – using the same medium, but to very different, almost abstract effect. This time, she works from the drawing, concentrating on areas of tone and shade, creating a strong composition, built up in small sections. Overall, her aim is to make visible the masses who attend these protests, which she strongly believes can make a difference. Her work not only takes protest – and remembrance – as its themes, but it is, in itself, a form of protest.

Protest and Remembrance
Miriam de Búrca | Joy Gerrard | Mary Griffiths | Barbara Walker
Alan Cristea Gallery, London
28 February – 30 March 2019

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/323293921</video:player_loc>
<video:duration>553</video:duration>
<video:publication_date>2019-03-12T16:52:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:video>
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<video:title>Mary Griffiths interview | Alan Cristea Gallery, London | 26 February 2019</video:title>
<video:description><![CDATA[Mary Griffiths: ‘I extrapolate a drawing that has some resonance with part of the structure I’ve been looking at’

In Protest and Remembrance at Alan Cristea, with her large abstract works of plywood, acrylic gesso and graphite, Griffiths aims to capture the splendour of the working-class engineering at a former colliery.

Mary Griffiths (b1965, the Wirral) has long been making drawings of (frequently derelict) industrial sites. A year and a half ago, she was introduced to Astley Green Colliery, a former coalmine in Lancashire, which was closed in 1970 and knocked down but for its winding house and headgear – rare examples of 1908 working-class engineering. 

Spending time at the site, walking around the surrounding geography, reclaimed by nature with trees, grass and mosses, and talking to the volunteers (the colliery is now a museum), Griffiths filled myriad A6 sketchpads with figurative drawings, focusing on aspects that intrigued her, from details of the machinery to a visiting colony of pigeons. From these drawings, she then extrapolated her larger abstract works, made on plywood, with layers of acrylic gesso, and even more layers of graphite, pushed into the board and burnished, before being cut into with an etching needle. 

Using thousands of straight lines, placed at minutely different angles, she creates an oscillating effect reminiscent of the surface geography of the region. One work, Wild Honey, for example, represents the seams of the coalmine, the waterways and the main roads. Griffiths sees her work as “an identification of the remarkable work that was done in industrial areas” across the country, and it is important to her to capture something of the “gravity and splendour” of the working-class engineering.

Protest and Remembrance
Miriam de Búrca | Joy Gerrard | Mary Griffiths | Barbara Walker
Alan Cristea Gallery, London
28 February – 30 March 2019

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/323551403</video:player_loc>
<video:duration>836</video:duration>
<video:publication_date>2019-03-13T16:22:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:title>Barbara Walker interview | Alan Cristea Gallery, London | 21 February 2019</video:title>
<video:description><![CDATA[Barbara Walker: ‘From the moment I make the first mark, I’ve already said goodbye’

Walker scours archives for images on which to base her drawings of black soldiers. She talks here as she creates a wall drawing for the show Protest and Remembrance at Alan Cristea.

Barbara Walker (b1964, Birmingham) describes herself as a “scavenger” for information. She typically works on topics that are new to her, whereby she is learning and being stimulated. For this seven-year (to date) project, looking at the contribution of black soldiers to British war efforts – from the first world war to the recent and contemporary wars in Iraq and Afghanistan – she has spent time in archives, ranging from the Imperial War Museums to the US Congress, and even on eBay. 

Although the soldiers she draws are unknown to her, she feels they become like her children, and she gets to know them over time. Her works vary in scale, from small, often embossed pieces, to larger-than-life wall drawings. These latter are washed off at the end of the exhibition and live on only in photographs and, most importantly, people’s memories. Walker uses simple materials and methods, and her goal is to seduce the audience, and give the anonymous soldiers power: claiming a space for them and giving them a voice. Studio International spoke to Walker while she worked on her wall drawing for the exhibition.

Protest and Remembrance
Miriam de Búrca | Joy Gerrard | Mary Griffiths | Barbara Walker
Alan Cristea Gallery, London
28 February – 30 March 2019

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/323553185</video:player_loc>
<video:duration>1062</video:duration>
<video:publication_date>2019-03-13T16:31:50+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/hew-locke-video-interview-heres-the-thing-ikon-gallery-birmingham</loc>
<video:video>
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<video:title>Hew Locke interview | London | 5 February 2019</video:title>
<video:description><![CDATA[Hew Locke: ‘A lot of my work has to do with the burden of history and … how history affects us today’

Hew Locke discusses monarchy, nationhood, bigotry, boats, Brexit and the seductive silliness of TV’s historical dramas, before the opening of his Birmingham show at the Ikon Gallery.

Born in Edinburgh in 1959, Hew Locke was taken by his Guyanese/British parents to live in Guyana in 1966 – just before independence. “I saw a nation being born,” he says. “I saw a flag being designed. I saw the money literally being designed.” Small wonder that the icons, myths and individuals that come to represent a country’s notion of nationhood have always fascinated him.

After returning to the UK to study fine art at Falmouth School of Art, he went to the Royal College of Art for his MA and has lived in London ever since. As an artist, his themes include the visual language of colonial and postcolonial power, which he explores with a keen eye for the visual and emotional resonances between ancient and current affairs. He has said: “If I wasn’t an artist, I would be a historian.” And it is through the careful, considered layering, collaging or sculpting of the trinkets, statues, costumes and military and royal paraphernalia that people see as representative of authority or aspiration, that he exposes what is going on above and below the surface. The pieces are always steeped in painstaking research, much of which, he says, is thanks to the input of his wife, the artist and studio curator Indra Khanna.

Here, Locke discusses pieces he has created – and hopes to create - for the new Ikon Birmingham show, plus many of his past highlights, including Sikandar, which was shortlisted for the fourth plinth in Trafalgar Square in 2010, plus a performance piece he was commissioned for at Tate’s Turbine Hall, Give and Take (2014), as part of the Up Hill Down Hall event curated by Claire Tancons. The Jurors, Runnymede (2015), curated by Claire Doherty, is perhaps his most high-profile commission to date, the centrepiece of a celebration o]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/322893445</video:player_loc>
<video:duration>2299</video:duration>
<video:publication_date>2019-03-11T15:58:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/casey-reas-interview-computer-art-coding</loc>
<video:video>
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<video:title>Casey Reas, &quot;Ultraconcentrated,&quot; 2013</video:title>
<video:description><![CDATA[Casey Reas
"Ultraconcentrated," 2013
Diptych
Custom software, two computers
Dimensions variable, unique
1920 x 1080 pixels, each
56 x 100 in / 142.2 x 254 cm, each

In "Ultraconcentrated", two complimentary channels of video content are spliced and distorted with identical instructions. The right frame manipulates violent and horrific video sequences captured and edited from fictional police dramas broadcast on network television. The left frame performs the same operations on the advertisements aired during these broadcasts.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/74121915</video:player_loc>
<video:duration>69</video:duration>
<video:publication_date>2013-09-09T11:44:04+00:00</video:publication_date>
<video:uploader>bitforms gallery</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/769701578-eebc33f4323111422acd23801f561b3ac23e146d259c16ca9b2e5b8035d9dc55-d_640</video:thumbnail_loc>
<video:title>Earthly Delights 1.1</video:title>
<video:description><![CDATA[Earthly Delights 1.1
2019
Custom software (color, silent), computer, screen or projector
Dimensions variable, horizontal

(Two-minute capture from generative software/video)]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/325844679</video:player_loc>
<video:duration>120</video:duration>
<video:publication_date>2019-03-22T07:06:50+00:00</video:publication_date>
<video:uploader>Casey REAS</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/769702190-4e3b75c750f338c647ead4e3b2449853186f4761b694f1da953701c3e611eb00-d_640</video:thumbnail_loc>
<video:title>Earthly Delights 2.1</video:title>
<video:description><![CDATA[Earthly Delights 2.1
2019
Custom software (color, silent), computer, screen or projector
Dimensions variable, horizontal

(Two-minute capture from generative software/video)]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/325844766</video:player_loc>
<video:duration>120</video:duration>
<video:publication_date>2019-03-22T07:07:24+00:00</video:publication_date>
<video:uploader>Casey REAS</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sean-edwards-undo-things-done-wales-venice-biennale-2019-video-interview</loc>
<video:video>
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<video:title>Sean Edwards: Undo Things Done – Venice Biennale 2019</video:title>
<video:description><![CDATA[Sean Edwards discusses growing up in a community with low expectations and expressing the most honest version of self as an artist, through his multi-media Wales in Venice installation Undo Things Done 

For his Venice Biennale installation Undo Things Done, Sean Edwards (b1980, Cardiff) has used the simple, sculpted spaces of Santa Maria Ausiliatrice – a former church now given over to education – to evoke the boundaries and forces that constrict and support us, that nourish and deprive, within the particular context of experiencing poverty and marginalisation within a Welsh community. He says that, while making the work, he had two phrases in mind: “The phrase of ‘not expecting much’ … as a way of living for a great deal of the population in Wales, the UK and globally. And also an idea of ‘the most honest version of yourself’, which is a Fassbinder quote I came across through the work of Moyra Davey (b1958), the Canadian artist, and how by putting the most honest version of yourself into the work you might create a greater resonance for the viewer.”

Sean Edwards: Undo Things Done
Wales in Venice
Santa Maria Ausiliatrice
11 May – 24 November 2019

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/337613894</video:player_loc>
<video:duration>997</video:duration>
<video:publication_date>2019-05-21T16:33:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/eva-rothschild-the-shrinking-universe-ireland-venice-biennale-2019-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/786199253-e790f79ddaa873c23f440741196487bf908efc84e567e4744ce5ea1fdf21dcc0-d_295x166</video:thumbnail_loc>
<video:title>Eva Rothschild: The Shrinking Universe – Venice Biennale 2019</video:title>
<video:description><![CDATA[Eva Rothschild’s installation in Venice’s Arsenale summons the spirit of infrastructure, rubble and monuments of disposable (yet not disposable) material. She hopes it will encourage a more direct interaction and encounter with the work 

In this interview, Rothschild tells Studio International: “I wanted to make something within the exhibition that had a social function. I’m very interested in how we look at art and how we spend time with art, or how we don’t spend time with it. I was looking to create something that gave people a way to locate themselves within the exhibition and to give them access also to the materiality.”

Eva Rothschild: The Shrinking Universe
 Irish Pavilion, Arsenale, Venice
 11 May – 24 November 2019

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/338112720</video:player_loc>
<video:duration>641</video:duration>
<video:publication_date>2019-05-23T17:47:53+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/renate-bertlmann-discordo-ergo-sum-austria-venice-biennale-2019-video-interview</loc>
<video:video>
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<video:title>Renate Bertlmann: Discordo Ergo Sum – Venice Biennale 2019</video:title>
<video:description><![CDATA[Renate Bertlmann’s work is rooted in 1970s feminism, yet her message is entirely contemporary. She talks to Studio International about celebrating sensuality and honesty of emotional expression –anger as well as tenderness, fear and lust.

While there are many countries at the Venice Biennale showcasing their first female artist, for a country with the visual arts legacy of Austria, it is remarkable that Renate Bertlmann (b1943, Vienna) is the first female artist to appear as its sole representative. As with other mature artists who have triumphed at previous biennales (it was the septuagenarian Phyllida Barlow’s first outing for the UK and nonagenarian Geta Brătescu’s first for Romania at the 2017 biennale), Bertlmann’s star has been on the (re)ascendant for some time. While she was apparently the toast of the 2019 Art Brussels “Rediscovery” section, her solo show - named after one of her core tenets, Amo Ergo Sum (I love therefore I am) - at Vienna’s Sammlung Verbund Gallery in 2016 was accompanied by the first proper monograph on her work. In 2019, almost simultaneously with the Venice opening, Bertlmann was preparing for a major retrospective at the State Gallery of Lower Austria in Krems. The Richard Saltoun Gallery has recently reissued her Tender Object photographs, showing inflated condoms paired in positions of seeming intimacy with each other, their surfaces glossy and lubricated, their colours DayGlo.

Bertlmann first came to art-world attention in the 70s with a radical feminist practice, incorporating gendered objets trouvés into her sculptures, photography and performance. Fetish objects, typically associated with male fantasies (dildos, blow-up dolls) were deployed with wit and sensuality. She has said: “My works are an expression of fear combined with great lust, and the latter is frightening for those who don’t care to confront their own hidden desires.” These sentiments have renewed traction thanks to the #MeToo and gender equality movements. 

For the Venice Biennale, Bertlmann chose a dual pre]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/338109760</video:player_loc>
<video:duration>509</video:duration>
<video:publication_date>2019-05-23T17:32:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/this-is-what-it-is-to-be-happy-eleaor-johnson-william-kennedy-gabriel-kenny-ryder-paulilles-gallery-review</loc>
<video:video>
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<video:title>when it's cold i'd like to die</video:title>
<video:description><![CDATA[https://www.studiointernational.com/index.php/this-is-what-it-is-to-be-happy-eleaor-johnson-william-kennedy-gabriel-kenny-ryder-paulilles-gallery-review]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/339513067</video:player_loc>
<video:duration>198</video:duration>
<video:publication_date>2019-05-31T05:16:07+00:00</video:publication_date>
<video:uploader>WILLIAM KENNEDY</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/leonor-antunes-a-seam-surface-hinge-or-knot-portugal-venice-biennale-2019-video-interview</loc>
<video:video>
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<video:title>Leonor Antunes: a seam, a surface, a hinge or a knot – Venice Biennale 2019</video:title>
<video:description><![CDATA[Leonor Antunes combines her sculpture and craft to open up conversations within architectural spaces. Here she discusses the 20th-century figures, both known and lesser known, who inspired her Portugal installation for the Venice Biennale

Architecture, craft, and design history collide in Leonor Antunes’ elegant installation in the ancient reception rooms of the Palazzo Giustinian, which overlooks the Grand Canal and was created by Baldassare Longhena (1598-1682), one of Venice’s most celebrated architects. It is Antunes’ (b1972, Lisbon) second appearance at the biennale: she exhibited in the Viva Arte Viva exhibition in 2017, but this time she is the sole occupant of Portugal’s flagship space. She has taken the bold move of stripping out all the heavy drapes and Renaissance paintings (or turning them to face the wall), the better to let her sculptures breathe.

She says: “I’ve never dealt with this period of history before. It is so charged … quite baroque. It’s a negotiation - this is the term that describes it best - a negotiation between me and the space, daily to imagine how can I insert another layer in the room … Putting another time frame into the room which is more modern, creating a dialogue. Not hiding anything, creating movement in space and another time.”

Leonor Antunes: a seam, a surface, a hinge or a knot
Portugal in Venice
Palazzo Giustinian Lolin, San Marco 2893
11 May – 24 November 2019

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/339596105</video:player_loc>
<video:duration>804</video:duration>
<video:publication_date>2019-05-31T12:55:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/into-the-mountain-simone-kenyon-review-scottish-sculpture-workshop</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/rpSW5emY6Qs/hqdefault.jpg</video:thumbnail_loc>
<video:title>How The Earth Must See Itself | 7 minute film</video:title>
<video:description><![CDATA[Created by Lucy Cash and Simone Kenyon "How The Earth Must See Itself" is a short film produced by the National Theatre of Scotland and Scottish Sculpture Workshop.

Conceived and developed by Edinburgh-based artist and choreographer Simone Kenyon and filmmaker Lucy Cash, it was created in response to Kenyon’s performance project 'Into The Mountain' and takes inspiration from celebrated Scottish poet and writer Nan Shepherd and her book 'The Living Mountain'.

CREDITS
Director: Lucy Cash
Choreographer and Lead Artist: Simone Kenyon
Voiceover by: Shirley Henderson
Performers: Jo Hellier, Claricia Parinussa, Caroline Reagh, Keren Smail and Petra Söör
Composer: Hanna Tuulikki
Choir Leader and Vocalist: Lucy Duncombe 
Choir Coordinator: Rebecca Grant
Into the Mountain Choir: Alison Bell, Frances Davis, Beatrice Fettes, Anna Filipek, Caroline Gatt, Sarah Hobbs, Norma Hunter, Julie Lawson, Lisa Lawson, Sandy Leahy, Rebecca Livesay-Wright, Margaret Moore, Adele Napier, Angela Patterson, Sheila Pettitt, Sandra Robertson, Catherine Rose, Hannah May, Sheila Waterhouse, Ailsa Williams and Victoria Woodcock.
Cinematographer: Peter Emery
Focus Puller: Jason Walker
Sound Recordist: Pete Smith
Costumes: Jeni Allison and Hilltrek
Additional Costume kindly sponsored by Darn Tough, Glenmore Lodge, Regatta and Zamberlan
Mountain Leader: Fiona Chappell
Runners: Jamie Lowther and Callum Lyon
Picture Grade: Garry Maddison
Sound Design: Pete Smith
Editor: Lucy Cash

Shot in Glen Feshie with thanks for Wildlands Ltd and Scottish Natural Heritage 

'How The Earth Must See Itself' is based on 'Into the Mountain', a performance project by Simone Kenyon. The project was produced and commissioned by the Scottish Sculpture Workshop (SSW) and co-commisioned by the Cairngorms National Park Authority (CNPA), City Moves Dance Agency, Dance North and Tramway.

'Into the Mountain' was also supported by Mountaineering Scotland, Aberdeenshire Council and Creative Scotland. 

With thanks to Erlend Clouston and the literary estate of Nan Shepherd.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/rpSW5emY6Qs</video:player_loc>
<video:duration>420</video:duration>
<video:publication_date>2019-09-05T12:58:53+00:00</video:publication_date>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/shu-lea-cheang-3x3x6-taiwan-venice-biennale-2019-video-interview</loc>
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<video:title>Shu Lea Cheang: 3x3x6 – Venice Biennale 2019</video:title>
<video:description><![CDATA[“We live in a society where (the) surveillance camera is everywhere. We live in a society where data is our biggest prison. We live in a data panopticon today”.

Shue Lea Cheang’s multi-media installation for Venice uses its ancient prison setting well to explore the biographies of historical and contemporary sex offences, and ponder the impacts of today’s omnipresent digital surveillance.

This is not the first time Taiwan has staged its Venice Biennale offering in the highly charged setting of the Palazzo delle Prigioni – a medieval prison adjacent to the Palazzo Ducale in Piazza San Marco, which was used as a place of interrogation and incarceration until 1922. But there can be few, if any, previous artists who have used the architecture and heritage of the building to such powerful effect. Shu Lea Cheang’s four room installation, 3x3x6, is an exploration of sexual transgressions over the centuries and the transformation of surveillance technology from the physical architecture of a cell or prison to the digital architecture that now monitors all of us, all the time, thanks to 3D facial recognition, AI and the internet. The title of the work refers to the 3x3 sq metre dimensions of today’s typical prison cell, and its monitoring by six cameras.

In planning this work, Cheang (b1954, Taiwan) was struck by the fact that Venice’s most famous sexual adventurer, Giacomo Casanova (1725-98), was imprisoned here (although he escaped before his five-year sentence was up). He became a pivotal character in her narrative, along with other notable historical characters, specifically France’s Marquis de Sade (1740-1814), who spent 32 years of his life in prison, and Michel Foucault (1926-84), the French philosopher, who, while serving in a diplomatic capacity in Poland, was trapped into revealing his homosexuality and forced to leave the country. Another seven contemporary characters were summoned from research that Cheang and her curator and collaborator, Paul B Preciado, unearthed, representing a cross-section of transgre]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/341132412</video:player_loc>
<video:duration>1027</video:duration>
<video:publication_date>2019-06-08T18:46:18+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/remy-jungerman-iris-kensmil-the-measurement-of-presence-dutch-pavilion-venice-biennale-2019-video-interview</loc>
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<video:title>Remy Jungerman: The Measurement of Presence – Venice Biennale 2019</video:title>
<video:description><![CDATA[Remy Jungerman and Iris Kemsil’s installations for the Dutch Pavilion explore issues of race, identity, culture, history and art history. Here, at the opening of the show, Jungerman talks about the sources of his work in Dutch and European modernism, Winti, an Afro-Surinamese religion, and his Maroon ancestry

Remy Jungerman (b1959, Suriname) and Iris Kensmil (b1970, the Netherlands), both artists of Surinamese heritage, are representing the Netherlands in the 2019 edition of the Venice Biennale. The exhibition, The Measurement of Presence, is curated by Benno Tempel, director of the Gemeentemuseum, The Hague. In solo presentations, the two artists explore current issues of race, identity, culture, history and art history within the context of Dutch and European modernism. They also pay homage to stanley brouwn (the lower case spelling intentional), also a Surinamese artist who was arguably the only non-white artist of renown in the country and paradoxically (and ironically) celebrated for his stance of invisibility.

Kensmil’s installation of eight forceful portraits of black women and utopian feminists from Europe (mostly the UK), the US, and the Caribbean are hung against a modernist wall painting that refers to Kazimir Malevich, Piet Mondrian and others. She emblematically introduces female intellectuals and creators of colour into the foreground, inserting them into the primarily white male narratives of modernism. With a nod to the pavilion itself, built by Gerrit Rietveld in 1953, the installations – The New Utopia Begins Here #1 and #2 and Beyond the Burden of Representation – Kensmil offers their countervailing presence as antidote, resurrecting voices too often overlooked or misrepresented.

Jungerman also discusses, overtly and subtly, the complexity and inextricability of these issues. In his two elegant and monumental installations, Promise IV, vertically oriented, and Visiting Deities, horizontally directed, he muses on the routes taken by patterns and motifs, travels that reflect his personal histo]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/341414349</video:player_loc>
<video:duration>674</video:duration>
<video:publication_date>2019-06-10T15:29:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/shirley-tse-stakeholders-hong-kong-venice-biennale-2019-video-interview</loc>
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<video:title>Shirley Tse: Stakeholders – Venice Biennale 2019</video:title>
<video:description><![CDATA[Shirley Tse talks about accommodation and negotiation as expressed in her Venice installation, Stakeholders: a multi-dimensional sculpture using hand turned wood and 3D printed elements

Shirley Tse (b1968, Hong Kong) first grabbed attention at the Biennale of Sydney 2000, with Polymathistyrene, a display of extruded polystyrene, whose foamy substance had been liberated from its usual utilitarian role and rendered into a variety of sculptural shelves. In the intervening years, the Los Angeles-based artist has moved away from using plastics to explore the concept of plasticity and the synthetic, using a variety of materials. For her Venice commission, Tse has produced a new body of site-specific work using new (to her) technologies and an entirely different material: wood – 30 different kinds of it.

Tse is the first female artist to represent Hong Kong at Venice. She is presenting this work in collaboration with the Hong Kong Arts Development Council and Gallery M+. Tse, who teaches at California Institute of the Arts in Los Angeles, has exhibited at, and been collected by, leading institutions all over the world, including the Museum of Modern Art, Bologna, the New Museum of Contemporary Art and MoMA PS1, both in New York, Kettle’s Yard, UK, and Govett-Brewster Art Gallery in New Zealand.

Shirley Tse: Stakeholders
 Campo della Tana, Castello 2126-30122, Venice
 11 May – 24 November 2019

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/341972469</video:player_loc>
<video:duration>1097</video:duration>
<video:publication_date>2019-06-13T04:22:22+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<loc>https://www.studiointernational.com/index.php/kevork-mourad-the-making-of-seeing-through-babel-video-interview</loc>
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<video:title>Kevork Mourad: the making of Seeing Through Babel</video:title>
<video:description><![CDATA[We visited Mourad at the Ismaili Centre in London to witness the creation of his latest work, a six-metre hanging sculpture. He explains the ideas behind it and the techniques he uses.

In his latest work, the Syrian-Armenian artist Kevork Mourad explores the Old Testament story of Babel, in which God created multiple languages as a punishment to prevent people from communicating with one another. Seeing Through Babel, which employs Mourad’s trademark techniques – monotypes and drawing on to the surface of the work – is a six-metre hanging sculpture, designed to allow visitors to walk around it, allowing closer consideration of its themes.

The finished work, though, is only part of the story. Making art in public is an integral part of Mourad’s practice, so Studio International visited him at the centre, while the sculpture was in progress and visitors could come to watch him in action. He talked us through his idea for the work and the process of making it.

Kevork Mourad: Seeing Through Babel
Zamana Space, The Ismaili Centre, London
1 July – 15 August 2019

Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/347106795</video:player_loc>
<video:duration>581</video:duration>
<video:publication_date>2019-07-09T11:18:26+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<loc>https://www.studiointernational.com/index.php/callum-huseyin-music-has-the-power-to-shock-people-institute-of-cancer-research-royal-philharmonic-orchestra</loc>
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<video:title>Callum Hüseyin | Let’s Finish It</video:title>
<video:description><![CDATA[Taking as inspiration the stories of scientists, donors and patients and creating a breathtakingly beautiful – and, as yet, unfinished – piece of music, Hüseyin is collaborating with the Institute of Cancer Research and the Royal Philharmonic Orchestra to fundraise for a new building. His work will be completed only once the building is finished.

Callum-Hüseyin (b1993, London) is a composer, conductor and pianist. His work frequently takes the form of collaborations, the most recent of which sees him working with the Institute of Cancer Research (ICR) and the Royal Philharmonic Orchestra (RPO) to create an – as yet – unfinished piece, which is being used in a fundraising campaign to help complete a new building, the Centre for Cancer Drug Discovery, in which the ICR can carry out further life-saving work. The composition, entitled Let’s Finish It, is available on SoundCloud, and there is a music video, showing the musicians and the building site, on YouTube. The idea is to complete the “symphony” at the same time as the building and to perform it in full at the opening. In order to write the music, Hüseyin has immersed himself in research and reading, as well as speaking to the scientists, incorporating their stories into the score.

Studio International spoke to Hüseyin about the collaboration, the process of creating a musical score, and the challenges of being a musician today.
Go to www.studiointernational.com to read Anna McNay's interview with Hüseyin in full.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/347561477</video:player_loc>
<video:duration>217</video:duration>
<video:publication_date>2019-07-11T12:31:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/david-lewis-billy-gerard-frank-epic-memory-grenada-pavilion-venice-biennale-2019-video-interview</loc>
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<video:thumbnail_loc>https://i.ytimg.com/vi/N2NvJTVCgEo/hqdefault.jpg</video:thumbnail_loc>
<video:title>Second Eulogy: Mind The Gap</video:title>
<video:description><![CDATA[Written and directed by Billy Gerard Frank
Venice Biennale Arte 2019
Grenada Pavilion - Epic Memory]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/N2NvJTVCgEo</video:player_loc>
<video:duration>94</video:duration>
<video:publication_date>2019-07-14T18:54:52+00:00</video:publication_date>
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<video:title>David Lewis, Billy Gerard Frank: Epic Memory – Venice Biennale 2019</video:title>
<video:description><![CDATA[Two quite different artists who have distinct and diverse relationships with the islands of Grenada and its people meditate on the impact these roots have had on their work and their identities

Epic Memory is the title chosen by Grenada for its third presentation at the Venice Biennale. Inspired by the speech Derek Walcott gave on receiving the Nobel Prize for Literature, the commissioner Susan Mains and the curator Daniele Radini Tedeschi chose artists whom they felt would be uniquely well placed to explore their brief, which was:,“To look at their own memories and contemplate how our tapestry of memory fragments leads us to interconnectedness as a region.”

Set within the Palazzo Albrizzi-Capello in Cannaregio, a wide assortment of work is on display from film to installation, photography, videography and painting. The contributing artists are: Franco Rota Candiani, Amy Cannestra, Billy Gerard Frank, Dave Lewis, Roberto Miniati, Shervone Neckles and the collective CRS avant-garde, comprising of Carlo Caldara, Giovanni Scagnoli and Paolo Rossetto.

Occupying the same room are Lewis’s photographs and Frank’s film, Second Eulogy: Mind the Gap. They are co-located thanks to the resonances between their work. Frank says: “We are dealing with similar issues, the father, the land, Dave returning to Grenada to explore his own relationship with his father and the land (his father) grew up on. Me returning to explore my relationship around my dad, my colonial past, sexuality and exile. So many images in the film are similar to Dave’s issues … the landscape is a very big force in the work.”

Epic Memory
Grenada Pavilion, Palazzo Albrizzi-Capello, Cannaregio 4118, Venice
11 May – 24 November 2019

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/348422158</video:player_loc>
<video:duration>1127</video:duration>
<video:publication_date>2019-07-16T13:16:42+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/maryam-najd-botanic-national-amalgamation-project-review-arthur-m-sackler-museum-art-archaeology-peking-beijing</loc>
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<video:title>Maryam Najd | Botanic: National Amalgamation Project | Beijing 2019</video:title>
<video:description><![CDATA[Flowers have long been used to add hidden meanings to art. From the white lily in paintings of the Annunciation to the tulips of 18th-century Dutch still lifes, they have provided a visual shortcut for a range of themes, from purity and fidelity to wealth and lust. But flora are also used by countries to indicate a sense of identity. In England, the Tudor rose is loaded with meaning, an emblem of a unified kingdom; in France, the iris has become a symbol of nationhood. But for Iranian born artist, Maryam Najd, these flowers are about more than national emblems; they can also be used to highlight what unites us.

Najd’s exhibition at the Arthur M Sackler Museum of Art and Archaeology at Peking University in Beijing is the product of more than 10 years of work. “This project transmits an imaginary world,” Najd says, “one which does not exist, but it may, if we believe in love for humanity”. She left her native Iran “in search of freedom”, and had high hopes for a better life. “I dreamed about a land where skin colour, nationality, social status and beliefs have no significance. Although I never found that dream, I didn’t stop fantasising and have created it in the form of artistic projects.”

Arthur M Sackler Museum of Art and Archaeology at Peking University, Beijing
29 May – 29 September 2019]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/348921242</video:player_loc>
<video:duration>444</video:duration>
<video:publication_date>2019-07-18T17:52:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/leo-warner-interview-59-productions-london-olympics</loc>
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<video:title>Reflections - Guggenheim Bilbao's 20th Anniversary Commission</video:title>
<video:description><![CDATA[The Guggenheim Bilbao is the building that changed the fortunes of a city, and made Bilbao one of the cultural centres of Europe. This architectural icon and bastion of high art turned 20 in October 2017, and commissioned a new public artwork from 59 Productions to celebrate that anniversary. 

The technical and creative challenges make this on of 59’s most exciting commissions to date.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/238199432</video:player_loc>
<video:duration>1177</video:duration>
<video:publication_date>2017-10-14T12:09:04+00:00</video:publication_date>
<video:uploader>59 Productions</video:uploader>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/alan-james-burns-interview-entirely-hollow-aside-from-the-dark-cresswell-crags-worksop-nottingham</loc>
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<video:title>AlanJames Burns interview | Creswell Crags Cave, Worksop | 3 September 2019</video:title>
<video:description><![CDATA[AlanJames Burns: ‘I’m embedding the cave with an assumed consciousness that is Mother Earth’

Burns guides us around the cave where his latest installation is taking place and explains that, historically, caves have played a vital role in the simultaneous evolution of consciousness and creativity

Deep underground in Worksop, Nottinghamshire, an artist is at work. At Creswell Crags, a complex of caves, where, 13,000 years ago, painters produced what is now Britain’s only surviving example of Ice Age Rock Art, the Irish artist AlanJames Burns labours in total darkness, putting the finishing touches to his immersive psychoacoustic sound artwork Entirely Hollow Aside from the Dark.

Following a successful Irish tour, Burns and his creative team are installing a new version of the work, a collaboration between the writer Sue Rainsford, the sound editor Ian Dunphy and the psychologist Claire Howlin. Using the cave as a metaphor for Mother Earth struggling against the ravages mankind is inflicting on her, the 30-minute multichannel sound installation aims to highlight the stigma around mental health as well as encouraging environmental sustainability.

Burns shows Studio International around the cave, where 25 speakers are hidden in nooks and crannies in order to “bring the cave to life, to make it breath and talk”. It is, he says, “a very sensory experience” for the audience, and the history of Creswell Crags with its Ice Age art, along with a collection of witches’ marks, believed to be from the 17th and 18th centuries, have helped to shape his work. Caves, says Burns, have always played a vital role in the simultaneous evolution of consciousness and creativity.
 
Entirely Hollow Aside from the Dark
Creswell Crags Cave, Worksop, Nottinghamshire
3 – 7 September 2019
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/359115221</video:player_loc>
<video:duration>757</video:duration>
<video:publication_date>2019-09-10T13:50:51+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<loc>https://www.studiointernational.com/index.php/mikhail-karikis-interview-i-hear-you-de-la-warr-pavilion-bexhill-have-never-cried-during-filming-until-this-project</loc>
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<video:title>No Ordinary Protest by Mikhail Karikis (TRAILER)</video:title>
<video:description><![CDATA[This is the trailer for Mikhail Karikis' moving image artwork No Ordinary Protest (2018). 

Working across film, sound and performance, Mikhail Karikis’ new commission adopts the children’s science fiction novel ‘The Iron Woman’ (1993) by the British writer and poet Ted Hughes as an ecofeminist parable of the power of sound to effect physical and socio-political transformation.

In this story, a female superhero gifts children with a mysterious power - a noise. Transmitted by touch, this noise resonates with the collective howl of creatures affected by the pollution of the planet. As the children take matters into their own hands, they infiltrate factories and ‘infect’ adults with their demand for immediate action.

Throughout the school year, Karikis engaged with a group of 7-year-olds from Mayflower Primary School in East London. Together they created a film that reflects on the environmental themes of the book and imagines the enigmatic noise that assists the protagonists in their protest. Improvising with their voices, on musical instruments and toys, the group conduct cymatic experiments whereby a noise or vocal utterance takes on unique visual forms. Creating landscapes that transform with sound vibrations, the results echo the power to mobilise change through noise.

As the children gather to debate, they find a shared sense of justice and responsibility towards the environment, and the urgent need for solidarity with all creatures. They emerge as luminous masked agitators revelling in the shape-shifting properties of sound and its power to vibrate the material universe. While being uncertain about our ecological future, No Ordinary Protest uncovers children’s political voice and activist imagination, where communal listening and noise-making become tools that can transform the world.

With Aamilah Khalid, Amirah Razaque, Ayaan Ahmed, Ayman Shah, Eshan Hoque, Fahim Hossain, Hamza Al-Mamnoon, Iqra Ali, Iqra Uddin, Isa Alom, Ismail Tapader, Khoyrul Haque, Labeebah Hussain , Maleik Bodur, Maryam Khanom, Mus’a]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/280634864</video:player_loc>
<video:duration>84</video:duration>
<video:publication_date>2018-07-18T18:55:09+00:00</video:publication_date>
<video:uploader>mikhail k</video:uploader>
<video:live>no</video:live>
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<video:title>'Ain't Got No Fear' (trailer) by Mikhail Karikis</video:title>
<video:description><![CDATA[‘Ain’t Got No Fear’ is a film which Mikhail Karikis created with 11-13 year-old boys from the militarised industrial marshland of the Isle of Grain in South East England. Using the persistent crushing noises of the demolition of a neighbouring power plant as their beat, the boys of Grain rap about their lives, from their memories of being younger to their visions of old age and the future. Reminiscent of a music video, the film glimpses into teenage experiences and secret underground hideaways, and stages a rackety reclaiming of a local site where youth raves were recently raided by the police. In ‘Ain’t Got No Fear’, the industrial site where the boys are growing up is re-imagined with a form of spatial justice ruled by the thrill of subverting authority and evading adult surveillance, and the logic of play and friendship.


A film by Mikhail Karikis
With: Mitchell Robinson, Eddie Pattenden, Alfie Norman, Toby Banks, Connor George and Jack
Second cameras: Ellie Kyungran Heo, Will Saunders, Eddie Pattenden
Sound recording assistants: Mitchell Robinson, Eddie Pattenden and Jack
Lyrics: Mitchell Robinson & Eddie Pattenden
Additional lyrics editor: Cherry Smyth
Masks: Dudu Bertholini
Grading: Storm HD
Special thanks: the children of Grain, Ronnie Cordier, Henry at the Lodge Guest House, Catherine Herbert, Sue Jones, Matthew de Pulford, Uriel Orlow, Oreet Ashery, Aura Satz, Cherry Smyth, Ellie Kyungran Heo, Joanne Lee, Michael Dale, the St James Isle of Grain Parish Council
Commissioned by Whitstable Biennale 2016 & Ideas Test]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/168075466</video:player_loc>
<video:duration>116</video:duration>
<video:publication_date>2016-05-25T13:10:49+00:00</video:publication_date>
<video:uploader>mikhail k</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-nash-video-interview-200-seasons-towner-art-gallery</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/823490651-46631454b0b7bd237e11f81ff7b36000fe26f00be4816ec34bebf62df603d60e-d_295x166</video:thumbnail_loc>
<video:title>David Nash interview | Towner Art Gallery, Eastbourne | 23 September 2019</video:title>
<video:description><![CDATA[David Nash: ‘The world of nature, the environment, weather, time and space is so rich, you have to engage with it’

The Welsh-based land artist talks of his early years, the evolution of his process, the importance of dialogue with materials and the need for his work to communicate the spirit and materials of its place.

David Nash: 200 Seasons
Towner Art Gallery, Eastbourne
28 September 2019 – 2 February 2020

Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/367197155</video:player_loc>
<video:duration>3337</video:duration>
<video:publication_date>2019-10-18T03:20:44+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/stephen-dean-rope-anne-deleporte-les-quatorze-meurtrieres-review-frac-corsica</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/823504639-a3d33cc99e418b3380dd6e6701d48e360c517b101ae4b696382e847dde849891-d_295x166</video:thumbnail_loc>
<video:title>Stephen Dean, Rope, 2019 (excerpt)</video:title>
<video:description><![CDATA[Rope streams a number of non-linear, associative episodes compiled from 10 years of footage that includes striking sequences shot at the theatre Marie Antoinette built at Versailles, the Villa Medici in Rome, the École de Cirque in Bordeaux and in the streets of Belém, Brazil. Connected by the imagery of rope, of pulley systems and similar networks of greater or lesser elaboration, the film begins with the raising of the curtain at the Petit Théâtre de la Reine. That, however, only reveals another curtain behind it, as if the illusions that comprise art are not so easily penetrated. About connections, physical and abstract, we see, additionally, the hoisting of a life-sized royal statue by rope as it is moved from one location to another as well as a silhouetted acrobat who evokes, among other possibilities, a slave, a hanged figure. There is also the delirious annual celebration in Belém honouring the Virgin at the Cirio de Nazaré propelled by the strong rhythmic beat of the soundtrack and an undercurrent of violence. The participants’ hands, at one point, grasp a rope that links them together into a procession that winds through the port city (at another point they will cut sections from the rope for themselves), one of the most gripping of the sequences seen, indicative of the diversity of Brazilian society and culture. The film’s palette is more restricted than in Vortex but richer, more primal, if nuanced, at times Caravaggesque in its dramatic chiaroscuro. The film ends with a quiet moment taken near a Gypsy encampment by a river. A short stick dangles from a plaited red thread over the luminous water, as if about to drop anchor, the red brilliant against the rippled patterns of greens. A rope, a stick – it is an object pared down to its basic components – from which infinite objects can be generated.
Words by LILLY WEI]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/367220597</video:player_loc>
<video:duration>41</video:duration>
<video:publication_date>2019-10-18T06:05:04+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/823505138-bac3677757ab9a8bdc9684e196e5534ff5904473567ec20c9f1cfa02c6e869f8-d_295x166</video:thumbnail_loc>
<video:title>Anne Deleporte, Air Piano, 2012 (excerpt)</video:title>
<video:description><![CDATA[Air Piano (2012) is a short, single-channel video of a length of red ribbon tied around a pole, reminiscent of Dean’s stick. The ribbon, however, gesticulates wildly, enthusiastically, in time to Prokofiev’s Sonata No. 7, as if it were an exasperated conductor. It is simple, immediate and comical, easy to think of as human with a distinct personality (Leonard Bernstein?), part of an imaginative conspiracy between artist, object and viewer.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/367222326</video:player_loc>
<video:duration>38</video:duration>
<video:publication_date>2019-10-18T06:16:01+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-roberts-art-foundations-evening-of-performances-frieze-week-london-video-review</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/823257294-0c1862def2b850e32de94fa0856cd111880019b6bf27c00ebcb89ad40d7d2755-d_295x166</video:thumbnail_loc>
<video:title>DRAF Evening of Performance | Ministry of Sound, London | 3 October 2019</video:title>
<video:description><![CDATA[David Roberts Art Foundation’s Evening of Performances

Haroon Mirza, Jack Jelfs, Gaika and Hannah Perry were among nine international artists performing to a packed house at the London nightclub Ministry of Sound during the city’s Frieze Week. The evening’s event was curated by Louise O’Kelly, founding director of Block Universe.

Artists used music, installation, performance, poetry and dance to present works dealing with representation, identity politics and self-expression. “We want to promote performance art as a way of showing the diversity of all sorts of subcultures in London,” says Kate Davies, collection director at David Roberts Art Foundation (Draf). “The programme Louise has brought together this evening really reflects that. We are the biggest free event at Frieze that brings together such a diverse audience.”

Draf x Ministry of Sound
Evening of Performances: Marijke de Roover, FlucT, Kai-Isaiah Jamal, Hannah Perry, Jimmy Robert, GAIKA, Jack Jelfs and Haroon Mirza with a DJ set by Elijah
3 October 2019
Ministry of Sound, London

Filmed by WILLIAM KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/366464134</video:player_loc>
<video:duration>575</video:duration>
<video:publication_date>2019-10-15T06:50:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/hansjorg-mayer-typoems-and-artists-books-video-interview-kunstbibliothek-berlin-frieder-nake</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/834461785-7e79589573b9cd54df1e0dd21b1f44192915cf0c2597e6319c2b18292fb41742-d_295x166</video:thumbnail_loc>
<video:title>Hansjörg Mayer interview | Kunstbibliothek, Berlin | 25 October 2019</video:title>
<video:description><![CDATA[Poet, typographer and publisher Hansjörg Mayer and the computer art pioneer Frieder Nake talk us through this major exhibition of Mayer’s works from concrete poetry to radical typography to artists’ publications.

Hansjörg Mayer: Typoems and Artists’ Books
Kunstbibliothek, Berlin
25 October 2019 – 12 January 2020

Interview by BRONAĊ FERRAN
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/375122697</video:player_loc>
<video:duration>2188</video:duration>
<video:publication_date>2019-11-23T11:25:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/leo-villareal-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/835640820-cbeccab2497cc44da366237594f58f20b8165bc36a94668c5ac83804e6d77ee2-d_295x166</video:thumbnail_loc>
<video:title>Leo Villareal interview | Pace Gallery, London | 21 November 2019</video:title>
<video:description><![CDATA[American artist Leo Villareal talks about his first solo show at Pace, London, and his latest public project, involving 15 major bridges on the River Thames in London.

Leo Villareal’s medium is light. Using thousands of LEDs and specially written computer programs, the artist (b1967) makes works that evoke natural processes without aping them, conjuring dazzling effects on epic scales. For his current exhibition at Pace Gallery, London, he has used organic LED screens as digital canvases for his constantly changing works.

At 10 metres across, Detector (2019) is the largest work in the show, and big enough to encompass the viewer’s entire field of vision. Thousands of tiny points of light move across a black void, coming together and dispelling again in patterns that resemble fireworks, solar coronas and exploding stars. But just as snowflakes crystallise into unrepeatable shapes as they fall to the ground, these bright points of light will never form the same configuration twice. 

For all the connections we might make as we stare at these screens – the human brain is, after all, hard-wired to see images – Villareal’s work centres on abstraction. There are no messages, no narratives and nothing truly figurative to distract from the moment. Looking for pictures in these screens is akin to searching for the outlines of animals in clouds. 

Villareal’s experiments with electronic lights have pleasingly earthy beginnings. In 1994, he attended the Burning Man festival in the Nevada desert, an annual event that champions the sharing of art and socially minded ideals against a backdrop of spectacle and showmanship. ‘I went out there in 1994, and my first experience was getting profoundly lost. I couldn’t find my way back to my tent at night,’ he says of his first time at the festival. ‘By the third year, I decided to do something about it and created an array of 16 strobe lights with a micro controller that could turn them off and on, at the lowest level of code; zero is off, one is on. I put it on top of my mobile ho]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/376456306</video:player_loc>
<video:duration>260</video:duration>
<video:publication_date>2019-11-29T19:19:08+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/international-festival-of-performance-art-fiap-2019-martinique-review</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/838076124-faab26ddf70fc6aabc885e8e2712d12528bf6b44fba4250ef8a4beae1b4f5cdc-d_200x150</video:thumbnail_loc>
<video:title>Miao Xiajin. Borders | International Festival of Performance Art (FIAP) | 10 November 2019</video:title>
<video:description><![CDATA[FIAP, Fort-de-France, Martinique.
120 minute performance (excerpt).
Filmed by Lilly Wei.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/378339901</video:player_loc>
<video:duration>55</video:duration>
<video:publication_date>2019-12-09T12:32:22+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/paul-mpagi-sepuya-interview-modern-art-london-condo</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/848330748-a4b8aaf70a305bde3187339b344de3c4fa8d60f3d9133087dc2266c02ff0e55a-d_295x166</video:thumbnail_loc>
<video:title>Paul Mpagi Sepuya interview | Modern Art, London | 10 January 2020</video:title>
<video:description><![CDATA[While a quest to understand the myriad undefined potentials of queer social spaces is one factor behind Paul Mpagi Sepuya’s deconstruction of his portraits, primarily he seeks to interrogate the act of photography itself

Studio International spoke to Mpagi Sepuya ahead of the opening of his first solo UK exhibition, taking place at Modern Art, Vyner Street, London, as part of CONDO.

Paul Mpagi Sepuya (b1982, California) began his photographic career taking straightforward portraits. Even today, a decade and a half later, he believes the basis of his work remains the traditional studio portrait, which he always takes of friends and people he knows; occasionally also of himself. 

His presence in the image, which is often overemphasised in curatorial selections, is very much secondary, however, with the key focus being on the camera itself, and the act of photography. By placing the camera or tripod at the centre of the composition, and using mirrors, frequently tainted with smudges and smears, so as to make evident their presence, he deconstructs the process, as well, frequently, as the resultant image, which is cut into fragments, later to reappear in other works. Although the images themselves are now taken digitally – purely as a means of expediency – Mpagi Sepuya does no digital manipulation of his works whatsoever. Everything that appears in the shot is actually there in his studio.

While Mpagi Sepuya’s work has often been described as being about queer identity, this is, again, secondary to the camera itself. Here he explains how, although black and queer experiences are clearly conditions that lead to the space that makes the work possible, it is these conditions themselves that interest him more than making any overt declarations about gender, sexuality or race. The compositions are not planned but arise out of his living with the material until it finds its way into an image. While there are myriad layers to his works, and, in fact, to the layperson, they might seem incredibly complex, Mpagi Sepuya mai]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/385862627</video:player_loc>
<video:duration>1111</video:duration>
<video:publication_date>2020-01-19T17:14:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/darren-waterston-video-interview-filthy-lucre-victoria-and-albert-museum-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/851454082-536d915db718cbc4da648ece8488087064dedef7b601b2cb613f7af804be6aff-d_295x166</video:thumbnail_loc>
<video:title>Darren Waterston interview | V&amp;A, London | 22 January 2020</video:title>
<video:description><![CDATA[Darren Waterston – interview: ‘My normal studio practice is quite monastic … in so many ways I feel this (Filthy Lucre) is a shared collaboration’

Studio International spoke to Waterston ahead of the opening of his installation Filthy Lucre: Whistler’s Peacock Room Reimagined, at the Victoria & Albert Museum, London

Waterston says: “I set out to recreate Whistler’s fabled Peacock Room in a state of decadent demolition.” At the same time, he infuses this work with many elements of his own palette and dark imaginings. There are two key pieces in the room: a menacing but palely beautiful evocation of the Whistler painting Rose and Silver: The Princess from the Land of Porcelain (1863-65) and a cartoon of two fighting peacocks which Whistler painted to represent himself and his patron. Waterston says: “Whistler’s peacocks were very beautiful, but were also representing him and his patron. With mine, they are eviscerating each other, but it’s all an elegant dance. It is playing with the grotesque and the beautiful.”

Waterston was intensely aware of having to “step lightly … creating something that was a reimagining of another artist’s masterwork is tricky for an artist to do. I had to create something that was a homage to Whistler but also do it on my own terms.” What he evokes, he hopes, is “almost the ghost or the underbelly of this narrative”, an atmosphere which captures the “emotional gravity” of what happened. To help with this dark evocation, New York trio BETTY were commissioned to create a soundscape that comprises snatches of mournful strings with quotes and comments taken from Whistler’s writings. Waterston says this work “represents the time and period in which it was made”, but also resonates with the excess and inequality that prevails today, and the decadence and frenzy around art collecting. He says: “We are in our own gilded age.”

Filthy Lucre: Whistler’s Peacock Room Reimagined
Victoria & Albert Museum, London
25 January – 3 May 2020

Filthy Lucre will tour to The Hunterian, University of Glasgow]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/387251967</video:player_loc>
<video:duration>1591</video:duration>
<video:publication_date>2020-01-26T05:59:14+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/christine-rebet-video-interview-time-levitation-parasol-unit-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/852119178-c82aa35b84186bdeed9e1b6f5b5a42c15db253e4a50f8d0386358e9502fbec21-d_295x166</video:thumbnail_loc>
<video:title>Christine Rebet interview | Parasol unit, London | 20 January 2020</video:title>
<video:description><![CDATA[Christine Rebet – interview: ‘Animation is perfect for critique: it is a minor medium, it’s not film; like drawing is not painting’

Studio International spoke to Rebet at the opening of Time Levitation, her first solo show in the UK, at Parasol unit, London.

Christine Rebet (b1971, Lyon) has been working primarily with hand-drawn animation since 2002, when she secured a grant to visit Berlin and spend time with a team of former East German animators. They taught her how to animate in 35mm, a pre-digital technique that she has stayed faithful to ever since, preferring this medium’s expressive, anarchic potential, as well as its roots in social critique.

For her first solo London show, she has gathered six films that explore the traumas of personal and collective histories, and how propaganda, and the seductions and gratifications of easily consumed media, impact negatively on our identities as well as our environment.

Christine Rebet: Time Levitation
Parasol unit foundation for contemporary art, London
23 January – 26 March 2020

Interview by VERONICA SIMPSON
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/388054164</video:player_loc>
<video:duration>1372</video:duration>
<video:publication_date>2020-01-29T14:49:51+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tony-lewis-interview-the-dangers-as-far-as-i-can-see-massimo-de-carlo-milan</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/oFeoS41xe7w/hqdefault.jpg</video:thumbnail_loc>
<video:title>James Baldwin Debates William F. Buckley (1965)</video:title>
<video:description><![CDATA[Historic debate between James Baldwin v. William F. Buckley Jr. at Cambridge University on the question: "Is the American Dream at the expense of the American Negro?"]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/oFeoS41xe7w</video:player_loc>
<video:duration>3538</video:duration>
<video:publication_date>2012-10-27T08:37:29+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/denzil-forrester-video-interview-itchin-and-scratchin-nottingham-contemporary</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/857531545-41558bb1b80ac7a7e57a8be44a93e16602496220db6fabc71eec54f611cb8f7b-d_295x166</video:thumbnail_loc>
<video:title>Denzil Forrester interview | Nottingham Contemporary | 7 February 2020</video:title>
<video:description><![CDATA[Denzil Forrester: ‘I needed that dark space to bring out that energy… you have to give yourself over to it’

Studio International spoke with Forrester at the opening of Itchin & Scratchin, his first major solo institutional show, at Nottingham Contemporary

British artist Denzil Forrester (b1956 Grenada) is best known for his exuberant, large-scale paintings capturing the intoxicating energy, rhythm and movement of the underground dub clubs in Hackney, which he frequented during the 80s and 90s. These east London clubs offered a vital uplift for the Afro Caribbean community, a much-needed respite from the grim reality of racism and police brutality in Margaret Thatcher’s Britain, and it was in these dimly lit, smoky spaces that Forrester discovered his artistic voice, giving himself over to the frenetic atmosphere as he dashed off scores of sketches, each lasting the length of a track. He says: “I thought: ‘This is incredible, the energy in that room, the movement, the dance, the sound, dub music.’ I thought: ‘God, that’s energy I want in my painting.’” These gestural sketches form the basis for his paintings, sometimes decades after their initial creation.

For his first major solo institutional show, Forrester is presenting 18 canvases and 10 sketches, spanning  forty years, reflecting his experiences in London, Rome, New York, Cornwall and a recent trip to Jamaica. Forrester draws on these experiences, his heritage and a range of influences including impressionism, expressionism, cubism and futurism to produce his own dynamic style.

Forrester attended the Central School of Art as an undergraduate and completed his master’s at the Royal College of Art. Almost immediately afterwards, he won a two-year scholarship to the British School in Rome, closely followed by a Harkness Scholarship to New York. On his return, Forrester found the British art scene on the brink of the in-your-face, highly conceptual BritArt phenomenon, within which his gestural work did not fit. He ended up teaching at Morley College in Londo]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/392313287</video:player_loc>
<video:duration>1811</video:duration>
<video:publication_date>2020-02-18T15:58:37+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jake-wood-evans-video-interview-relic-the-gallery-winchester-discovery-centre</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/859639397-b4dc86455cbaf109f1d000db8ade2c760b0f938ec92b06f9f2d53ab0b889baa7-d_295x166</video:thumbnail_loc>
<video:title>Jake Wood-Evans interview | The Gallery, Winchester Discovery Centre | 11 February 2020</video:title>
<video:description><![CDATA[Jake Wood-Evans – interview: ‘I don’t think you can make a successful painting unless you are bold and commit to the action of taking away and risking something’

Taking great baroque altarpieces as his starting point, Jake Wood-Evans marks out his composition, applies his paint and then starts to move and remove it, leaving abstract traces, like the passing of time

Entering the Gallery at Winchester Discovery Centre is currently something like entering a church or sacred space. The lighting is low and focused on the large, arch-topped canvases, created especially for this exhibition by Hastings-based artist Jake Wood-Evans.

Wood-Evans’s work derives from his fascination with the baroque, especially, in this instance, with the grand altarpieces by the likes of Rubens and Van Dyck. However, after marking out the basic figuration of his version of the painting he is working from, he then sets about removing elements, pushing the paint about in its fluidity, mixed with turps and linseed oil. His resulting imagery sits somewhere between figuration and abstraction – with an element of the meditative – inviting viewers to bring their own interpretation and narrative to the traces and relics of what has been, both on Wood-Evans’s own canvases, and on the canvases of the original paintings, with the passing of time, added layers of varnish, and restorative work, all leaving their mark.

Studio International spoke to Wood-Evans about his inspirations and his process.

Jake Wood-Evans: Relic 
The Gallery, Winchester Discovery Centre
10 January – 29 March 2020

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/391845671</video:player_loc>
<video:duration>418</video:duration>
<video:publication_date>2020-02-16T15:34:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ziba-ardalan-video-interview-closure-of-parasol-unit-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/859928407-baea0ce600e6ad0d6f62168e5a00e8e4017269caa9f6fd3805b6c0444ca0cc0b-d_295x166</video:thumbnail_loc>
<video:title>Ziba Ardalan interview | Parasol unit foundation for contemporary art | 2020</video:title>
<video:description><![CDATA[Ziba Ardalan talks about her decision to close Parasol unit, and its achievements in London over the last 16 years

The first solo London presentation for Christine Rebet is the last exhibition for the Parasol unit foundation for contemporary art, the pioneering gallery set up by Ziba Ardalan in 2004. At that time, it was one of few not-for-profit contemporary art foundations in London. It has since organised 58 exhibitions, providing a platform for local and international artists at all stages of their careers.

Ardalan, who has a PhD in chemistry, switched her studies to fine art, graduating in the history of art at Columbia University, before working as guest curator at the Whitney Museum of American Art. She became the first director/curator of New York’s Swiss Institute in 1987, before moving to Zurich, and then relocating to London.

Across the spare, almost monastic concrete spaces of the Claudio Silvestrin-designed two-storey exhibition spaces (adjacent to London’s Victoria Miro), Parasol unit’s presentations for Rana Begum, Hyon Gyon, Heidi Bucher and Rayyane Tabet have undoubtedly been influential in their careers. Ardalan also showed Martin Puryear well before his selection for the US Pavilion at the 2019 Venice Biennale.

Perhaps the gallery’s most ambitious undertaking, though, was in 2019, when a group show, Nine Iranian Artists in London: The Spark is You, was held simultaneously with a show at the Conservatorio di Musica Benedetto Marcello di Venezia, as a collateral event of the Venice Biennale.

Does Ardalan have a favourite from those 16 years? “Every show had something very special. I just loved them all,” she says.

Interview by VERONICA SIMPSON
Filmed and edited by MARTIN KENNEDY]]></video:description>
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<video:title>Oluwole Omofemi interview | Signature African Art, London | 10 March 2020</video:title>
<video:description><![CDATA[Oluwole Omofemi – interview: ‘In my paintings, I try to tell the black community to embrace their beauty, to embrace their colour’

Studio International spoke to Omofemi just before the opening of his first exhibition in London, at Signature African Art’s new Mayfair venue. He talks about how he uses hair – specifically the afro – as a metaphor for freedom and power, and a symbol of identity.

Oluwole Omofemi (b1988, Ibadan, Nigeria) always wanted to be an artist, despite opposition from his family. As a child, he learned about the civil rights movement and the natural hair movement of the late 60s and early 70s from his grandfather, who, at the time, sported an afro. Omofemi now uses hair in his paintings as a metaphor for freedom and power, and as a symbol of identity. Some of his series use the more muted palette of the old masters, showing how entrenched identity and culture are in a person’s belief system; others use a brighter, pop art palette, portraying energy and strength and looking to the future. Whatever the style, he considers his work to be African at heart.

One work in particular stands out from the others on display – In Her (2019), depicting a bald woman set against a bright, almost street art-style background, covered in words such as hope, love, aspiration and queen. This piece is dedicated to Omofemi’s grandmother, who died of cancer, as well as to raising awareness of the disease, and showing that a cancer diagnosis is not necessarily the end of everything: there is always hope. Other works are dedicated to his mother, through the use of floral patterns. In general, Omofemi sees women as close to God, in their ability to love, accept and forgive. This is why the majority of his subjects – and all of those in this exhibition – are female.

Oluwole Omofemi: The Way We Were
Signature African Art, London
12 March – 16 April 2020

Interview by ANNA McNAY
Filmed by MARTIN KENNEDY]]></video:description>
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<video:title>Anita Glesta | Upstate New York | 30 March 2020</video:title>
<video:description><![CDATA[Brooklyn-based artist Anita Glesta sends a personal message from her temporary studio in upstate New York. "I am reading about, and working on, what it means when a foreign substance … enters the body, and the fragility of being human"
To see more of Anita Glesta’s work, The WATERSHED Project at the National Theatre, London 2015 and Navigating Memory, the Universe and Nothing, 2013 visit studiointernational.com.]]></video:description>
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<video:duration>141</video:duration>
<video:publication_date>2020-03-31T08:32:27+00:00</video:publication_date>
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<url>
<loc>https://www.studiointernational.com/index.php/andy-warhol-review-tate-modern-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/ZjgAd6Z-dd0/hqdefault.jpg</video:thumbnail_loc>
<video:title>Andy Warhol at Tate Modern – Exhibition Tour | Tate</video:title>
<video:description><![CDATA[Although our galleries are temporarily closed we wanted to share the Andy Warhol exhibition at Tate Modern with you. Join Tate curators Gregor Muir and Fiontán Moran as they discuss Warhol through the lens of the immigrant story, his LGBTQI identity and concerns with death and religion. 

Meet the man behind the brand. It's a Warhol you might not know, with some artworks you may not have seen before. 

Andy Warhol re-opens at Tate Modern on 27 July and has been extended until 15 November 2020. Book tickets via our website: https://www.tate.org.uk/whats-on/tate-modern/exhibition/andy-warhol

Find out more about the exhibition here: https://www.tate.org.uk/whats-on/tate-modern/exhibition/andy-warhol/exhibition-guide

Subscribe for weekly films: http://goo.gl/X1ZnEl]]></video:description>
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<video:publication_date>2020-04-06T10:27:11+00:00</video:publication_date>
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<video:title>Transparent Things | Goldsmiths CCA, London | 2020</video:title>
<video:description><![CDATA[Transparent Things uses Chapter 1 of Vladimir Nabokov’s novel as a script. In this brief text objects exert uncanny agency, pulling us back anecdotally and materially into their past, and catalysing radical perceptual shifts. This 'script' lends itself to an exploration of contemporary sculpture. Artists have been invited to contribute works as co-readers of the text, with new works contributed by Michael Dean, Marie Lund, Virginia Overton, and Renee So, alongside works by Nairy Baghramian, Carlotta Bailly Borg, Becky Beasley, Gareth Cadwallader, Nina Canell, Theaster Gates, David Hammons, Lucy Skaer, Vladimir Nabokov and Kerry Tribe.

Transparent Things
Goldsmiths Centre for Contemporary Art
London
21 February – 3 May 2020
(Closed due to the Corvid-19 pandemic)

Presented by Natasha Hoare
Edited by Martin Kennedy]]></video:description>
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<video:duration>294</video:duration>
<video:publication_date>2020-04-07T15:51:45+00:00</video:publication_date>
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<video:live>no</video:live>
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<video:title>Anita Glesta |  Corona Butterfly, 2020</video:title>
<video:description><![CDATA[Anita Glesta (b1958, New York) began working on a new film piece, Corona Butterfly, even before New York City – or the rest of the world – was in its current state. In her work, the virus is depicted as an insect or bug that enters and flies through organs in the human body. “The butterfly isn’t beautiful or ugly,” she says, “but it is clearly a presence foreign to the body. It ends its journey in the lungs. I hope that with the juxtaposition of the beauty of the musical passage from Beethoven’s Piano Concerto Number 5 Opus 23 and the lightness of the flight of the butterfly, despite the gravity of its meaning, this work illuminates the paradoxical experience of our shared humanity during this quite terrifying time of crisis.”]]></video:description>
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<video:duration>403</video:duration>
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<video:uploader>studio international</video:uploader>
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<video:publication_date>2023-06-24T02:01:58+00:00</video:publication_date>
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<video:publication_date>2023-06-24T02:01:58+00:00</video:publication_date>
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<loc>https://www.studiointernational.com/index.php/john-newling-dear-nature-review-ikon-gallery-birmingham</loc>
<video:video>
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<video:title>John Newling: Dear Nature | Ikon Gallery Walkthrough</video:title>
<video:description><![CDATA[John Newling: Dear Nature

Birmingham-born artist John Newling (b. 1952) is a pioneer of public art with a social purpose. This major exhibition exemplifies his strong environmental proposition, whilst pushing at the boundaries of what defines art.

Two paintings, entitled Last Islands (2014-15), introduce Newling’s use of plants as form and material. The Moringa Oleifera, also known as the famine tree, is a drought resistant, tropical/subtropical tree, grown by the artist in his Nottingham studio. Impressions of the plant were made by pressing it into a sheet of metallic leaf then overlaying with watercolours of earthy tones, creating a fluid and tactile surface. For Newling, this work is a kind of cartography, “an atlas of relationships, forms and colours that are the ecology of my practice”.

Website: https://ikon-gallery.org
Facebook: https://facebook.com/ikongallery
Twitter: https://twitter.com/ikongallery
Instagram: https://instagram.com/ikongallery]]></video:description>
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<video:duration>453</video:duration>
<video:publication_date>2020-03-20T11:02:34+00:00</video:publication_date>
<video:live>no</video:live>
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<video:video>
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<video:title>Beam Editions - In the Studio  - John Newling</video:title>
<video:description><![CDATA[In the studio is a series of short documentaries and interviews with artists working in their studio and at home. The series offer insights into the life, ideas and working methods of artists. 

Video production by Reece Straw. for Beam Editions.]]></video:description>
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<video:duration>322</video:duration>
<video:publication_date>2019-02-26T10:43:22+00:00</video:publication_date>
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<video:title>John Newling: Dear Nature | Ikon Gallery</video:title>
<video:description><![CDATA[Ikon presents a major exhibition by Birmingham-born artist John Newling, exemplifying his strong environmental proposition, whilst pushing at the boundaries of what defines art.

At the heart of Ikon’s exhibition is Dear Nature, a book published in 2018, comprising letters Newling wrote to nature every day for 81 days. The letters explore our relationship with the natural world – “part truth and reconciliation, part advocacy of an urgent need, part thoughts for future social ecologies”.

Recently Newling has produced Soil Books (2019), made with soil from his garden to embody the idea of the Anthropocene, our current geological age in which human impact is evident. He is determined to grasp “what is it to know that we have affected the effects of nature/our environment… you can trace our evolution to a point where we subdued nature, but to our own cost, because we will make ourselves extinct”.

Website: https://ikon-gallery.org
Facebook: https://facebook.com/ikongallery
Twitter: https://twitter.com/ikongallery
Instagram: https://instagram.com/ikongallery

Ambiment - The Ambient by Kevin MacLeod is licensed under a Creative Commons Attribution licence (https://creativecommons.org/licenses/by/4.0/)
Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100630
Artist: http://incompetech.com/]]></video:description>
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<video:duration>455</video:duration>
<video:publication_date>2020-03-02T16:03:16+00:00</video:publication_date>
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<video:title>Robert Fitzmaurice | The impact of Covid-19 on artists | April 2020</video:title>
<video:description><![CDATA[Speaking from his home in Reading, England artist Robert Fitzmaurice describes his creative life under lockdown.
“I am working here at home daily. In fact, over the winter months, I work here almost exclusively, not in the painting studio. I have got quite a lot of space here, it’s good. I have set up a small facility where I can do etching, which I never thought I would get around to, and I have got a printing press as well, so I can do woodcut and lino. I can do monoprints here, I can paint. I can do my silverpoint drawings. I am set up really. I’m very happy, to be honest, not having the option of going to London, or going to see this or that exhibition. I miss it badly, and I really wanted to go to certain exhibitions that were on and due to finish, but not having that temptation to get on the train and go off means I can be here and study more. So that’s what I have been doing. I have learned about making videos and some more about photo editing, retouching, and so on. That has kept me busy. I tend to get up in the morning, have coffee and toast, do a bit of studying, have a bit of lunch, and then end up here in the studio until about eight o’clock. Then I go downstairs, cook, watch some television, and go to bed. And then I do it all again!”]]></video:description>
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<video:duration>192</video:duration>
<video:publication_date>2020-04-28T11:14:10+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
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<url>
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<video:title>Tango Apart: Moving Together</video:title>
<video:description><![CDATA[Tango Apart: Moving Together
Ernest Edmonds, Sean Clark

Abstract:
Tango Apart: Moving Together is an interactive digital art system that has two or more communicating parts in different locations. Although each part is able to work independently, they also operate together, connecting the different locations and providing an aesthetic communication channel and creative participation. In particular, the work will connect CHI2016’s Interactivity with its Art Exhibition. Through the addition of mobile phone components, CHI participants will be able to join and experience the work throughout the conference, out and about in San Jose and back home afterwards.

ACM DL: http://dl.acm.org/citation.cfm?id=2890235
DOI: http://dx.doi.org/10.1145/2851581.2890235

------

https://chi2016.acm.org/wp/]]></video:description>
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<video:duration>36</video:duration>
<video:publication_date>2016-04-25T16:38:57+00:00</video:publication_date>
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<video:video>
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<video:title>Michael Moore Presents: Planet of the Humans | Full Documentary | Directed by Jeff Gibbs</video:title>
<video:description><![CDATA[Michael Moore presents Planet of the Humans, a documentary that dares to say what no one else will  — that we are losing the battle to stop climate change on planet earth because we are following leaders who have taken us down the wrong road — selling out the green movement to wealthy interests and corporate America. This film is the wake-up call to the reality we are afraid to face: that in the midst of a human-caused extinction event, the environmental movement’s answer is to push for techno-fixes and band-aids. It's too little, too late. 

Donate: https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=ANDNYNJC7MTCY&source=url
(100% of donations go to translation, further articles and viewing & maintaining wide distribution)

Interview with Jeff, Michael, and Ozzie (1hr 16min): https://youtu.be/HBGcEK8FD3w
Hill TV Response to critics with Jeff, Michael and Ozzie (17min): https://youtu.be/Bop8x24G_o0
FAQ, Discussion Guide, Media: https://planetofthehumans.com/

Removed from the debate is the only thing that MIGHT save us: getting a grip on our out-of-control human presence and consumption. Why is this not THE issue? Because that would be bad for profits, bad for business. Have we environmentalists fallen for illusions, “green” illusions, that are anything but green, because we’re scared that this is the end—and we’ve pinned all our hopes on biomass, wind turbines, and electric cars? 

No amount of batteries are going to save us, warns director Jeff Gibbs (lifelong environmentalist and co-producer of “Fahrenheit 9/11” and “Bowling for Columbine"). This urgent, must-see movie, a full-frontal assault on our sacred cows, is guaranteed to generate anger, debate, and, hopefully, a willingness to see our survival in a new way—before it’s too late.

Featuring: Al Gore, Bill McKibben, Richard Branson, Robert F Kennedy Jr., Michael Bloomberg, Van Jones, Vinod Khosla, Koch Brothers, Vandana Shiva, General Motors, 350.org, Arnold Schwarzenegger, Sierra Club, the Union of Concerned Scientists, Nature Conservanc]]></video:description>
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<video:duration>5997</video:duration>
<video:publication_date>2020-04-21T12:48:57+00:00</video:publication_date>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/lonnie-holley-interview-i-started-doing-my-work-with-a-knife-fork-and-spoon-art</loc>
<video:video>
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<video:title>Lonnie Holley - I Woke Up... (Official Video)</video:title>
<video:description><![CDATA[“I Woke Up in a Fucked-Up America” from ‘MITH' by Lonnie Holley out 9/21 on Jagjaguwar
Stream & preorder now - https://lonnieholley.ffm.to/mith 

Directed by Matt Arnett and Ethan Payne
Produced by Matt Arnett and Lonnie Holley
Shot and Edited by Ethan Payne
Additional camera by Lee Garmon

Song performed by Lonnie Holley, Marlon Patton, Dave Nelson, and Shahzad Ismaily
Mixed by Phil Weinrobe
Mastered by Scott Hull at Masterdisk

Featuring-
Lonnie Holley
Marlon Patton
Dave Nelson
Joe Minter
Hilda Minter
Dan Dial
Richard Dial
William Arnett

Featuring the art of:
Lonnie Holley
Joe Minter
Thornton Dial
Purvis Young
Ronald Lockett
Mary T. Smith
James "Son" Thomas
Charles Williams
Mose Tolliver
Jimmie Lee Sudduth
Mary Lee Bendolph
Mozell Benson
Gee's Bend quilters
Richard Dial
E.M. Bailey
Joe Light
Viva Vadim
Hawkins Bolden

Special thanks to Bradford Cox, Deerhunter, Ric Geyer, Virginia Prescott, Erin Brauer, Paul Arnett, Jagjaguwar, Eric Deines, Jessica Park, Chris Swanson]]></video:description>
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<video:duration>334</video:duration>
<video:publication_date>2018-07-11T13:58:30+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tom-de-freston-interview-painting-is-by-its-very-nature-an-act-of-mourning</loc>
<video:video>
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<video:title>Tom de Freston | Landing Page</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/335833837</video:player_loc>
<video:duration>151</video:duration>
<video:publication_date>2019-05-13T06:30:24+00:00</video:publication_date>
<video:uploader>Unmarked Films</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/studio-morison-interview-mother-wicken-fen-cambridgeshire</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/904751820-d861240a78f034f387613e7cefcd119fe5c470500d7a991bddcbaeb7039448f0-d_295x166</video:thumbnail_loc>
<video:title>MOTHERship</video:title>
<video:description><![CDATA[]]></video:description>
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<video:duration>1115</video:duration>
<video:publication_date>2020-06-05T09:01:45+00:00</video:publication_date>
<video:uploader>New Geographies</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/hetain-patel-interview-what-does-it-do-growing-up-the-only-heroic-version-of-masculinity-i-can-be-is-white</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/PiGrFmmY_yk/hqdefault.jpg</video:thumbnail_loc>
<video:title>TRAILER - Don't Look at the Finger</video:title>
<video:description><![CDATA[‘Don’t Look at the Finger’ is, at one level, an exploration of how the highly stylised genre conventions of Hong Kong martial arts movies have permeated the mainstream through the influence of directors like Quentin Tarantino and in blockbusters like The Matrix. It is also a reminder of how some of the highly specific signature symbols of historical cultural traditions and languages can become interestingly blurred and entangled in today’s hybrid and eclectic visual landscape. Shot in a church, Don’t Look At The Finger presents a wedding ceremony where bodies speak physically, where the protagonists seek human connection through ritual, combat and signed languages.

Encompassing the UK, North America, South and East Asia, and West Africa, the confluence of culturally specific reference points inform the fluid relationship between reality and fiction that we see in these works by Patel, featuring specially made costumes, choreography, language and music that each question their own origins.

Commissioned by Film and Video Umbrella with Manchester Art Gallery and QUAD. Supported by Arts Council England. Initial research supported by Jerwood Choreographic Research Project

For more info see hetainpatel.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/PiGrFmmY_yk</video:player_loc>
<video:duration>119</video:duration>
<video:publication_date>2017-09-04T08:53:42+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yuko-hasegawa-japan-museum-curator-time-of-covid-19-olafur-eliasson</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/B8snYcVEREQ/hqdefault.jpg</video:thumbnail_loc>
<video:title>Olafur Eliasson x Yuko Hasegawa (Staying TOKYO Vol.3)</video:title>
<video:description><![CDATA[Staying TOKYO
ライゾマティクス主催のStaying TOKYOにアーティストのオラファー・エリアソン氏とキュレーターの長谷川祐子氏が出演したスペシャルトークセッションの収録動画です。

エリアソン氏は、東京都現代美術館で個展「オラファー・エリアソン ときに川は橋となる」​を3月14日から開催予定でしたが、展覧会の開幕が延期となっています（2020年4月28日現在）。
今回は、お二人をお招きし「アート」を取り巻く現在の状況についてディスカッションいただきました。

▼出演者
オラファー・エリアソン氏（アーティスト）
長谷川祐子氏（キュレーター）

通訳：田村かのこ（Art Translators Collective）

▼放送日
2020年4月24日（金）

Rhizomatiks
https://rhizomatiks.com/

MOT
https://www.mot-art-museum.jp/exhibitions/olafur-eliasson/

スタジオ・オラファー・エリアソン
https://www.olafureliasson.net/


▼ 音声について
MAC
1.“システム環境設定” -  “サウンド”
2.“出力”のタブを選択
3.外部ヘッドフォンか内蔵スピーカーを選択
4.英語で聴きたい場合は左へ,日本語で聴きたい場合は右へ
イヤフォンなしでお聞きになられる方の操作方法は👆👆👆
お持ちのイヤフォンをつけてご視聴いただくのが一番よいですが、左からは英語が、右からは日本語がそれぞれ聞こえます。ご希望の言語に合わせて、左か右か選んでください。


WINDOWS
1.“コントロールパネル” -  “サウンド”
2.お使いの“スピーカー”や”ヘッドフォン”を選択
3.レベルのタブを選択
4.バランスをクリック
5.英語で聴きたい場合は左へ,日本語で聴きたい場合は右へ
イヤフォンなしでお聞きになられる方の操作方法は👆👆👆
お持ちのイヤフォンをつけてご視聴いただくのが一番よいですが、左からは英語が、右からは日本語がそれぞれ聞こえますのでご希望の言語に合わせて、左か右か選んでください。


Staying TOKYO
This is a special talk session with artist Olafur Eliasson and curator Yuko Hasegawa on Staying TOKYO, hosted by Rhizomatiks.

Olafur Eliasson's solo exhibition "Olafur Eliasson: Sometimes the river is the bridge" was to be held at the Museum of Contemporary Art Tokyo from March 14, but the opening of the exhibition has been postponed (as of April 28th, 2020).
This time, we invited both of them to discuss the current situation surrounding "art".
#newart #ecology #sustainability #artsofthetimesofcorna

▼Cast
Olafur Eliasson (Artist)
Yuko Hasegawa (Curator)

Interpreter: Kanoko Tamura (Art Translators Collective)

▼Date
April 24th, 2020 (Fri)

Rhizomatiks
https://rhizomatiks.com/

MOT
https://www.mot-art-museum.jp/exhibitions/olafur-eliasson/

Studio Olafur Eliasson
https://www.olafureliasson.net/


▼ About sound
MAC
1.Go to “System Preference” -  “Sound”
2.Select the “Output” tab
3.Choose Headphone / Internal Speaker
4.Slide to the left for ENGLISH, Slide to the right for JAPANESE
If you want to listen without earphones👆👆👆
The talk will be available in English and Japanese with simultaneous i]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/B8snYcVEREQ</video:player_loc>
<video:duration>5595</video:duration>
<video:publication_date>2020-04-28T04:10:56+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-blandy-interview-the-online-world-can-be-space-for-transformation-place-for-better-understanding-our-offline-existence</loc>
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/10177122</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T02:02:34+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/192774995</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T02:02:34+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anish-kapoor-houghton-hall-norfolk-video</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/927806375-36c1f6613970380de618bffc9857c8419d4483aae4fb26e111435326457c45e7-d_295x166</video:thumbnail_loc>
<video:title>Anish Kapoor | Houghton Hall, Norfolk | 12 July – 1 November 2020</video:title>
<video:description><![CDATA[Anish Kapoor’s postponed exhibition at Houghton Hall opens as lockdown eases in the UK.
    Set in the Palladian splendour of Houghton Hall in north Norfolk, Anish Kapoor’s exhibition showcases 24 sculptures and drawings spanning his 40-year career. These works highlight the artist’s interest in combining the organic with the engineered, the raw material and the highly polished. There is a nod to the surreal in everything Kapoor makes, and the works in this exhibition explore the strangeness of his oeuvre against the backdrop of an 18th-century English country house.

In the gardens of Houghton Hall, Kapoor’s dark granite stones stand as striking monoliths, while pink onyx, carved into soft folding forms, evokes the intimate fleshy regions of the female body. In the house, nestled among opulent mouldings and neoclassical cornices, Kapoor’s coloured concave disks reflect the world quite literally turned upside down. They combine the modern (or perhaps the futuristic) with fussy Georgian decor in a disorienting juxtaposition reminiscent of the final scenes from Stanley Kubrick’s 2001: A Space Odyssey.

At five metres in diameter, the most striking work in this exhibition is Sky Mirror (2018). A concave mirror of stainless steel, it has been placed in the centre of Houghton Hall’s expansive lawns, pointing to the heavens, so that the shifting clouds above seem trapped in a terrestrial orb. It seems almost like magic, encouraging us to see the world anew, to look skywards with a fresh sense of wonder.

This exhibition was scheduled to open in March, but was postponed because of the Covid-19 pandemic. It finally opened on 12 July to long queues. Tickets must be purchased in advance and visitors are asked to maintain social distancing. That this exhibition has opened as the British public begins to emerge from more than 12 weeks of lockdown seems fitting. After months of staying at home, we have come to appreciate outdoor spaces as never before. And Kapoor’s mirrors, which turn the world on its head, undoubtedly provid]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/440379029</video:player_loc>
<video:duration>158</video:duration>
<video:publication_date>2020-07-21T12:32:03+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nalini-malani-interview-the-future-is-female-there-is-no-other-way-fundacio-joan-miro-national-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/TVoSIx3qjEI/hqdefault.jpg</video:thumbnail_loc>
<video:title>Nalini Malani, 'You Don't Hear Me'</video:title>
<video:description><![CDATA[The Indian artist Nalini Malani, the winner of the 2019 Joan Miró Prize, presents a selection of works from her entire career, in which feminist thought and the condemnation of violence are ever-present.

Malani's works suggest the vulnerability and precariousness of human existence with a personal iconography that draws from ancient and universal mythologies. Social, feminist, and environmental justice are at the heart of her artistic quest and materialize in the exhibition as an ensemble of large-scale immersive installations -video projections and animations, shadow plays and painted panels. The artist has also created wall drawings specifically for the Fundació Joan Miró.

https://www.fmirobcn.org/en/exhibitions/5762/nalini-malani-you-don-t-hear-me]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/TVoSIx3qjEI</video:player_loc>
<video:duration>320</video:duration>
<video:publication_date>2020-06-18T16:17:43+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/disconnect-exhibition-london-townhouse-schoeni-projects-herakut-zoer</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/936495422-09ce169a6fc68f5f1b1e3ff313f7f22d7114ae0d2cea52596dd263ceab5d177b-d_295x166</video:thumbnail_loc>
<video:title>disCONNECT – A Locked-Down Artist Takeover</video:title>
<video:description><![CDATA[Nicole Schoeni: ‘We wanted to look at the psychological effects of the pandemic and to complement and disrupt the heritage of the house’

Schoeni discusses the challenges of curating an immersive group exhibition in a London townhouse during lockdown

That we are living in strange times is a sentiment so often repeated that it has quickly become a cliche. But in keeping with the feeling that we have stepped through the looking glass and into what seems like a parallel reality, a townhouse in south London has been transformed into a topsy-turvy world of illusion and spectacle. The works on display here reflect a pervading sense of disorientation that many of us have felt during lockdown.

Curated by Nicole Schoeni, disCONNECT brings together the artworks of 10 artists in the future home of Schoeni Project’s London space before its planned renovation. The artists involved come from across the globe, meaning that Schoeni has had to be creative with the installation process over lockdown.

Highlights of this immersive exhibition include the Berlin-based duo Herakut, who have transformed an entire room into a surreal space that includes a giant cardboard boy pitting his wits against a monkey in a game of chess. The work suggests that isolation can stimulate the imagination and puts forward the idea that childhood boredom can lead to creativity.

The French-based Italian-born artist Zoer typically paints his vibrant works directly on to walls (among other things), but Covid-19 related travel restrictions prevented him from adding to the London exhibition in person. To circumvent this, Zoer sent a digital file that was then printed and pasted on to the interior of one of the rooms. The result is an illusionary installation in which stacked furniture appears to recede into the walls.

Many of the artists included in disCONNECT have developed their practice in the context of street art, lending the exhibition a vibrant, topical and rebellious feel. It is a testament to the resilience of creativity, made possible by the wo]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/444347563</video:player_loc>
<video:duration>150</video:duration>
<video:publication_date>2020-08-03T16:35:51+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/pat-steir-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/902595191-14d345564ac094cccbf62a07ccb00258d0a8d7206770f4433d03a83a6c40a607-d_295x166</video:thumbnail_loc>
<video:title>Pat Steir: Artist Trailer</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/392564982</video:player_loc>
<video:duration>209</video:duration>
<video:publication_date>2020-02-19T16:41:46+00:00</video:publication_date>
<video:uploader>Veronica</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yoko-ono-dream-together-wangechi-mutu-video-review-metropolitan-museum-of-art-new-york</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/947697277-87869fb0570818481e1a3d9d6370430e628cfa690eae46c32d0737c19d225b63-d_295x166</video:thumbnail_loc>
<video:title>Yoko Ono: DREAM TOGETHER | Metropolitan Museum of Art, New York | 2020</video:title>
<video:description><![CDATA[The Metropolitan Museum of Art in New York reveals Yoko Ono’s new commission, created in response to the Covid-19 pandemic, ahead of the museum’s reopening this month

The Metropolitan Museum of Art’s Fifth Avenue facade has become a blank canvas for artists in recent times. Last year, Wangechi Mutu’s sculptures, The NewOnes will free Us, were placed in the building’s empty niches, which have remained unoccupied for 117 years. On 20 August they were joined by Yoko Ono’s bold black-and-white banners, which read DREAM TOGETHER, in large capital letters, a message intended to unify in a period of division and trauma.

DREAM TOGETHER has been installed in anticipation of the Metropolitan Museum’s reopening on 29 August. The museum has been closed for six months in response to the Covid-19 pandemic, which hit New York City particularly hard. But Ono’s words also bring to mind Martin Luther King’s epoch-defining speech, known for the immortal phrase “I have a dream”, at a time of rising racial tensions in the US.

Mutu’s sculptures – which flank Ono’s banners like spiritual sentry guards – speak to this same feeling of hope. They resemble caryatids, draped depictions of women used in ancient Greek and African design as supporting pillars. But Mutu has freed her caryatids from their load-bearing role and cast them as otherworldly prophets, guardians of a new order.

Mutu was born in Kenya and has taken influences from the African continent. The lip plates worn by women of high status in Ethiopia and Sudan have been transformed into gleaming discs that glint in the sunlight. These sculptures speak of female strength and perseverance, of multiculturalism and shared experience. Ono and Mutu’s works, although conceived separately, provide a thesis for change and unity in a time of great uncertainty. Speaking of her commission, Ono said: “When we dream together, we create a new reality. The world is suffering terribly but we are together, even if it can be hard to see at times.”

DREAM TOGETHER
Metropolitan Museum of Art, Ne]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/452267492</video:player_loc>
<video:duration>60</video:duration>
<video:publication_date>2020-08-27T12:40:54+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alberta-whittle-interview-no-one-can-find-barbados-on-the-map-that-level-of-inattention-galvanises-so-much-of-my-work</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/GulApYI8MOk/hqdefault.jpg</video:thumbnail_loc>
<video:title>Fannie Lou Hamer &quot;We are Sick and Tired of Being Sick and Tired.&quot;</video:title>
<video:description><![CDATA[During her 1964 campaign for the Mississippi Freedom Democratic Party, Fannie Lou Hamer addressed a rally saying "We are sick and  tired of being sick and tired." A clip from "Dream Deferred" by Harvey Richards (1964)]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/GulApYI8MOk</video:player_loc>
<video:duration>5</video:duration>
<video:publication_date>2018-09-12T21:43:48+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/toby-ziegler-the-sudden-longing-to-collapse-30-years-of-distance-review-simon-lee-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/963286754-0ccd03fcd679b58d3476e1a94fcafe15a8c63e3229eef25e29b79e940b1498eb-d_295x166</video:thumbnail_loc>
<video:title>Toby Ziegler: The sudden longing to collapse 30 years of distance</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/456186470</video:player_loc>
<video:duration>434</video:duration>
<video:publication_date>2020-09-09T09:49:26+00:00</video:publication_date>
<video:uploader>Simon Lee Gallery</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ayako-suwa-taste-of-reminiscence-delicacies-from-nature-review-shiseido-gallery-ginza-tokyo-japan</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Ooc7KEfS6X8/hqdefault.jpg</video:thumbnail_loc>
<video:title>資生堂ギャラリー 8/25～9/26「記憶の珍味　諏訪綾子展　Taste of Reminiscence Delicacies from Nature」at Shiseido Gallery｜資生堂</video:title>
<video:description><![CDATA[「記憶の珍味　諏訪綾子展　Taste of Reminiscence Delicacies from Nature」

2020年8月25日（火）～9月26日（土）
※新型コロナウイルス感染症(COVID-19)の感染予防・拡散防止のため、当初の展示は2020年1月18日（土）～2月29日（土）までで終了
場所：資生堂ギャラリー 東京都中央区銀座8-8-3 東京銀座資生堂ビル地下1階

サイト：https://gallery.shiseido.com/jp/]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Ooc7KEfS6X8</video:player_loc>
<video:duration>182</video:duration>
<video:publication_date>2020-08-19T03:30:25+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/kristof-kintera-video-interview-the-end-of-fun-ikon-birmingham</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/965072511-803b245217d18586de096d06ab1aec0ffa8076c6f10ddb4c82ce4b3ae1cc97b9-d_295x166</video:thumbnail_loc>
<video:title>Krištof Kintera, interview | Ikon Gallery, Birmingham | 21 September 2020</video:title>
<video:description><![CDATA[Unable to install The End of Fun! at Ikon in Birmingham because of Covid-19 travel restrictions, Kintera spoke to Studio International via Zoom from his studio in the Czech Republic

Krištof Kintera’s subject, and his medium, is the stuff that connects us and powers the modern world. Desires, delusions, hopes and fears: wires, diodes, circuit boards, lamps and cables – today’s prized novelty stands in for the gods of yesterday, before they become tomorrow’s refuse. Kintera compares these contemporary networks to the structure of plant roots and their supporting colonies of mycelium: a universal system providing energy and communication.

Currently installed in Kintera’s survey exhibition at Ikon, Birmingham, the great sprawling cityscape of electronic debris Postnaturalia (2016-17) suggests a near future in which discarded circuitry evolves into a life of its own. The sculpture assumes a hybrid vegetable-technological form, with brain-like resin casts of cauliflower heads cresting monstrous futuristic wire stems. The work is installed beside a recreation of the artist’s studio, suggesting a constant process of transformation and creation: art-making and exhibition-making as practices that are not excluded from Kintera’s critical vision of overproduction and consumption.

As per the title The End of Fun!, while Kintera’s work may not carry an explicitly environmental message, it is riven with angst. The chapel-like upper gallery is hung with rapidly produced paintings and collages – referred to by the artist as “drawings”’ – many of which express the artist’s raw fears and passions, whether personal, political or environmental.

Kinetic works such as the jittery Nervous Trees (2013-17) and the talking crow I see I see I see (2009) reimagine the gallery as a mythic space, the stuff of European fairytales in which plants can move and animals talk. As with the best fables, humour and charm conceal a dark undertone.

Born in Prague in 1973, Kintera studied at the Academy of Fine Arts in Prague, and the Rijksakademie i]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/462396310</video:player_loc>
<video:duration>1285</video:duration>
<video:publication_date>2020-09-27T14:08:15+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/everyday-heroes-review-hayward-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/979318096-5e7c254c5389422760f5d0154d21d562899255d1f7eb990f3bc6fba5738c4447-d_295x166</video:thumbnail_loc>
<video:title>Everyday Heroes | Southbank Centre, London | 1 September – 1 November 2020</video:title>
<video:description><![CDATA[An outdoor exhibition of art on London’s Southbank celebrates the heroes of lockdown with an eclectic collection of art and poetry.

It took a global pandemic and a government-imposed lockdown for society to reassess who it values most. We came to realise very quickly that everything grinds to a halt without the delivery men and women, supermarket staff, transport workers and carers, who continued working, despite the risks to themselves. In recognition of this, the Southbank Centre has staged an outdoor exhibition of portraits and poetry on the walls of its buildings, celebrating our key workers.
Read Emily  Spicer's review in full at studiointernational.com

Filmed and edited by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/468270913</video:player_loc>
<video:duration>123</video:duration>
<video:publication_date>2020-10-14T15:00:46+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/christina-quarles-video-interview-i-wont-fear-tumbling-or-falling-pilar-corrias-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/974590614-a837bf919f8a356e9f99d44d9e533653154a2716efc8d9d503bc43c6ff31c9ea-d_295x166</video:thumbnail_loc>
<video:title>Christina Quarles – interview | Los Angeles | October 2020</video:title>
<video:description><![CDATA[Christina Quarles – interview: ‘These works are holding onto that slow-fast contrast of a physically still world and this mental chaos’

Created during lockdown, against a backdrop of rising deaths from Covid, the police killing of George Floyd and raging fires across California, the nine new paintings in this show at Pilar Corrias are haunted by melancholy. Quarles spoke to Studio International via Zoom from her studio in Los Angeles.
Christina Quarles: I Won’t Fear Tumbling Or Falling/If We’ll be Joined in Another World
Pilar Corrias, London
8 October – 21 November 2020

Interview by ELIZABETH FULLERTON
Film edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/467799214</video:player_loc>
<video:duration>2080</video:duration>
<video:publication_date>2020-10-13T11:57:35+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/dutch-design-week-2020-review-eindhoven</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/972116706-558978183164104fa44dd36eb3a18bb4110da6255fe2df66aa3498f426fb6ca4-d_295x166</video:thumbnail_loc>
<video:title>Bounding Spaces</video:title>
<video:description><![CDATA[The pandemic we experience in the now is reshaping our lives in unexpected ways and social distancing will stay as an evident rule in public spaces for a long time to come.

I believe this will create a challenge for us to appropriately dress ourselves in public when being surrounded by many people.

“Bounding spaces” is a collection of size compressible accessories.
The accessories playfully adapt to the new circumstance by transforming right on the body into a distance keeper to naturally create inaccessible space around you and to protect you.

In one move, the accessories release into wearable spaces of
abstract shapes. Large splotched patterns of natural and vibrant tones become visible and add an urban feel on a soft, durable surface. The shapes contrasting outlines, are framing the personal space and indicate others to keep distant.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/466492021</video:player_loc>
<video:duration>25</video:duration>
<video:publication_date>2020-10-09T05:09:22+00:00</video:publication_date>
<video:uploader>Anna Dienemann</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/the-film-london-jarman-award-2020-review</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/907317852-7a06ffa08dec3cf60aa7a220ba9fe3e05c3cbadb840e018905aac825d7618f7b-d_295x166</video:thumbnail_loc>
<video:title>Larissa Sansour and Søren Lind, 'In Vitro', 2019 (Excerpt)</video:title>
<video:description><![CDATA[Two-channel film, Full Film 28’
Film London Jarman Award Shortlisted Artist 2020
Courtesy of the Artist]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/428067360</video:player_loc>
<video:duration>53</video:duration>
<video:publication_date>2020-06-11T07:29:28+00:00</video:publication_date>
<video:uploader>Film London</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/916301596-f8f7633c580900cd97ca3368d888991f56f42fc73bb53ec81f1905d767f34239-d_295x166</video:thumbnail_loc>
<video:title>Michelle Williams Gamaker, 'House of Women', 2017 (Exceprt)</video:title>
<video:description><![CDATA[16mm film transferred to HD video, clip 03:25
Film London Jarman Award Shortlisted Artist 2020
Courtesy of the Artist]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/429566027</video:player_loc>
<video:duration>205</video:duration>
<video:publication_date>2020-06-16T06:08:32+00:00</video:publication_date>
<video:uploader>Film London</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/907918671-526601d226d9c7cd2145f5749dcd2a43be1de27538f81b1c0ac84d6477235a59-d_295x166</video:thumbnail_loc>
<video:title>Hannah Quinlan and Rosie Hastings, 'In My Room', 2020 (Trailer)</video:title>
<video:description><![CDATA[Film London Jarman Award Shortlisted Artists 2020
Courtesy of the Artists]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/428467717</video:player_loc>
<video:duration>60</video:duration>
<video:publication_date>2020-06-12T08:16:43+00:00</video:publication_date>
<video:uploader>Film London</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/909197686-cbac6b8d9b66532f00fded1cbb2fc5518f9f3690ad5951378be2c03491d9be9e-d_295x166</video:thumbnail_loc>
<video:title>Jenn Nkiru, 'BLACK TO TECHNO', 2019 (Teaser)</video:title>
<video:description><![CDATA[Film London Jarman Awarrd Shortlisted Artist 2020
Courtesy of the Artist]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/429240319</video:player_loc>
<video:duration>36</video:duration>
<video:publication_date>2020-06-15T08:15:58+00:00</video:publication_date>
<video:uploader>Film London</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/941553538-26bc2d31fb32fbae41a9ecfcfd8a94ee4e45d067990ba211d9eafa8fb9d556aa-d_295x166</video:thumbnail_loc>
<video:title>Andrea Luka Zimmerman, Adrian Jackson, 'Here for Life' 2019, (Trailer by Andrew Kotting, Artangel)</video:title>
<video:description><![CDATA[Film London Jarman award Shortlisted Artist
Courtesy of the Artist]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/428482510</video:player_loc>
<video:duration>77</video:duration>
<video:publication_date>2020-06-12T09:07:52+00:00</video:publication_date>
<video:uploader>Film London</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/sara-barker-video-interview-undo-the-knot-cample-line-scotland</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1039741295-4df86dd490d5cbe5673a24e9ab19d634a2914330396a99907a8839aa3071526e-d_295x166</video:thumbnail_loc>
<video:title>Sara Barker – interview: ‘I tackle sculpture from the position of painting and vice versa’</video:title>
<video:description><![CDATA[Glasgow-based Sara Barker talks about how the pandemic has affected her practice and her exhibition, undo the knot, currently on show at CAMPLE LINE

Sara Barker (b1980, Manchester, UK) uses a combination of materials – initially, rougher, cheaper ones, such as cardboard, and, later, more permanent metals such as steel, aluminium and brass, alongside glass and automotive paint – to create works that blur the boundaries between figuration and abstraction; sculpture, painting and drawing; and imagined and physical spaces. The tension in her pieces is felt viscerally by the viewer, who is drawn into a dialogue, already taking place between the works themselves. Heavily influenced by literature, poetry and language, Barker calls for human interaction with her creations.

Her exhibition undo the knot, on show at CAMPLE LINE, includes, for the first time, what Barker describes as “exploratory works” – her initial, rougher “sketches” – which are not yet fully resolved, leaving open questions. Part of her motivation to include these works was the change in her approach to her practice, brought about by the first lockdown, when she became incredibly aware of a sense of having too much, endless time, yet simultaneously of none of it being available. Working from home, instead of her studio, she sought to bring her full daily experience into her work – all of the mundane and profound moments of life.

Studio International spoke to Barker via Zoom about how lockdown altered her practice, the role of tension and fragmentation in her work, and how the building at CAMPLE LINE became a work in the exhibition in its own right.

Sara Barker: undo the knot
CAMPLE LINE, Cample Mill, Scotland
3​1 October 2020 – 30 January 2021

Interview by ANNA McNAY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/499182900</video:player_loc>
<video:duration>1463</video:duration>
<video:publication_date>2021-01-11T07:44:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/gees-bend-quiltmakers-review-alison-jacques-gallery-alabama-african-american</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1030484362-80d260d3363bf72f67ec2441245f2d659379f1552bc4bbdb7d41acc0114ab813-d_295x166</video:thumbnail_loc>
<video:title>The Gee's Bend Quiltmakers | Virtual Exhibition Walkthrough</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/488893784</video:player_loc>
<video:duration>227</video:duration>
<video:publication_date>2020-12-09T06:41:34+00:00</video:publication_date>
<video:uploader>Alison Jacques</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nick-hornby-interview-liquefied-photography-magical-mysterious-zygotes-and-confessions-mostyn-gallery-llandudno-wales</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1041808055-f5cea778f5a6abb47ea2e012b0798b37d127c5139f9091dabb14bed6c80954a8-d_295x166</video:thumbnail_loc>
<video:title>Nick Hornby: Zygotes and Confessions | January 2021</video:title>
<video:description><![CDATA[Nick Hornby talks about his shift from art history to personal histories, and combining analogue and digital processes to create photo-sculptural objects.

Nick Hornby (b1980, London) is known for making monochrome sculpture in marble or bronze, often combining art history with digital processes. For his first solo institutional exhibition, he has turned his gaze inward and made a new series of autobiographical sculptures. The gallery is filled with a large array of objects set on plinths, which include portrait busts, modernist abstractions and “mantelpiece dogs”. 

In conversation with Studio International, via Zoom, Hornby explains why this combination is not as strange as it might sound, before going on to elucidate his process and talk about what makes his new work so personal.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/503561786</video:player_loc>
<video:duration>324</video:duration>
<video:publication_date>2021-01-22T12:37:13+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/crystal-fischetti-video-interview-i-use-my-whole-body-when-paint</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1053930744-bd87cf6088c5e46c117697a6fca4bf69b17f06df398271e99f096d2b37bc6a77-d_295x166</video:thumbnail_loc>
<video:title>Crystal Fischetti – interview: ‘I use my whole body when I paint’</video:title>
<video:description><![CDATA[Crystal Fischetti talks about ‘coming out’ of the spiritual closet, and how she uses her whole body to paint, in a dance-like, yogic manner

Besides being an artist, Crystal Fischetti (b1984, London, UK) is also an empath, psychic and shaman. For her forthcoming solo exhibition Hello Again!, she is bringing all aspects of herself together, creating “a beautiful marriage”. The 36 works on display – this number was chosen because it was her age when creating them, and Fischetti believes deeply in the power of numerology – are vibrant and pulsating, each one representing a visual journey, but also a return to self.

Crystal Fischetti: Hello Again!
Grove Square Galleries, London
11 February – 9 April 2021

Interview by ANNA McNAY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/503113190</video:player_loc>
<video:duration>1285</video:duration>
<video:publication_date>2021-01-21T11:44:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/shneel-malik-interview-i-am-a-crazy-optimist</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/FXPBXGmMiFk/hqdefault.jpg</video:thumbnail_loc>
<video:title>Indus 2.0</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/FXPBXGmMiFk</video:player_loc>
<video:duration>276</video:duration>
<video:publication_date>2020-10-19T08:54:49+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lana-locke-interview-journeys-of-a-laundry-mountain-lungley-gallery-london-domestic-pandemic-colonialism-climate-change</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1069850203-e5dde019b4311f954ab60c4ddaa3c755251b665f712d14c57f17ca7f385207c8-d_295x166</video:thumbnail_loc>
<video:title>Lana Locke, Journeys of a laundry mountain, 2020</video:title>
<video:description><![CDATA[Journeys of a Laundry Mountain, a short film by Lana Locke, shot during 2020, is an autobiographical reflection on her responsibility as a woman and a mother for her family’s laundry, but becomes a vehicle for the consideration of wider, global issues through the crises that emerge during the film. Shot between gentrifying south-east London and rural Queensland, scenes of her own challenging domestic environment and that of her parents are intercut with provocative and humorous found and archive footage. 
Read an interview with Lana Locke at www.studiointernational.com]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/516675494</video:player_loc>
<video:duration>1609</video:duration>
<video:publication_date>2021-02-25T07:38:06+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/862511795-5a0253baa63dff6e859366c061ebd4ac20cdef7fea8da0a3788c76a25ec19c36-d_295x166</video:thumbnail_loc>
<video:title>Making (Babies) 2020</video:title>
<video:description><![CDATA[The video follows me moulding and casting the placenta of my second child into different materials, across different locations, in parallel with my gendered responsibilities as a mother. Dismantling boundaries between the art space and the domestic space, I disentangle my daughter’s umbilical cord in a freezer draw on the kitchen table; messily transform it into art matter on the garden step (literally practising on a threshold); then transport it in a midway wax state to the industrial territory of the workshop space. Just as the voiceover I use seeks to unfix our ideas about the role of the placenta purely as a conduit from mother to child, so I seek to unfix preconceptions about the gendered role of the mother and associated duties and responsibilities. Ahead of moulding the placenta I had long thought about the strangeness of this organ that exists between the mother and child, whilst being “practically independent” of both. The processes that the video follows reveal the strangeness, dirtiness and isolation of day-to-day problems and labours I encounter as an artist-mother; disrupting the apparent safety of the heteronormative, white, family unit, to reveal 'feral' elements within it. This extends my continuing interest in the feral as a wildness that exists within the domestic terrain, rather than necessarily separate from it.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/315322780</video:player_loc>
<video:duration>676</video:duration>
<video:publication_date>2019-02-04T16:35:08+00:00</video:publication_date>
<video:uploader>Lana Locke</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/harold-offeh-interview-untitled-art-on-the-conditions-of-our-time-kettles-yard-cambridge</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/ZA_8IlYB_oc/hqdefault.jpg</video:thumbnail_loc>
<video:title>Smile</video:title>
<video:description><![CDATA[ ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/ZA_8IlYB_oc</video:player_loc>
<video:duration>179</video:duration>
<video:publication_date>2010-11-05T12:32:58+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/claire-ashley-interview-im-not-an-artist-who-is-afraid-about-the-word-entertainment-inflatable-sculptures</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1079815276-9c64a3f09c5ea750e35de1aeba295fdab9407644913acfb7e0d8d320d8c8ee26-d_640</video:thumbnail_loc>
<video:title>Claire Ashley interview – ‘I’m not an artist who is scared about the word entertainment’</video:title>
<video:description><![CDATA[Ashley makes vast colourful, oddball inflatables. She talks about giving life to these characters, taking up space, and allowing humour and entertainment as access points to her art]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/521069550</video:player_loc>
<video:duration>1442</video:duration>
<video:publication_date>2021-03-08T13:50:25+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/valerie-hird-what-did-happen-to-alice-my-avatar-review-nohra-haime-gallery-new-yor</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/943708600-c5d7e852b9756ef7eba83ad0db9e7836580b5a401ceeca2dfa8bef735af9b95f-d_200x150</video:thumbnail_loc>
<video:title>What Did Happen To Alice?</video:title>
<video:description><![CDATA[A 12-minute hand-drawn animated video. It’s an allegorical story of how radically media changed in my lifetime. My self perception was molded by it in the Kennedy era. In the Instagram age, I’ve been de-formed by it, flattening my individuality to fit the width of a sound bite, a slip of subtext in America's out-sized presence in the global movie market and social media. 
Alice, a slip of white paper, believes the American movie fantasy of the Middle East. Her illusions meet reality among the wildly patterned landscapes and shifting winds of social media. 
________________________________

Film project page- https://filmfreeway.com/projects/2027483
________________________________
Credits
Original Soundtrack - Mary Bonhag
Editing - Max Ethan Miller
Animation - Martin De Geus
_______________________________

Best Shorts - Awards for Excellence in Animation and Women Filmmakers 2020
Official Selection - Toronto Film Channel Festival 2020
__________________________________
 
Director/Artist Biography - Valerie Hird
https://valeriehird.com
@valeriehird
#dontaskalicevideo
Represented by the Nohra Haime Gallery 500 West 21st, NY, NY www.nohrahaimegallery.com

My work explores cultural mythologies and the roles they play in our societal perceptions of each other. I've spent years
moving across cultures listening and collecting stories. At this time, I'm particularly interested in how iconic images and forms - from ancient symbols to pop-culture emojis and memes – can be interpreted differently by viewers in different
countries and cultures.

Retired Professor of Art, Saint Michaels College, and Professor of Visual Linguistics, CORE Division, Champlain College, in Vermont. BFA from Rhode Island School of Design 1977. MFA from Vermont College 2007. 

Recent exhibitions include:
MASSMoCA, Porsmouth Museum, Tampa Art Museum, DIVA in Paris, American University of Dubai, Global Center For Drawing, Melbourne, Australia and at the American Corner, University of Jordan in Amman, Jordan.
Lectures
Visual Language , Saint Michael’s]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/449840708</video:player_loc>
<video:duration>716</video:duration>
<video:publication_date>2020-08-20T16:54:18+00:00</video:publication_date>
<video:uploader>Valerie Hird</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bring-into-being-chiswick-house-london-video-curator-mariam-zulfiqar</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1146522544-7e116f2a59d88f15249dbe364c34e8e5c61dc8ff4c81ac9e6fd1d758899cb447-d_640</video:thumbnail_loc>
<video:title>Bring Into Being | Chiswick House &amp; Gardens | 27 May – 31 October 2021</video:title>
<video:description><![CDATA[Curator Mariam Zulfiqar talks to Studio International this exhibition, which, she says, “marks a new chapter for this house,” while giving us “something to think about in terms of the future”.

Chiswick House in west London, an 18th-century Palladian villa with ornate rooms and Grade 1-listed gardens, is hosting a collection of site-specific works, curated by Mariam Zulfiqar, which explores the history of the property, the transient nature of experience and our collective future.

In the gardens, the Turner Prize-winner Mark Wallinger has created a sundial that uses the visitors’ shadows to tell the time and, in doing so, encourages us to contemplate our position in relation to the daily and yearly cycles of the Earth.
This work is accompanied by a black stone pillar that plays a familiar waltz as it emits a stream of bubbles. The austerity of the structure seems strangely at odds with its playful nature, but there is an important message at its core. The two works are titled British Summertime (2021) and serve as a reminder of the wonders of the outdoors and the fleeting nature of the moment.

Jaimini Patel’s transient work Matter As the Densest Form of Energy – Energy As the Lightest Form of Matter (2021) brings the garden inside, with an arrangement of pressed leaves taken from the grounds. Created during winter and spring, this organic mosaic sits on the stone floor as a testament to the fragility of nature and our relationship with it. Later in the year, this work will be joined in the house by a second, created from organic material collected in spring and summer.

We Bear the Light of the Earth In Red, Green, Black and Brown (2021) is a work by the Ghanaian-British electronic musician and sound artist Peter Adjaye that spans four rooms of Chiswick House.

Adjaye has collaborated with musicians of West African and South Asian heritage to produce sonic landscapes that highlight the diverse narratives secreted in and around Chiswick House.

Bring Into Being
Chiswick House and Gardens, London
27 May – 31 Octob]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/554711317</video:player_loc>
<video:duration>119</video:duration>
<video:publication_date>2021-05-25T08:40:21+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/charlotte-keates-video-interview-just-what-is-it-cristea-roberts-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1161061420-de7714b190d5d6d6e6a2f9d7f29190def972a65d5f3e99c821604e39e5b97aff-d_640</video:thumbnail_loc>
<video:title>Charlotte Keates interview | Just What Is It …? | Cristea Roberts Gallery, 2021</video:title>
<video:description><![CDATA[‘I want my paintings to feel more like dreamscapes, that sense of deja-vu’
The artist talks about her series of paintings in the group show Just What Is It …?, at Cristea Roberts Gallery, and how they draw on memories engaging all five senses. 
Charlotte Keates (b1990, Somerset, UK) makes paintings inspired by architectural spaces she has visited on her various residencies – some as far afield as Singapore, Japan and Bali. They depict empty houses – presumably someone’s home, but whose, it is unclear, since there are never any personal artefacts on show. Instead, Keates hopes viewers might seek to occupy the space, as they engage with what at first comes across as an architecturally realistic portrayal, only on closer inspection to reveal itself as a dystopian (or should that be utopian?) impossibility, with perspectives that don’t quite work, ladders that stop abruptly, and doorways leading nowhere. She wants the works to be like dreamscapes, depicting the memory and the feeling of a place, rather than the place itself.
For this series of seven paintings on board, Keates made sketches and notes relating to sensory memories and used these as a trigger to begin working when back her studio, seeking to recapture her feelings through the use of colour. It is as much a case, however, of her having to work things out as she goes along, as she hopes it is for the viewer, too. Her works are heavily about the process.
Studio International spoke to Keates, via Zoom, about this series of works, her wider practice and “collage-like” process of painting, her future direction, and how she likes to set herself near-impossible challenges.

Just What Is It …?
Charlotte Keates | Karen Lederer | Zsofia Schweger | Polly Shindler
Cristea Roberts Gallery, London
21 May – 19 June 2021

Interview by ANNA McNAY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/561326942</video:player_loc>
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<video:publication_date>2021-06-10T08:54:58+00:00</video:publication_date>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/tony-cragg-video-sculptures-houghton-hall-norfolk</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/b82TeIIG7V8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Tony Cragg at Houghton</video:title>
<video:description><![CDATA[Tony Cragg’s alien sculptures land at Houghton Hall in Norfolk.
Set in the stately rooms and gardens of Houghton Hall, Tony Cragg’s towering sculptures offer a contemporary counterpoint to the clipped hedges and Palladian buildings. This exhibition, curated by the sculptor himself, includes a varied collection of works crafted from steel and bronze, each one a monument to natural forms and human imagination.
Tony Cragg at Houghton
Houghton Hall, Norfolk
19 May – 26 September 2021
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/b82TeIIG7V8</video:player_loc>
<video:duration>133</video:duration>
<video:publication_date>2021-06-16T19:03:28+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/folkestone-triennial-2021-the-plot-fifth-review-christopher-houghton-budd-genuinefake-rachel-stella-jenkins-artist-interviews</loc>
<video:video>
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<video:title>Christopher Houghton Budd: Forgiving Light | Folkestone Triennial 2021</video:title>
<video:description><![CDATA[Christopher Houghton Budd: ‘What’s needed here is a high street all the way from the town hall to the lighthouse, without interruption, for pedestrians’

The confluence of the ring road, the old high street and the harbour front (and, though we can no longer see it, an ancient crossing of the river Pent that used to be here) makes this the natural centre of Folkestone, according to Christopher Houghton Budd (b1948, England). An economist-turned-artist, who moved to Folkestone seven years ago, he has created a most effective artwork to illustrate his point for the 2021 triennial. Called Forgiving Light, it comprises 12 freestanding vertical structures, their conical, red-painted bottoms filled with water to ground and stabilise them, and their slim, white grille-clad tops activated as lights after dusk. They are arranged in a circle to represent the natural heart of the town. Ultimately, Houghton Budd would like this to become a public plaza – which, as one of the few public spaces still in public ownership in Folkestone, it could be, should the council so decide.

Houghton Budd is clearly emotionally as well as financially invested in Folkestone. He has joined forces with Folkestone artist Diane Dever (b1974, Ireland) in the Urban Room Folkestone project, a gallery and workshop space for community engagement, as well as setting up a small gallery in the town and making his home on the charmingly steep Old High Street, where most of the barnacle-like housing and shops has, over the years, been bought, restored and repurposed by Creative Folkestone for independent businesses, artist studios and live/work spaces. Here, he talks with Studio International about his journey towards the creation of Forgiving Light, as well as who might want to be forgiven and why.

Interview by VERONICA SIMPSON
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/579517340</video:player_loc>
<video:duration>661</video:duration>
<video:publication_date>2021-07-26T13:56:31+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:video>
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<video:title>genuinefake: Fortune Here | Folkestone Triennial 2021</video:title>
<video:description><![CDATA[Genuinefake: ‘I use my creative practice to try to start conversations and dialogue about access, our aspirations … and agency’

Along Folkestone’s seafront, the artist genuinefake (AKA Rachel Stella Jenkins; b1983 Mozambique) has conjured a temporary geodesic dome of playful community-led investigation around Folkestone’s past and future, on the site of the Rotunda, the former amusement arcade building. Calling it Fortune Here, Jenkins draws on arcade games and crazy golf to amuse locals and ignite discussion around the narratives that play out on the tables and in the pastel-pink crazy golf destinations on the deck beyond, each one representing a landmark Folkestone structure. Her beautifully illustrated and executed games invite residents to address contemporary issues around ownership and opportunity, as well as the diverse priorities of Folkestone’s communities, to interrogate whose fortunes are likely to rise and fall as Folkestone evolves.
Interview by VERONICA SIMPSON
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/580879248</video:player_loc>
<video:duration>1427</video:duration>
<video:publication_date>2021-07-29T15:11:43+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jennifer-wen-ma-an-inward-sea-interview-new-britain-museum-of-american-art-connecticut</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/GoKdXyEhwcQ/hqdefault.jpg</video:thumbnail_loc>
<video:title>An Inward Sea - Installation View</video:title>
<video:description><![CDATA[An Inward Sea
Laser-cut flash spun non-woven HDPE, pigments, glass sculptures, swing mechanisms, video, and audio tracks
New Britain Museum of American Art, New Britain, CT
May 13-October 24, 2021

An Inward Sea is the exploration of utopia, dystopia, and the human condition, while reflecting deeply on the events of the last year—including the COVID-19 pandemic, extensive shutdowns, and subsequent racial justice uprising in the U.S.—and how they have impacted the lives of residents of New Britain and beyond in this immersive multi-sensory installation.

The black-and-white profiles in the moon resemble 19th century silhouette portraits, capturing the speakers' likeness while preserving their privacy and identity, and allowing them to speak freely about their stories of anxiety, trauma, community, resilience, humor and perseverance.

Oral History component of the exhibition is a collaboration between Jennifer Wen Ma and oral historian and interdisciplinary artist Nyssa Chow. 

"There is in every person an inward sea, and in that sea there is an island and on that island there is an altar and standing guard before that altar is the 'angel with the flaming sword.' Nothing can get by that angel to be placed upon that altar unless it has the mark of your inner authority. Nothing passes 'the angel with the flaming sword' to be placed upon your altar unless it be a part of 'the fluid area of your consent.' This is your crucial link with the Eternal."
         - Howard Thurman 'Meditation on the Heart']]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/GoKdXyEhwcQ</video:player_loc>
<video:duration>752</video:duration>
<video:publication_date>2021-06-04T16:31:39+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nneka-uzoigwe-video-interview-i-find-plein-air-painting-extraordinary</loc>
<video:video>
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<video:title>Nneka Uzoigwe interview</video:title>
<video:description><![CDATA[Nneka Uzoigwe – interview: ‘I find plein air painting extraordinary because there’s so much information to capture and there are so many elements’

Studio International spoke to Uzoigwe, via Zoom, during her residency, about her ideas for the project, her interest in mythology, growing up with the sea, and the challenges and joys of painting en plein air.

After studying fashion design at the University of Brighton, Nneka Uzoigwe (b1990) retrained as a painter at London Fine Art Studios – where she continues to teach – learning in the traditional atelier method, working directly from life models, studying Greek and Roman plaster casts and learning from master painters. She received the De Laszlo Foundation Scholarship (2016 and 2017), the De Laszlo Award at the Royal Society of Portrait Painters Exhibition (2020) and the Green & Stone Art Prize (2020), thanks to which she has a solo exhibition coming up at its gallery space in September.

This summer, however, Uzoigwe has been travelling between her London studio; Watts Gallery – Artists’ Village just outside Guildford, Surrey, where she has been artist-in-residence – with her own studio, painted especially to suit her needs (white studio walls, she explains, make it impossible to work); and Brighton, where she spent two days on the nudist beach painting a couple of male friends for one of her three large-scale paintings forming a part of her project proposal for the residency. Coinciding with an exhibition of the work of Henry Scott Tuke, Uzoigwe’s residency responds to his paintings of young boys on the beach – “a snapshot of childhood” – as well as to his lesser-known interest in mythology, which she really develops in her own work, encompassing not only Greek tradition, but also the Japanese god of fisherman Ebisu.

Nneka Uzoigwe
Watts Gallery – Artists’ Village, Surrey
Residency: 1 June – 31 August 2021
Exhibition: 25 August - 12 September 2021.

Nneka Uzoigwe: Waking Dream
The Gallery at Green & Stone, London
5 – 18 September 2021

Interview by ANNA McNAY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/591553052</video:player_loc>
<video:duration>1113</video:duration>
<video:publication_date>2021-08-24T07:50:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/the-lost-leonardo-film-review-andreas-koefoed-salvator-mundi</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/3ddI3U-8m4A/hqdefault.jpg</video:thumbnail_loc>
<video:title>The Lost Leonardo - Official UK Trailer</video:title>
<video:description><![CDATA[In Cinemas Now: http://thelostleonardo.co.uk

A painting bought for $1175 becomes the most expensive artwork ever sold – and it may not even be by Leonardo da Vinci.

https://instagram.com/dogwoof
https://facebook.com/dogwoof
https://twitter.com/dogwoof
https://dogwoof.com/newsletter]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/3ddI3U-8m4A</video:player_loc>
<video:duration>140</video:duration>
<video:publication_date>2021-08-05T15:39:33+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/11zhWAPDj8o/hqdefault.jpg</video:thumbnail_loc>
<video:title>THE LOST LEONARDO | &quot;Provenance&quot; Official Clip</video:title>
<video:description><![CDATA[THE LOST LEONARDO is the inside story behind the Salvator Mundi, the most expensive painting ever sold at $450 million. From the moment the painting is bought for $1175 at a shady New Orleans auction house, and the restorer discovers masterful Renaissance brushstrokes under the heavy varnish of its cheap restoration, the Salvator Mundi’s fate is determined by an insatiable quest for fame, money and power. As its price soars, so do questions about its authenticity: is this painting really by Leonardo da Vinci?

Unravelling the hidden agendas of the richest men and most powerful art institutions in the world, THE LOST LEONARDO reveals how vested interests in the Salvator Mundi are of such tremendous power that truth becomes secondary.

#TheLostLeonardo #SonyClassics #OfficialClip]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/11zhWAPDj8o</video:player_loc>
<video:duration>103</video:duration>
<video:publication_date>2021-08-11T16:00:03+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/peter-freeth-40-years-of-aquatints-review-art-space-gallery-islington</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/uF1_dmpaFeE/hqdefault.jpg</video:thumbnail_loc>
<video:title>Peter Freeth RA :: 40 Years of Aquatints</video:title>
<video:description><![CDATA[Peter Freeth in his North London studio describing his radical and unique approach to printmaking.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/uF1_dmpaFeE</video:player_loc>
<video:duration>516</video:duration>
<video:publication_date>2020-04-20T15:40:21+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/marina-abramovic-seven-deaths-review-lisson-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1257983610-2f35f63e72994dc7559c6f0c36190a3760a1373c6f5950468_640</video:thumbnail_loc>
<video:title>Marina Abramović: Seven Deaths | Lisson Gallery press view | 13 September 2021</video:title>
<video:description><![CDATA[Marina Abramović channels her passion for Maria Callas into a film in which she reinterprets seven death scenes from famous operas, and seven unusual alabaster sculptures. She explains how the Greek opera singer’s life has fuelled her art

Lisson Gallery, London
14 September – 30 October 2021]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/615975264</video:player_loc>
<video:duration>979</video:duration>
<video:publication_date>2021-09-27T08:05:25+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/petrit-halilaj-very-volcanic-over-this-green-feather-review-tate-st-ives</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/agUTqlyOH_k/hqdefault.jpg</video:thumbnail_loc>
<video:title>Artist Petrit Halilaj’s childhood drawings from the Kosovan War | Tate</video:title>
<video:description><![CDATA[Petrit Halilaj's work investigates cultural identity, nationhood and heritage, and ideas of personal and collective history. Hear from the artist about his childhood in an Albanian refugee camp during the Kosovan war (1998-9) and the drawings he made, which he has re-interpreted into large scale hanging sculptures in his exhibition at Tate St Ives.   

See Petrit Halilaj: Very volcanic over this green feather at Tate St Ives until 16 January 2022. 

Find out more: https://bit.ly/31P5szs

Subscribe for weekly films: http://goo.gl/X1ZnEl]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/agUTqlyOH_k</video:player_loc>
<video:duration>438</video:duration>
<video:publication_date>2021-11-11T17:47:35+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jean-michel-othoniel-the-narcissus-theorem-review-petit-palais-paris</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/ZXcn4edEnKc/hqdefault.jpg</video:thumbnail_loc>
<video:title>Jean-Michel Othoniel - Le Théorème de Narcisse</video:title>
<video:description><![CDATA[Du 28 septembre 2021 au 9 janvier 2022, à l’invitation du Petit Palais, Jean-Michel Othoniel investit la totalité du musée et son jardin.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/ZXcn4edEnKc</video:player_loc>
<video:duration>58</video:duration>
<video:publication_date>2021-09-15T08:00:20+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Mathlapse - Recipe for a Wild Knot</video:title>
<video:description><![CDATA[A Wild Knot is a circular curve in the three-dimensional space which is infinitely knotted. In this video we show a recipe to build some kind of Wild Knots, using reflections on several spheres which are strung on a necklace.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/168545790</video:player_loc>
<video:duration>237</video:duration>
<video:publication_date>2016-05-29T13:32:47+00:00</video:publication_date>
<video:uploader>Aubin Arroyo</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tunji-adeniyi-jones-video-interview-that-which-binds-us-white-cube-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1313873487-86e639f3114eb524de1c3d20934575c082da3fe19ab43df41f4678b2224f8d67-d_640</video:thumbnail_loc>
<video:title>Tunji Adeniyi-Jones – interview | White Cube Bermondsey | 19 November 2021</video:title>
<video:description><![CDATA[Adeniyi-Jones talks to Studio International about his new paintings in That Which Binds Us, his first solo show at White Cube Bermondsey.

The Brooklyn-based artist Tunji Adeniyi-Jones (b1992, London) paints sumptuous figurative canvases underpinned by ideas around belonging, connecting across cultures and the transformative power of travel. Hybridity defines his experience. Born in Britain of Nigerian heritage, Adeniyi-Jones trained at the Ruskin School of Art, Oxford. A trip to Nigeria in 2012, while still an undergraduate, proved pivotal; there he met local pioneers such as Ben Enwonwu and Bruce Onobrakpeya, which enabled him to incorporate his questions around hybrid identities into his painting. Thereafter he moved to the United States, where he earned an MFA from Yale School of Art, Connecticut, and he completed six months at Kehinde Wiley ’s Black Rock residency programme in Dakar, Senegal. His first solo show at White Cube Bermondsey, titled That Which Binds Us, reflects on the intangible qualities that build community across different environments.

Tunji Adeniyi-Jones: That Which Binds Us
White Cube Bermondsey, London
19 November 2021 – 9 January 2022

Interview by ELIZABETH FULLERTON
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/651207427</video:player_loc>
<video:duration>2486</video:duration>
<video:publication_date>2021-11-29T12:09:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/khvay-samnang-calling-for-rain-amartey-golding-bring-me-to-heal-reviews-tramway-glasgow</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Au6EoUN-c5c/hqdefault.jpg</video:thumbnail_loc>
<video:title>Friday Late | Bring Me To Heal | Amartey Golding | V&amp;A</video:title>
<video:description><![CDATA[Drawing upon ancient histories, myth, storytelling and craft, ‘Bring Me To Heal’ examines humanity’s more destructive behaviours, along with the cultures which emerge from and perpetuate them. 

This short film follows a nomadic character who we see wandering the museum after hours. Coming across an ornate knotted garment made from human hair, he witnesses the birth of an elemental deity-like figure, and together they walk the galleries marvelling at humanity’s incredible creations. Like a moth to a flame, the elemental being is drawn to the magnificence of a golden altarpiece, and this image of beauty dramatically crumbles…

Shot in the museum’s empty galleries, London artist Amartey Golding turns to his Anglo-Scottish and Ghanian ancestry, and Rastafarian upbringing to explore ideas surrounding trauma, transformation, and human behaviour. The striking ornate garment featured has been braided with reference to Afro hair styles and the body art of the ancient Britons. 

This film has been made in collaboration with Forma and features Amartey’s long-time collaborator Darren Gayle, alongside his brother and muse, Solomon Golding – the first Black British male to join the Royal Ballet Company.

Find out more about the film and Amartey’s creative process on our blog: https://www.vam.ac.uk/blog/museum-life/friday-late-bring-me-to-heal

Never miss a Friday Late: https://www.vam.ac.uk/info/friday-late?gclid=Cj0KCQjwsqmEBhDiARIsANV8H3YIHPTwwdvqUmYF5s9SDI1nI4hFiwWImBKC0Z9na8LzN9gIZkAULqoaApa-EALw_wcB]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Au6EoUN-c5c</video:player_loc>
<video:duration>570</video:duration>
<video:publication_date>2021-05-28T19:00:09+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cristina-iglesias-video-interview-hondalea-lighthouse-san-sebastian-spain</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1326258968-a2ba7d146175fd23428d804b2569f30288c9f9bcd243fdc948d66d441e5242b4-d_640</video:thumbnail_loc>
<video:title>Cristina Iglesias – interview: ‘I always felt I wanted to create places, places to be’</video:title>
<video:description><![CDATA[The Spanish artist discusses her fascination with geology and botany, how public sculpture assists in the creation of place, and the importance of remaining alive to nature in urban design.

Interview by VERONICA SIMPSON]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/656723509</video:player_loc>
<video:duration>2244</video:duration>
<video:publication_date>2021-12-14T14:20:34+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cosmos-and-chaos-cyfest-national-arts-club-review-new-york-russia-space-exploration</loc>
<video:video>
<video:thumbnail_loc></video:thumbnail_loc>
<video:title></video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/662151708</video:player_loc>
<video:duration></video:duration>
<video:publication_date>2023-06-24T02:12:45+00:00</video:publication_date>
<video:uploader></video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/galleries-in-the-groove-three-visionary-dealers-1960s-1980s-review-whitechapel-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/aBaAKRnS7GE/hqdefault.jpg</video:thumbnail_loc>
<video:title>Art On Wheels (1966)</video:title>
<video:description><![CDATA[See here footage of car customization in 1966. bright colors and flower patterns seem to be the trend of the year.

London.



C/Us of man cleaning the windscreen of a convertible car.  C/U of his hands as he puts his chamois leather into a bowl of dirty water.  Camera pans to hand holding a small tin of paint and a paintbrush.  C/U of car paint work being touched up.  Cut to the front of a brightly painted Buick - various angles of the car has a "pop art"  design incorporating stars and stripes in orange, green, red, blue, yellow and pink.  C/U of a design book - two flower motifs and an explosion motif are shown to the camera.  David Vaughan, Douglas Binder and Dudley Edwards will "jazz up your jalopy" for several hundred pounds.  We see two of the aforementioned customising a mini.  The doors are being painted with a brightly coloured flower motif.  C/U of the painting in progress and of the artists.  High angle shot of another artist painting one of the doors with "synthetic and flamboyant enamels combining 1930s style decor with pin-table pop art." The third man of the group brings the painted bonnet of the mini and puts it into place.  Good C/U of the bonnet being closed showing the design. 



In a London street, the windows of an art gallery are removed; several men lift a car out of the gallery, through the window frame and down a ramp to the pavement.  The car is an AC Cobra; covered with a brightly-coloured psychedelic pattern; a small group of people stand around watching.  The car is apparently a work of art that was purchased in the gallery.



Cuts exist - see separate record.
 FILM ID:385.01

A VIDEO FROM BRITISH PATHÉ. EXPLORE OUR ONLINE CHANNEL, BRITISH PATHÉ TV. IT'S FULL OF GREAT DOCUMENTARIES, FASCINATING INTERVIEWS, AND CLASSIC MOVIES. http://www.britishpathe.tv/

FOR LICENSING ENQUIRIES VISIT http://www.britishpathe.com/

British Pathé also represents the Reuters historical collection, which includes more than 136,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bul]]></video:description>
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<video:publication_date>2014-04-13T12:22:07+00:00</video:publication_date>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/studio-drift-moments-of-connection-review-museum-fur-kunst-gewerbe-hamburg</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/j4Izwc7YZQ4/hqdefault.jpg</video:thumbnail_loc>
<video:title>STUDIO DRIFT: CODED NATURE (Mini Documentary)</video:title>
<video:description><![CDATA[We follow the Dutch duo Lonneke Gordijn and Ralph Nauta – the founders of Studio Drift –  while they are preparing themselves for their first ever museum solo in the Netherlands. The exhibition is on view in the Stedelijk Museum Amsterdam until August 26, 2018.]]></video:description>
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<video:duration>626</video:duration>
<video:publication_date>2018-04-30T08:34:42+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/hw_AEpcmaB4/hqdefault.jpg</video:thumbnail_loc>
<video:title>DRIFT: Moments of Connection (Teaser Clip)</video:title>
<video:description><![CDATA[Teaser zur Ausstellung „DRIFT: Moments of Connection“ im MK&G.

Anlässlich des 5. Geburtstags der Elbphilharmonie Hamburg inszeniert das international gefragte Künstlerduo DRIFT im MK&G seine bisher umfangreichste Präsentation in Deutschland. Vom 7. Januar bis 8. Mai 2022 verwandelt DRIFT das MK&G auf 350 Quadratmetern mit drei spektakulären kinetischen Skulpturen in einen sinnlichen Erlebnisraum. Leuchtende Löwenzahnsamen, prachtvolle Seidenblüten, die sich voller Anmut entfalten und zurückziehen, und eine Rauminstallation, die das Flugverhalten von Tieren nachahmt, lassen die Besucher*innen die tiefe Verbindung des Menschen mit der Natur erfahren. Parallel zur Ausstellung wurde DRIFT von der Elbphilharmonie in enger Abstimmung mit dem MK&G mit der Entwicklung eines performativen Kunstwerks beauftragt: „Breaking Waves“ wird am 28. April 2022 uraufgeführt und an drei weiteren Abenden gezeigt. Die Installation lässt den Außenraum des Konzerthauses in neuem Licht erstrahlen und nimmt dabei Bezug auf seine Umgebung und sein Inneres: die Musik. 2007 von Lonneke Gordijn (1980) und Ralph Nauta (1978) gegründet macht DRIFT Phänomene und verborgene Eigenschaften der Natur mit Hilfe von Technologie sichtbar, um von ihnen zu lernen und unsere Beziehung zur Natur wiederherzustellen.

Eine Ausstellung im MK&G zum 5. Geburtstag der Elbphilharmonie Hamburg.

DRIFT
Moments of Connection
7. Januar bis 8. Mai 2022
https://bit.ly/DRIFTMKG

___
#mkghamburg #DRIFT #studiodrift #mkgdrift
WEBSITE: https://www.mkg-hamburg.de
FACEBOOK: https://www.facebook.com/mkghamburg
INSTAGRAM: https://www.instagram.com/mkghamburg
TWITTER: https://twitter.com/mkghamburg
YOUTUBE: https://www.youtube.com/mkghamburg]]></video:description>
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<video:duration>60</video:duration>
<video:publication_date>2022-01-13T13:52:19+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lakwena-maciver-interview-i-like-to-think-my-work-will-bring-hope-to-people</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/FNtEiAu4mtE/hqdefault.jpg</video:thumbnail_loc>
<video:title>Arkansas Sen. Flowers makes passionate speech against &quot;Stand Your Ground&quot; bill</video:title>
<video:description><![CDATA[The Arkansas Senate Judiciary Committee voted down a bill that would have loosened regulations for the use of deadly force in self-defense.

Video courtesy Arkansas Senate livestream]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/FNtEiAu4mtE</video:player_loc>
<video:duration>271</video:duration>
<video:publication_date>2019-03-07T21:08:21+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/cork-street-attack-mayor-gallery-london-grey-organisation</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/XP3ms7dApl0/hqdefault.jpg</video:thumbnail_loc>
<video:title>Structural Hierarchy in British Culture</video:title>
<video:description><![CDATA[Structural Hierarchy in British Culture
Toby Mott in conversation with Peter York
Thursday 13th January 6.30pm on the occasion of
Cork Street Attack, Grey Organisation 
The Mayor Gallery
21 Cork Street
First Floor
London W1S 3LZ

Peter York is an author, journalist, broadcaster, management consultant and President of The Media Society. His highly tuned antennae numbers him amongst the most perceptive commentators observing the cultural landscape. His latest book ‘The War Against the BBC’, co-written with Professor Patrick Barwise was published in November 2020 by Penguin.

Toby Mott is an artist, collector, designer, publisher and organiser of Cultural Traffic; a global arts fair that he founded as a platform for social change through DIY practice. In 1985 he led the Grey Organisation’s Cork Street Attack. Recent projects include the publication of; Punk in Print 1976-1980: The Compete Mott Collection, Kraftwerk: Dance Forever and Dictator Banknotes.

The Grey Organisation’s Cork Street Attack is the subject of an exhibition at The Mayor Gallery. The windows of The Mayor Gallery and those of the other art dealers on Cork Street, were covered with buckets of grey paint during a night-time act of artistic anti-establishment protest on 21st May 1985.
Curated by William Ling, Cork Street Attack will showcase new prints created from photographic evidence that recorded the immediate aftermath of the event alongside related artwork, ephemera and documents taken from the Grey Organisation archive kept by artist Toby Mott, the group’s spokesperson and central protagonist.
The works span the breadth and depth of the group’s output, including drawings for the Labour Party’s 1985 election campaign, hand prints, calling cards, preparatory studies for De La Soul’s album cover ‘3 Feet High and Rising’, and photographs of a performance outside the ICA.

The Grey Organisation (GO) was a post-punk art collective that emerged from East London and Soho in the early 1980s, folding in 1991.
https://www.mayorgallery.com/exhibitions/586]]></video:description>
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<video:duration>3610</video:duration>
<video:publication_date>2022-01-19T20:38:59+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/donna-huddleston-video-interview-in-person-simon-lee-gallery</loc>
<video:video>
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<video:title>Donna Huddleston interview | Simon Lee Gallery | 25 January 2022</video:title>
<video:description><![CDATA[Donna Huddleston – video interview: ‘I was thinking of all the works being a double for myself’

Huddleston talks about her beguiling new works on paper, for which she draws on her background in theatre to create figures that she sees as performing within the composition.  

In Person is Donna Huddleston’s inaugural show at Simon Lee in London. The title is both a playful reference to the show’s long-delayed opening due to the pandemic and to the theme of doubles and mirroring that reverberates through the works. “I was thinking a lot about the theatrical term ‘the stand-in’, which then led on to thinking about doubles,” she says. “Whether it's a body double, or the double of an actress, that idea to use doubles within individual works, and then, also, I double works with another piece in the show so that they reflect each other.”

This is evident in echoes between drawings such as Brighter and The Stand-In, which each portray a female figure leaning on two plinths that flank her, as well as New Moon and Rising Fawn, which are linked by the motifs of piano keys and carnations; but one can find subtle threads connecting most of the works in this exhibition, which is characterised by moments of gathering and waning intensity like a symphony. One such thread – to return to the show’s title – is the theme of self-portraiture, the different sitters functioning as doubles for the artist, even if there is little visual resemblance.

Donna Huddleston: In Person
Simon Lee Gallery, London
21 January – 26 February 2022

Interview by ELIZABETH FULLERTON
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/671494107</video:player_loc>
<video:duration>1668</video:duration>
<video:publication_date>2022-01-29T12:22:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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</url>
<url>
<loc>https://www.studiointernational.com/index.php/cauleen-smith-interview-i-try-to-make-work-that-is-for-anyone-as-opposed-to-exclusive</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/AUmBgxrcDWk/hqdefault.jpg</video:thumbnail_loc>
<video:title>Cauleen Smith imagines a Black, feminist utopia</video:title>
<video:description><![CDATA[Is utopia attainable? Artist Cauleen Smith discusses her film Sojourner (2018), which explores what a feminist, Afrofuturist, and radically generous community might look like. She describes the film’s genesis and her inspiration from artists and activists including Alice Turiyasangitananda Coltrane, Noah Purifoy, and the Combahee River Collective.]]></video:description>
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<video:duration>295</video:duration>
<video:publication_date>2020-09-24T18:06:57+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
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<video:title>Cauleen Smith, COVID MANIFESTO #18</video:title>
<video:description><![CDATA[MANIFESTO #18: "COVID obeys capitalist racial logics so well that rich people and white people do not believe that they too can catch the rona. SMDH" was originally posted by @cauleen_smith on 6 June with the following Instagram message:

#covidmanifesto
00.18-00.19
This virus complied with all capitalist racial logics. So much so that a lotta folks not bothered by Rona no more. On the other hand a bunch of other folks understand the relationship between state sanctioned police violence and disinvestment and extractive exploitation of black people and the effect of both on our health. These folks are out in these streets, literally risking their lives, to make some changes: defund police. Defund private prisons. Reparations for redlined communities nation wide. National health care locally administered, food rights, education rights. Publicly funded jobs for a green climate conscious restructuring of our economies. #abolitionistfeminism knows how to lead. So. Follow. �☠️���‍♀️�������
(www.instagram.com/p/CBG-kuQF_aB)

--

NOW LIVE – Cauleen Smith: COVID MANIFESTO for c. 20:20 in collaboration with CIRCA on the giant 4K screen of Piccadilly Lights. Tune in every night this month at 20:20 GMT in Piccadilly Circus and online at circa.art

Cauleen has rewritten and will be revealing each point of the Manifesto throughout the duration of November. In a sort of 'living' still life , the artist's desk will be the tableau, in which personal items, remnants of daily rituals, and key references to her practice will accumulate, appear and disappear. COVID MANIFESTO consists of 23 pronouncements. The project will unfold in a sequence, a crescendo, that will be punctuated by 7 intermissions selected from Smith’s existing works. Over the month, the personal and poetic, the eventful and now historical, will feature as Smith responds to Covid-19 and its multiple aftermaths.

More info at circa.art / theshowroom.org/exhibitions/cauleen-smith-covid-manifesto]]></video:description>
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<video:duration>120</video:duration>
<video:publication_date>2020-11-25T10:38:36+00:00</video:publication_date>
<video:uploader>The Showroom, London</video:uploader>
<video:live>no</video:live>
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<url>
<loc>https://www.studiointernational.com/index.php/nft-the-new-future-review-moco-barcelona-non-fungible-tokens-paris-hilton-beeple</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Z1RpZJ0dio4/hqdefault.jpg</video:thumbnail_loc>
<video:title>BEEPLE EVERYDAYS RAW #91 of 100</video:title>
<video:description><![CDATA[Beeple EVERYDAYS Redux Edition. 
Released 8 November 2020. 
A raw collection of everydays by Beeple. 

I won this in Beeple's second drop on Nifty Gateway – December 2020.
I sold this piece to another collector in March 2021.

https://niftygateway.com/itemdetail/secondary/0xc170384371494b2a8f6ba20f4d085c4dde763d96/100010091]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Z1RpZJ0dio4</video:player_loc>
<video:duration>240</video:duration>
<video:publication_date>2021-01-03T14:28:08+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/jasia-reichardt-video-interview-stefan-franciszka-themerson-archive</loc>
<video:video>
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<video:title>Jasia Reichardt interview | Themerson Archive | London, February 2022</video:title>
<video:description><![CDATA[Jasia Reichardt discusses the newly published archive catalogue she has collated and curated over 20 years, celebrating Stefan and Franciszka Themerson, a remarkable couple at the centre of one of London’s most interesting intellectual and creative communities

The artist Franciszka Themerson (1907-88) and the writer and film-maker Stefan Themerson (1910-88) were Polish emigrés, born in Warsaw and Plock respectively. They were already celebrated in their home country for their writing, illustrations, books and experimental film-making before they sought safety from Europe’s war-torn continent and landed, via Paris, in London in the early 1940s.

Here they established a vibrant creative community, centred around the publishing imprint they founded, Gaberbocchus Press. One of the most important small presses in the UK after the second world war, it ran from 1948-79. The cultural scene that evolved around it included a regular “salon” known as The Common Room (1957-59), the nexus of an international and intellectually generous community of writers, artists, philosophers and scientists, among them Alfred Jarry, Kurt Schwitters and Bertrand Russell. Gaberbocchus published 60 books, remarkable for their originality in design and content – including the first English language version of Jarry’s Ubu Roi.

After their death in 1988, the archive was inherited by Franciszka’s niece, Jasia Reichardt (b1933, Warsaw), who, as a youngster, had also fled Nazi-occupied Warsaw to join them in London, going on to become a leading light in the UK contemporary art scene. An art critic and curator, she curated the ICA’s groundbreaking 1968 show Cybernetic Serendipity: The Computer and the Arts, a show that was given its own dedicated edition of Studio International in the same year, and then republished for its 50th anniversary in 2018.

After 20 years of painstaking collation, research and organisation by Reichardt and her artist husband, Nick Wadley (1935-2017), the Themerson Archive Catalogue has been published by the Themerson Est]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/682796395</video:player_loc>
<video:duration>1203</video:duration>
<video:publication_date>2022-02-28T06:21:59+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/mark-francis-video-interview-echo-vision-kerlin-gallery-dublin</loc>
<video:video>
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<video:title>Mark Francis interview | London, 2 March 2022</video:title>
<video:description><![CDATA[‘l like to use a grid to convey order and chaos. Both things can reside on the same plane’

Mark Francis discusses the evolution of his subject matter, his techniques, his use of colour, the importance and influence of science and music, and his current shows in Ireland and Italy

Growing up in Newtownards in County Down, Northern Ireland, Mark Francis (b1962) had wilderness on his doorstep. As a child, he spent many hours exploring the rich animal and plant life of Strangford Lough, sparking an interest in science alongside his burgeoning love of drawing. Thanks to regular long walks on the local hillsides, wide open vistas were also embedding themselves in his consciousness, re-emerging later, after his studies at Central Saint Martins and Chelsea School of Art, in visceral, bleak landscapes.

He has gone on to develop a unique way of evoking vast – even intergalactic – landscapes as well as microscopic, botanical and biological ones, often simultaneously. He was one of the artists in the now legendary Royal Academy show of 1997, Sensation: Young British Artists from the Saatchi Collection, and the catalogue biography declares: “As maps of human microscopic physiology, Francis’s paintings emphasise the distance, created by technological apparatus, that separates us from our own bodies.”

In the intervening decades, he has quietly gone about refining and re-examining his subjects and his practice - his paintings and occasional sculptures triggering inner and outer landscapes - with unfaltering intensity and commitment.

Marco Tonelli, the critic and artistic director of the G Carandente Modern Art Gallery and Palazzo Collicola, Spoleto, writing in a new monograph that accompanies the current retrospectives at the Kerlin Gallery, Dublin, and Palazzo Collicola, says: “His grids, his reticula are wefts of time and space, granular structures and tessellations that evoke and speak to what science observes and hypothesises in regard to the most intimate layers of matter, of all matter, perhaps even of thought itself.”]]></video:description>
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<video:publication_date>2022-03-17T18:40:26+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
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<video:video>
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<video:title>Sigurður Guðjónsson interview | Icelandic Pavilion, Venice Biennale, 2022</video:title>
<video:description><![CDATA[In the darkness of the Icelandic Pavilion, Sigurður Guðjónsson talks about his monumental video work – a visceral experience, its scale and form resonant with its architectural setting and enhanced by a primal soundtrack.

The combination of elemental, bass, rumbling sounds with the scale and bristling texture of the video installation Perpetual Motion, by Sigurður Guðjónsson (b1975, Reykjavík), brings visitors to an abrupt halt partway through the long, processional rollercoaster of art along Venice’s Arsenale. I noticed one visitor sink to the floor to sit in a meditative state of wonder. The monumental, visceral experience (and stunned reaction) is just what this Reykjavík-based artist hoped for as the piece gestated over the last two years.

Wanting to break out of the stereotypical presentation of video work – where people sit or stand passively in front of screens of varying sizes – Guðjónsson took advantage of the high ceilings and industrial materiality of this former boat shed to devise the two-screen format here: one long, thin screen extends up six metres, towards the timber roof trusses, while the other protrudes forwards like a catwalk, across the floor.

Each screen appears to display the same, or similar, landscape of metal dust, adhering in spiky clusters to a magnet that is rotating slowly on a belt. These magnets, however, are moving in opposite directions, one up to the heavens, the other to meet the visitor. The fact that they move at different speeds helps to create a compelling sense of tension. The combination of this slow-moving, magnified magnetic landscape with the Icelandic composer Valgeir Sigurðsson’s soundtrack - as if machinery is melding with geology, rocks grinding against motors - is mesmerising.

Two years ago, Guðjónsson took a trip to Cern, the European Organisation for Nuclear Research, based near Geneva, which hosts the world’s largest particle physics laboratory as well as the Large Hadron Collider (a machine that can replicate atomic conditions from billions of years ago).]]></video:description>
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<video:duration>355</video:duration>
<video:publication_date>2022-04-27T16:02:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
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<video:title>Jonathas de Andrade interview | Brazilian Pavilion, Venice Biennale 2022</video:title>
<video:description><![CDATA[Jonathas de Andrade: With the Heart Coming Out of the Mouth – Venice Biennale 2022

Giant ears, a massive inflatable heart and a disembodied head – Andrade explains why he has filled the Brazilian Pavilion with an odd assortment of body parts.

In one ear and out the other – this is the literal journey you must go on to experience Brazilian artist Jonathas de Andrade’s pavilion for the Venice Biennale. Two outsized ears frame the entrance and exit, guiding your passage through Brazil’s sleek, modernist pavilion in the Giardini, and announcing the inspiration that partly fuelled this exploration of tension, disembodiment and anxiety - that of his childhood visits to science fairs.

Along with the oversized ears, there is a disembodied Styrofoam head floating slowly up and down in one room, a giant tongue lying dismembered on the floor in a pool of blood. But the tone is in part playful as well as grotesque, reinforced by the main event, occurring at regular intervals: a crimson, fabric, inflatable heart drops out of a pink mouth positioned in the ceiling and slowly descends to the floor. Then, over several minutes, to the general surprise of the assembled viewers, it unfolds and expands sideways to fill almost the whole of the second room in this two-room space.

The artist’s intention here is to demonstrate the feeling of “the heart coming out of the mouth”, the English translation of this installation’s title, Com o Coração Saindo Pela Boca. This popular phrase illustrates a state of high tension, and echoes the English phrase “with your heart in your mouth”. It sparked the inspiration for the installation early on in his research explorations when De Andrade (b1982, Maceió, Brazil) started gathering regularly used local idiomatic phrases that figure body parts.

He tells us: “I collected 250 statements and to my surprise most of them would resonate with the political atmosphere in Brazil at the moment.” He has placed these phrases in captions, in Portuguese, English and Italian, quite low around the room, along]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/706691701</video:player_loc>
<video:duration>860</video:duration>
<video:publication_date>2022-05-05T16:25:40+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/niamh-omalley-ireland-irish-pavilion-venice-biennale-2022-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1437222741-28520e497979c759b651e83d6b70c4f89ce9eb03cd6732d8ec6f2d0c550992bb-d_295x166</video:thumbnail_loc>
<video:title>Niamh O’Malley interview | Irish Pavilion, Venice Biennale 2022</video:title>
<video:description><![CDATA[Niamh O’Malley says she wants her Irish Pavilion installation to be a welcoming space, for visitors to ‘feel the power and the height and weight of things’

Niamh O’Malley’s elegant sculptures sit quietly in the concrete-floored, timber-roofed, high-windowed space that the Irish Pavilion occupies in the Arsenale, at a turning point in this huge medieval-shed complex where the lapping waters of Venice are finally visible through the doors. It is a visually and sensorily rich setting for an artist so intent on revealing the poetry within ordinary, domestic and urban materials, especially glass.

And here they are, one glass work layered against a wall, another delicately carved into drooping, lacy, weed-like fronds each edged in metal. Yet another hovers vertically above us, a delicate, art-deco semi-circle awning of leaf-embossed glass inviting us to enjoy its shade and the fragile patterning it casts on the wall below, while at the same time disrupting that sense of shelter or safety with the slices of glass that are scattered, seemingly loose, on its upper surface.

O’Malley uses steel, limestone, wood and glass in ways that disrupt expectation, but the manner in which she does so makes you acutely aware of the material, its properties and typical contexts. One work that resembles an everyday, urban drain – albeit one smoothly curved and neatly edged, as if designed to cover a small stream - is made of limestone, expertly carved, its cold, contoured and fossil-flecked planes inviting touch and appreciation. A freestanding metal structure fans out overhead, its slender stems morphing into flat, cold, palm leaves. Another tall metal stand is hung with pendulous wooden shapes that drape down to the floor, but whose upward and outward curves invite the eye towards the roof, all the better to appreciate these playful timber gestures against that grid of rigid, rugged, structurally crucial beams.

A smooth oblong of carved and polished wood lies on the floor, supporting several large discs made of what looks like roug]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/709911083</video:player_loc>
<video:duration>633</video:duration>
<video:publication_date>2022-05-14T15:46:28+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/angela-su-arise-hong-kong-in-venice-biennale-2022-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1446387824-9ceb26a8418225979b3c192762c4817908b4f1376a37011769d128da458af82c-d_295x166</video:thumbnail_loc>
<video:title>Angela Su: Arise: Hong Kong in Venice – Venice Biennale 2022</video:title>
<video:description><![CDATA[Angela Su talks about the new age group that tried to levitate the Pentagon, a story that informed her show at Venice, and says a lot of her work is about the interior of the body and physical transformation.

Angela Su (b1958, Hong Kong) studied biochemistry in Canada before turning to the world of art. And it is an alchemical mixture that she has conjured for her Arise: Hong Kong in Venice presentation. Her practice is centred around deep research into contemporary science as well as science fiction, and she has said: “Science, the history of science, the impact of technology and the transformative body are the recurring themes in my work.” Her practice is broad-ranging, including video, performance, drawings, hair-embroidery and installations.

For Venice, she has used almost all these media, in a layered, multi-room presentation, the centrepiece of which is her pseudo-documentary titled The Magnificent Levitation Act of Lauren O. In this interview for Studio International, she explains that it was inspired by her reading about the history of protests, and the discovery of an unlikely but true story. In the 1970s, members of a charismatic new-age movement, based at Esalen in California, tried to use the power of their minds to levitate the Pentagon as a form of anti-war protest (in Su’s film, it seems the US military get their soldiers to train with this community, to gain greater mental powers). The central, fictional character in the film, Lauren O, was inspired by Lauren Olamina, the main character in Octavia Butler’s book Parable of the Sower, who learns to fly in her dreams. All the other elements in the show are, in some form or other, exploring the “psychological preparation for levitation”.

In the introductory room, 15 small video screens suspended from the ceiling show us a multitude of dancers, gymnasts and circus acts performing. Su says: “For a tightrope walker, it’s a constant balancing act to guess what’s safe and what’s dangerous.” She calls this video collage Tiptoeing the Kármán Line – after ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/713272691</video:player_loc>
<video:duration>686</video:duration>
<video:publication_date>2022-05-24T09:05:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/pilvi-takala-close-watch-finland-venice-biennale-2022-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1451746357-5c5acadac813d2ba65a7cfebf34c18bcf59a1ea78350eeb3a0867c42b58097a9-d_295x166</video:thumbnail_loc>
<video:title>Pilvi Takala: Close Watch – Pavilion of Finland, Venice Biennale 2022</video:title>
<video:description><![CDATA[Close Watch, Takala’s multi-channel video at the Finnish Pavilion, is based on her time working undercover as a security guard in a large shopping centre. As she explains, it explores the concept of how private companies exert control over the behaviour of the public

The Berlin- and Helsinki-based artist Pilvi Takala (b1981, Helsinki) has an established practice of filming performative interventions, often going undercover to reveal the hidden workings of systems that constrain or control our behaviours. For the 59th Venice Biennale in the Pavilion of Finland, her presentation Close Watch (2021) reveals the research she undertook into the private security industry, spending six months undercover as a Securitas guard in one of Finland’s biggest shopping centres. The work painstakingly exposes the multitude of subtle and overt strategies for controlling behaviour between guards and members of the public, but also between the guards themselves, and reveals the invisible boundaries of what we consider acceptable behaviour in what is supposed to be a public space but is, in fact, part of the privatised public realm.

For ethical reasons, Takala could not film the day-to-day experience of guards and members of the public, but she used the six months’ immersion to observe and record in her notebook issues of concern and interest, stepping over the line from being a performer to becoming a participant. As she says here: “I was actually doing the work, so there wasn’t any pretending in it. And it was … quite challenging. For me, the research was also about: What problems will I have doing that work? What are the ethical considerations? I was, of course, interested in my colleagues but also in myself, how to do this work well.”

Takala worked with the architects Studio LA to adapt the original Alvar Aalto-designed Finnish pavilion to turn it into a space that articulates the dual nature of watching and being watched. The front half of the pavilion, where Takala reveals the methods by which, after her six-month work stint,]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/719974786</video:player_loc>
<video:duration>1059</video:duration>
<video:publication_date>2022-06-13T14:36:02+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/595926943-224df719cd94e00882141de924389819d4f2ce28d4b9ec99db866abd5ddcc3c1-d_640</video:thumbnail_loc>
<video:title>Real Snow White</video:title>
<video:description><![CDATA[Real Snow White, 2009
9:19 video

The absurd logic of the ‘real character’ and the extreme discipline of Disneyland become apparent when a real fan of Disney's Snow White* is banned from entering the park in a Snow White costume. As visitors are encouraged to dress up and a lot of costume-like merchandise is sold at the park, the full costumes are only sold for children. The Disney slogan ‘Dreams Come True’ of course means dreams produced exclusively by Disney. Anything even slightly out of control immediately evokes fear of these real, possibly dark and perverse dreams coming true. The fantasy of the innocent Snow White doing something bad is so obviously real, that the security guards and management refer to it when explaining why the visitor can’t enter the park dressed up as Snow White.

*Disney’s Snow White and the Seven Dwarfs from 1937 is the first full-length cel-animated film in history; based on a fairy tale by the Brothers Grimm.

Team: Raphaël Siboni, Ahmet Ögüt, Pénélope Gaillard, Anna Savolainen 
Supported by Rijksakademie van Beeldende Kunsten and Masa Projesi]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/117571113</video:player_loc>
<video:duration>559</video:duration>
<video:publication_date>2015-01-23T04:43:52+00:00</video:publication_date>
<video:uploader>Pilvi Takala on Vimeo</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/alberta-whittle-deep-dive-pause-uncoiling-memory-scotland-venice-biennale-2022-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1455707063-adb8d50817c4de9d7d353536e8fc968356a06b8c71dd748a36577a903dccd8b7-d_295x166</video:thumbnail_loc>
<video:title>Alberta Whittle: Deep Dive (Pause) Uncoiling Memory – Venice Biennale 2022</video:title>
<video:description><![CDATA[The Barbadian-Scottish artist has used sculpture, film and tapestry for her Scotland in Venice presentation. Her aim, she says, is to show that, through self-compassion and collective care, we can battle racism and colonialism.

Set apart from the crush and crowds of the nearby biennale venues, in a former boatyard, on a tranquil, waterfront site, the work by Alberta Whittle (b1980 Bridgetown, Barbados), for Scotland in Venice, invites you to do as its title says: pause. Her installation, Deep Dive (Pause) Uncoiling Memory, comprises tapestry, film and sculpture, and revisits and enriches themes Whittle has explored before: colonialism, oppression, forgotten (or suppressed) histories, the many legacies of slavery, and the experience of racism.

For Venice, it is the core part of her practice, the idea of collective care as an antidote to “anti-blackness”, that comes across most powerfully – in the seating and blankets she places around the two-room space to allow for rumination and discussion, as much as in the evident time, energy and love she has expended in making these works, alongside a variety of collaborators.

And despite the work’s unflinching exposure of issues that damage us all, this enveloping sense of compassion, clarity and affection emanates from the work and gives one the feeling that her mission, as explained in the introductory panel to her Venice installation, could be accomplished: “To collectively consider the historic legacies and contemporary expressions of racism, colonialism and migration, and begin to think outside these damaging frameworks.”

There are big green gates – vivid against the bright-purple-painted walls of the first gallery - placed at the waterfront, and around the two rooms within this former boat shed, which bear key words, including Remember, Pause, Breathe. One has pale lilac and maroon glass – made here in Venice – inserted into its frame.

Another is draped with a tapestry, of writhing limbs, splayed hands and snakes, which Whittle made at Edinburgh’s Dovecot Studios]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/722655006</video:player_loc>
<video:duration>924</video:duration>
<video:publication_date>2022-06-21T13:34:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/yuki-kihara-paradise-camp-new-zealand-venice-biennale-2022-video-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1467203718-a4be478ef5df07898fb257af88a1ea213bf0d4afaaa14880504a6d6b643a803b-d_295x166</video:thumbnail_loc>
<video:title>Yuki Kihara: Paradise Camp – Venice Biennale 2022</video:title>
<video:description><![CDATA[Artist Yuki Kihara, who is of mixed Japanese and Samoan heritage, talks about showcasing queer rights and revealing the toxic influence of colonialism in her works

The artist Yuki Kihara (b1975), who is of Japanese and Samoan descent, brought some tropical sunshine and more than a flash of gender political heat into the gloomy depths of Venice’s Arsenale, with a presentation that foregrounds queer rights, small island ecologies and decolonisation, among other hot topics.

As the first artist to represent New Zealand in Venice who identifies as Pasifika, Asian and fa’afafine (Samoan for someone who is born male but presents “in the manner of a woman”), Kihara is pulling no punches. Her installation, Paradise Camp, was inspired by an essay by Ngahuia Te Awekotuku that was presented at a Paul Gauguin Symposium in 1992, at the Auckland Art Gallery, drawing attention to the sexual ambiguity of some of the characters so vividly evoked by Gauguin. Kihara has repaid the compliment by staging photos inspired by Gauguin’s Tahiti paintings, using sites and people of Samoan origin, to reflect those similarities and celebrate Gauguin’s recognition of non-western and non-binary beauty. These are on show in Venice, as is a new film, also called Paradise Camp. Shot on location in Upolu Island, Samoa, it features a local cast and crew, mostly drawn from the the fa’afafine community, and its various chapters include one segment that playfully interrogates indigenous v colonial attitudes to art and culture, featuring a group of “ordinary Samoans” who end up mocking and deconstructing the kind of white cultural tropes that are taken for granted in Europe, but are unfamiliar in Samoan art education. 

Kihara, who works across photography, film, performance, curation and installations, studied fashion design at Wellington Polytechnic (now Massey University). While she was still a student, the national museum of New Zealand, Te Papa Tongarewa, purchased a work of hers, a rare accolade. The work was Graffiti Dress – Bombacific, which b]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/727514041</video:player_loc>
<video:duration>763</video:duration>
<video:publication_date>2022-07-06T15:27:52+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ai-weiwei-yours-truly-film-review-glastonbury-festival-2022</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/8kE95eSdsnc/hqdefault.jpg</video:thumbnail_loc>
<video:title>AI WEIWEI: YOURS TRULY - Official Trailer</video:title>
<video:description><![CDATA[Official trailer for the documentary feature film AI WEIWEI: YOURS TRULY

Artist and activist Ai Weiwei invites audiences to send postcards to prisoners of conscience, revealing how our simple acts of kindness can change the world.

yourstrulyfilm.com no longer works, please visit yourstrulydoc.org

A Film by Cheryl Haines

Trailer Editor: Katrina Bolletta
Trailer Composer: Wendy Blackstone
Editor: Katrina Bolletta
Composer: Wendy Blackstone]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/8kE95eSdsnc</video:player_loc>
<video:duration>103</video:duration>
<video:publication_date>2019-11-01T14:04:47+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/lubna-chowdhary-video-interview-erratics-mima-middlesbrough</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1486335136-326478b428d129d0eb9ce0765dd9d36e16a37b3f2771bdf9eb7c78fed3d2b03d-d_295x166</video:thumbnail_loc>
<video:title>Lubna Chowdhary – interview: ‘Erratic is a useful analogy for a diaspora artist’</video:title>
<video:description><![CDATA[With swooping forms and blazing colour, Chowdhary explores the grey areas between east and west, sculpture and architecture, and the functional and the decorative. She talks here about the themes that underpin her work

You can spot the artist’s house on Lubna Chowdhary’s quiet street in south London: the painting, planting and view through the windows all broadcast her mastery of subtle colour and form. At the back of a lively garden is her ceramics studio, lined with maquettes and works in progress. Back in the house, she has arranged an exhibition in miniature for us: examples of her recent series. They become essential props in a conversation that roves around the interplay of different cultures: the art world and the craft world; northern Europe and South Asia.

Chowdhary uses the vernacular of functional design – wooden furniture, ceramic vessels and tiles – to explore cultural hybridity, the object and the body, and the relationship between hand making and industrial manufacture. In her exhibition Erratics at Middlesbrough Institute of Modern Art, the artist elaborates these key concerns, while celebrating, too, the seductive lushness of coloured glazes and geometric ornamentation.

In geology, the term “erratic” denotes a stone inconsistent with the surrounding rock. Picked up and transported across long distances by a glacier, an erratic is deposited by melting ice: a stranger on foreign terrain, it is nevertheless, literally, part of the landscape. Chowdhary uses the term both for its sense of dislocation, and of blending: it is, she says, a useful analogy for a diaspora artist.

The titular Erratics are wooden sculptures inspired by furniture from India’s colonial period, now in the collection of the Victoria & Albert Museum (V&A) in London. Chowdhary encountered these hybrid objects during a ceramics residency at the museum in 2017. In Erratics I, II & III, she pushes the “lost in translation” oddness of 19th-century British designs reinterpreted by Indian artisans still further, beyond the limits of ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/738647962</video:player_loc>
<video:duration>1644</video:duration>
<video:publication_date>2022-08-11T11:00:25+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/isaac-julien-once-again-statues-never-die-review-barnes-foundation-philadelphia-us</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/0RcJbnkqT24/hqdefault.jpg</video:thumbnail_loc>
<video:title>Isaac Julien: Once Again . . . (Statues Never Die)</video:title>
<video:description><![CDATA[In celebration of our centennial, the Barnes commissioned Once Again . . . (Statues Never Die), an immersive five-screen installation by artist and filmmaker Sir Isaac Julien, CBE RA (b. London, 1960). The work explores the relationship between Dr. Albert C. Barnes, who was an early US collector and exhibitor of African material culture, and the famed philosopher and cultural critic Alain Locke, known as the “Father of the Harlem Renaissance.”

Once Again . . . (Statues Never Die) looks at Dr. Barnes’s and Alain Locke’s storied relationship, its mutually formative critical dialogue, and its significant impact on their work as cultural critics, educators, organizers, and activists on behalf of various African American causes.

With his distinguished career as a maker of deeply thoughtful and compelling video installations, his commitment to the investigation of African diasporic politics and culture, and his abiding interest in the Harlem Renaissance, Isaac Julien is the perfect partner for the Barnes in bringing this lesser-known chapter of the Foundation’s history to light.

The exhibition includes works by sculptors Richmond Barthé (1901–1989) and Matthew Harrison (b. 1989) and selected African objects from the Barnes collection.


Credits:
Created and directed by Isaac Julien, and co-written with Martina Klich, Once Again . . . (Statues Never Die) is commissioned by the Barnes Foundation and the Ford Foundation, with additional support from the Sharjah Art Foundation, Linda Pace Foundation, Carol Weinbaum, and the University of California, Santa Cruz. This exhibition is presented at the Barnes Foundation and curated by Thom Collins, Neubauer Family Executive Director and President. Advisers to the project are Dan Hicks, Professor of Contemporary Archaeology at the University of Oxford and Curator at the Pitt Rivers Museum; Jeffrey C. Stewart, Pulitzer Prize–winning author of The New Negro: The Life of Alain Locke and MacArthur Foundation Chair and Distinguished Professor of Black Studies at UC Santa Barbara; c]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/0RcJbnkqT24</video:player_loc>
<video:duration>143</video:duration>
<video:publication_date>2022-08-03T16:34:23+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/vivienne-binns-on-and-through-the-surface-review-museum-contemporary-art-sydney-australia</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/HgbMinwwTao/hqdefault.jpg</video:thumbnail_loc>
<video:title>Artists in Conversation: Vivienne Binns</video:title>
<video:description><![CDATA[Artist Vivienne Binns in conversation with Deborah Hart, Henry Dalrymple Head of Australian Art recorded in the artist’s studio.

Vivienne Binns is one of Australia’s most senior artists and a fundamental practitioner of the Women’s Art Movement in the 1970s. Binns is represented in the exhibition Know My Name: Australian Women Artists 1900 to Now with Tower of Babel (1989-) one of the longest running community arts projects in Australia. In this work, Binns exchanges with each participant an original work of art for a wooden box that is filled in any way they choose. Collaborating artists include Bonita Ely, Virginia Coventry and Narelle Jubelin, also included in Know My Name: Australian Women Artists 1900 to Now.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/HgbMinwwTao</video:player_loc>
<video:duration>1806</video:duration>
<video:publication_date>2020-11-16T00:17:29+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/matisse-red-studio-review-moma-museum-modern-art-new-york-national-gallery-denmark-copenhagen</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/pDWWf8pUQnk/hqdefault.jpg</video:thumbnail_loc>
<video:title>Henri Matisse   Voyages</video:title>
<video:description><![CDATA[Henri Matisse documentary]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/pDWWf8pUQnk</video:player_loc>
<video:duration>3301</video:duration>
<video:publication_date>2020-12-27T23:04:54+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/museu-xyz-marlus-araujo-ana-cunha-interview-brazil-museum-in-metaverse</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/5DxogzLfpQY/hqdefault.jpg</video:thumbnail_loc>
<video:title>museu.xyz :: Metaversidade - Festival do Conhecimento UFRJ</video:title>
<video:description><![CDATA[]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/5DxogzLfpQY</video:player_loc>
<video:duration>88</video:duration>
<video:publication_date>2021-09-28T14:54:41+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/tmgYSfg9gg8/hqdefault.jpg</video:thumbnail_loc>
<video:title>museu.xyz :: CryptoRastas Sound System Session pon di Metaverse #2</video:title>
<video:description><![CDATA[This was a live stream promoted by #CryptoRastas in the #metaverse - direct from Kingston, #Jamaica - with DJ @Yaadcore + @Micah Shemaiah & @Aza Lineage 

original streamed on Sept 6th at Museu.xyz in #CryptoVoxels
video by Ottis]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/tmgYSfg9gg8</video:player_loc>
<video:duration>124</video:duration>
<video:publication_date>2021-09-28T14:59:04+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/7CT8r6kegJ0/hqdefault.jpg</video:thumbnail_loc>
<video:title>fra_dao no Museu XYZ</video:title>
<video:description><![CDATA[Agradecimentos ao incrível Museu.xyz e Artistas da comunidade fraDAO & NEAR Protocol
near.org/
fradao.xyz

créditos:
Marlus Araujo, Fabio Emma, Patricia Borges, Raissa Laban, Narau, Frado MNT, Near Protocol e artistas da comunidade fraDAO

tags: metaverso, cryptovoxel, fraDAO]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/7CT8r6kegJ0</video:player_loc>
<video:duration>113</video:duration>
<video:publication_date>2022-08-31T20:51:56+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/GBXRnJfMsxg/hqdefault.jpg</video:thumbnail_loc>
<video:title>museu.xyz :: FIAC 13</video:title>
<video:description><![CDATA[MUSEU.XYZ recebe o décimo terceiro Festival Internacional de Artes Cênicas - Salvador, Bahia.

Os sambaquis brasileiros inspiraram um formato de festival (e de site) que amplia a experiência de contato a obras, narrativas e artistas. Nossa programação é montanha de terra fértil, porosa e receptiva, favorável à germinação de comunidades.

No FIAC Bahia 2021 o sambaqui é espiralar – passado, presente e futuro – e multidirecional: mais do que obras, são compartilhadas trajetórias, questões, repertórios, artefatos, composições e performatividades. Em cada página deste site você encontra camadas a serem descobertas. Sua escavação pode ser linear. Ou randômica. Você escolhe como experenciar.

https://fiacbahia.com.br/

Exposição FIAC 13 no Museu.xyz
Curadoria: Felipe Assis
Metarquitetura: Marlus Araujo e Fabio Ema
Vídeo: Ottis]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/GBXRnJfMsxg</video:player_loc>
<video:duration>90</video:duration>
<video:publication_date>2021-11-30T13:27:27+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/permindar-kaur-video-interview-outgrown-the-art-house-wakefield</loc>
<video:video>
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<video:title>Permindar Kaur – interview | The Art House, Wakefield | 2 September 2022</video:title>
<video:description><![CDATA[‘It’s hard to get a balance in the work: an equal amount of threat and an equal amount of softness’

The sculptor talks to us about her playful use of the domestic realm to explore feelings of belonging and culture identity

Blending the soft with the spiky, comfort with threat, the domestic with hints of something wild, Permindar Kaur’s sculpture and installations explore the subtleties of belonging. As becomes evident from her new exhibition at The Art House in Wakefield, Kaur’s sculptural language has been remarkably consistent since she first emerged on to the British art scene in the early 1990s. Outgrown brings together works that take their formal language from the domestic realm, across three decades of Kaur’s career. The public space of the gallery, visible from the street through floor-to-ceiling windows, has been reimagined as a home, with spaces for sleeping, sitting, playing and dining.

At the centre of the gallery, the spindly Overgrown House (2020) sprouts up toward the skylights as though it were an organic entity sending shoots out towards the sun. A cluster of small steel beams surrounding it suggests that this blatantly manufactured structure has also been sending roots out beneath the ground to generate a series of small clones. Kaur typically brings two materials together in each work – often textile and metal. In the case of Overgrown House, this gesture is particularly understated: rounded “sprouts” have been welded on to square beams, suggesting an arboreal evolution of the industrial material.

Kaur also plays with scale in the earliest work in the show, Tall Chairs 1996 – a pair of leggy steel seats on which perch two soft yellow beings, their arms hugged self-protectively around their little legs. Other brightly coloured fleecy avatars appear climbing the legs of a spiky steel stool or weighed to the ground under a suffocating pile of blankets. A herd of colourful creatures are also clustered beneath a skeletal narrow bed. Bristling with copper spikes, they suggest the unspeakable horr]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/748765545</video:player_loc>
<video:duration>1603</video:duration>
<video:publication_date>2022-09-12T08:53:54+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/anna-freeman-bentley-make-believe-review-frestonian-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/t0tfi0wpSYM/hqdefault.jpg</video:thumbnail_loc>
<video:title>20 Movie Mistakes You Never Noticed Until Now</video:title>
<video:description><![CDATA[DID YOU NOTICE? Crew Members, Cameramen And Filming Equipment Found Their Way Into The Final Cut Of These Movies & TV Shows! 
Subscribe: http://bit.ly/Subscribe-to-Things

Hold on a second, we have got to rewatch these movies again! The reason? We just discovered that there are multiple cases of crew members being caught on screen. Sometimes, when making a movie, crew members get in the shot or in the camera’s way. Most of the time, we don’t see it because it gets cut during the editing process. But sometimes, little mistakes peek through, much to our surprise. We’ll be looking at twenty different instances in which movie crew members or their equipment can be seen on screen. These aren’t super obvious, so it’ll take a keen observer to pick out all of the instances. In many cases, the crew or equipment is only seen in the corner of the screen or just for a brief second. Either way, we know the filmmakers definitely didn’t mean for these things to happen. Are you a fan of the Harry Potter series? How about Marvel? Or are you just missing your favorite childhood classics? You’ll definitely want to check out this video because the Harry Potter movies and movies like Iron Man make these classic blunders of featuring the crew members and equipment when they don’t mean to. For example, did you know that you can see the seat of Harry Potter’s broomstick in one scene? How about a reflected camera crew in Iron Man? Even our favorite movies like Bruce Almighty and Gladiator have a slip up or two. Watch this video to see twenty cases of when we caught crew members and equipment on screen. Maybe they just wanted to be movie stars, too. Who knows? Thanks for watching!

Harry Potter and the Philosopher’s Stone
Twilight
The Mandalorian
Harry Potter and the Prisoner of Azkaban
Pirates of the Caribbean
Spy Kids
Harry Potter and the Order of the Phoenix
Charlie and the Chocolate Factory
The Dark Knight
Harry Potter and the Deathly Hallows, Pt. 2
Iron Man
Superman Returns
Split
Bruce Almighty
Cheaper by the Dozen
Nightcrawler
Titan]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/t0tfi0wpSYM</video:player_loc>
<video:duration>507</video:duration>
<video:publication_date>2021-02-13T16:45:01+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/nordic-sami-pavilion-venice-biennale-2022-interviews-sweden-norway-finland</loc>
<video:video>
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<video:title>Anders Sunna | The Sámi Pavilion, Venice Biennale 2022</video:title>
<video:description><![CDATA[Sámi artists Anders Sunna, Máret Ánne Sara and Pauliina Feodoroff have transformed the Nordic Pavilion to highlight the continuing struggle against colonialism, discrimination and land possession faced by Europe’s only Indigenous people

Anders Sunna, who is from Swedish Sápmi, created an installation of five large-scale “history” paintings, each depicting a decade in the 50-year battle between his family and the Swedish authorities, mainly over reindeer-herding practices. “When the government had made you illegal, then everything is legal to do to you. So, you have no rights at all,” Sunna said, speaking at his studio in the Swedish town of Jokkmokk ahead of the biennale. The paintings, which incorporate collage and draw on Sámi symbology, are enclosed within wooden casings carved by members of Sunna’s family, with shelves holding folders of thousands of documents from all the court cases, and each work immerses the viewer in a sonic landscape composed of field recordings from the court and interviews. The charred remains of a sixth painting in the series lie strewn on the ground, representing an equivocal future.

Giardini 
27 September – 27 November 2022

Review and interviews by ELIZABETH FULLERTON
Filmed by ELIZABETH FULLERTON and MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/727010824</video:player_loc>
<video:duration>261</video:duration>
<video:publication_date>2022-07-05T08:43:27+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
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<video:title>Máret Ánne Sara | The Sámi Pavilion, Venice Biennale 2022</video:title>
<video:description><![CDATA[Sámi artists Anders Sunna, Máret Ánne Sara and Pauliina Feodoroff have transformed the Nordic Pavilion to highlight the continuing struggle against colonialism, discrimination and land possession faced by Europe’s only Indigenous people

Máret Ánne Sara’s visceral presentation grew out of her four-year artistic campaign Pile O ’Sápmi, alongside her brother ’s unsuccessful legal challenge to Norway ’s forced reindeer culls. That project’s most famous iteration was a vast curtain of reindeer skulls, which was exhibited at Documenta 14 in 2017 and now hangs at the National Museum of Oslo. In her studio in Guovdageaidnu in Norwegian Sápmi, Sara described how a chance conversation with a reindeer herder helped her overcome her despair over her brother’s defeat and the Sámis’ plight, and inspired her Venice works. He told her: “Seeing the first red calves when they’re newborn makes all the struggles vanish. It strengthens your body, your spirit and your visions for the future.”

For this show, Sara collected the corpses of reindeer calves and incorporated them in a dramatic spiral mobile. Half hidden among hanging birch branches and grasses, the baby corpses appear to be in motion, caught in a liminal state between life and death. Surrounding the mobile, amorphous sculptural forms composed of hand-stitched reindeer intestines reference the stomach’s function as a container of emotional knowledge and the Sámi idea of “duodji”, narrowly connoting the tradition of “craft” as well as a philosophy of life based on the absolute interconnectedness of humans, animals and nature.

Giardini 
27 September – 27 November 2022

Review and interviews by ELIZABETH FULLERTON
Filmed by ELIZABETH FULLERTON and MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/727093866</video:player_loc>
<video:duration>104</video:duration>
<video:publication_date>2022-07-05T12:41:20+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Pauliina Feodoroff | Sámi Pavilion (Nordic Countries), Venice Biennale 2022</video:title>
<video:description><![CDATA[Sámi artists Anders Sunna, Máret Ánne Sara and Pauliina Feodoroff have transformed the Nordic Pavilion to highlight the continuing struggle against colonialism, discrimination and land possession faced by Europe’s only Indigenous people

Pauliina Feodoroff’s multipronged work at Venice has a tangible goal: to raise awareness and money to protect as much old-growth forest as she can. For the past five years, Feodoroff has collaborated with land guardians to create a “forest peace plan” for lands decimated by commercial logging. With the aim of eventually buying back privatised land for the Sámi to manage and renew, the artist has created a series of images of these landscapes to be auctioned off, along with the rights to visit the land every five years. She calls these “landpersonscapes” in recognition of the Sámis’ inseparability from land that European colonisers long characterised as empty wilderness. “Buy our art, not our land,” is the message.

In addition to this fundraising element of the project, Feodoroff has choreographed a three-part performance titled Matriarchyaddressing issues around colonisation, Sámi notions of kinship with nature and matriarchal values of care and collectivity. The first part, titled Contact, enacts “the first proper greeting” between Indigenous and non-Indigenous peoples, demonstrating the Sámi tradition of gift-giving, which settlers misread for submission to domination. The second part, Auction, performs a sale of the landpersonscapes, and the final, jubilant segment, Matriarchy, celebrates the decolonisation of the female body and its communion with the land. “In our society everybody leads and nobody leads,” she said during a press trip to visit majestic old-growth forests flanking Lake Inari in northern Finland. “We don’t want to be governed and nature doesn’t want to be governed, it wants to be collaborated with.”

Giardini 
27 September – 27 November 2022

Review and interviews by ELIZABETH FULLERTON
Filmed by ELIZABETH FULLERTON and MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/727555536</video:player_loc>
<video:duration>789</video:duration>
<video:publication_date>2022-07-06T17:43:22+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/grace-ndiritu-video-interview-the-healing-pavilion-wellcome-collection-london</loc>
<video:video>
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<video:title>Grace Ndiritu – interview | The Healing Pavilion | Wellcome Collection, London</video:title>
<video:description><![CDATA[Grace Ndiritu: ‘Museums hold our collective past and they can hold our future’

Ndiritu talks about her show at the Wellcome Collection, where a Zen Buddhism-inspired temple allows visitors to contemplate her tapestries Repair and Restitution, and explains why reshaping the role of museums is so important to her

Healing forms the bedrock of the British-Kenyan artist Grace Ndiritu’s multidisciplinary artistic and spiritual practice. In 2012, she launched a body of work titled Healing the Museum, feeling that art institutions had lost touch with the public and the sense of “sacredness” that fosters critical thinking and understanding of their collections. Through shamanic rituals, meditation and holistic workshops, Ndiritu has sought to reactivate museums with the aim of making them living spaces of collective learning rather than places in which to passively observe objects. Ndiritu’s show The Healing Pavilion at the Wellcome Collection in London continues this line of action.

Using walnut panels taken from the Wellcome’s now dismantled Medicine Man gallery, which housed ethnographic objects collected by the 19th century pharmaceutical entrepreneur Sir Henry Wellcome, the artist has constructed a Zen Buddhism-inspired temple for contemplation of her installation The Twin Tapestries. There are cubbyholes for shoes as one finds in some places of worship (although most visitors seem to be keeping them on). Inside are two enlarged photographs woven on tapestries titled Repair and Restitution, which hang on opposite walls. Repair is taken from a 1915 archival photo of staff at the private Wellcome Historical Medical Museum, the forerunner of the Wellcome Collection. Wearing formal attire, the staff pose stiffly as they hold various artefacts, including human skulls and masks. Restitution has an altogether different tone, based on a photo from 1973 showing casually dressed staff at the Ethnologisches Museum in Berlin arranged around an intricately beaded royal throne from the Kingdom of Bamum in Cameroon. Staged like ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/778812788</video:player_loc>
<video:duration>1316</video:duration>
<video:publication_date>2022-12-07T06:00:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/zineb-sedira-video-interview-cant-you-see-the-sea-changing-de-la-warr-pavilion</loc>
<video:video>
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<video:title>Zineb Sedira – interview | London, 14 December 2022</video:title>
<video:description><![CDATA[‘It makes sense to include part of my life, part of me, in the work’

Sedira discusses her acclaimed French Pavilion for the 2022 Venice Biennale, as well as how the sea became a leitmotif for transnational identity in Can’t You See the Sea Changing?, her solo exhibition at De Le Warr Pavilion and Dundee Contemporary Arts

For Zineb Sedira, the personal is political. Over the course of her 25-year career, Sedira, who describes herself as “a film-maker at heart”, has mined personal history and autobiography to explore postcolonial memory, movement and relationality.

Can’t You See the Sea Changing? is Sedira’s first solo show in a UK public gallery for 12 years. At consecutive coastal locations, the De La Warr Pavilion in Bexhill and then Dundee Contemporary Arts, the artist presents a body of work that riffs on the sea as passage, border and site of displacement and perpetual motion. At the same time, her project for the French Pavilion at the 2022 Venice Biennale, Dreams Have No Titles, which received the Jury’s Special Mention, is preparing to travel to Berlin’s Hamburger Banhof.

We meet in Sedira’s south London living room, which is uncannily familiar from models and dioramas that present the artist’s home as a sort of stage set or mise en abyme (an iteration of this work, Way of Life, was presented at the Jeu de Paume, Paris, in 2019, before Venice). Sedira notes that, with its 1960s furniture and vintage Algerian records and posters, the room is a stand-in for the sort of discursive spaces that allowed for debate, collaboration and, crucially, friendship, during the liberation movements of the 60s in Algeria.

Zineb Sedira: Can’t You See the Sea Changing?
De La Warr Pavilion, Bexhill-on-Sea
24 September 2022 – 8 January 2023
and
Dundee Contemporary Arts
29 April – 6 August 2023

Dreams Have No Titles (from the French Pavilion at the Venice Biennale 2022)
Hamburger Bahnhof, Berlin
24 February – 30 July 2023

Interview by AMIE CORRY
Filmed by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/786324502</video:player_loc>
<video:duration>1574</video:duration>
<video:publication_date>2023-01-04T12:03:07+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/david-mach-video-interview-heavy-metal-pangolin-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1596690659-cdb25eda0529b6e5a082169080278a4d23b15070f763f6912c860337ed1f86ac-d_295x166</video:thumbnail_loc>
<video:title>David Mach – interview | London, 11 January 2023</video:title>
<video:description><![CDATA[‘I tried to make myself known as an ideas monger’

The Scottish artist discusses what fuels his inclination to work at scale and the importance of necessary extravagance when making art with the stuff of everyday life, from matches to shipping containers as well as architecture

David Mach (b1956, Fife) loves to work at scales many would consider unfeasible. In 1983, a year after graduating from the Royal College of Art, he recreated a life-sized Polaris submarine out of 6,000 rubber tyres behind London’s Royal Festival Hall. Although vast tonnes of magazines and newspapers became something of a trademark material – at the Gallery of Modern Art Glasgow in 2002, he used 15,000 copies of the Herald for his sculpture Bangers and Mash - he has deployed all manner of bulky everyday stuff in his sculptures and collages, including cars, furniture, shipping containers, aeroplanes and even a row of 12 toppling red telephone boxes. The latter piece, Out of Order (1989), still stands in Kingston’s shopping centre – now a poignant reminder of those simpler days when the only phones we used were attached to a piece of cable.

This penchant for the huge and unwieldy makes complete sense when you ask him where that impulse came from. As he reveals here, the Fife town where he was born, Methil, “was absolutely an amazing place to grow up”. Surrounded by 20th-century industry, with oil platforms visible out to sea, and components being constructed around the corner, he says that every day: “Something would come past the window of our house - the leg of an oil platform that was the length of three buses, with all these bits sticking off it.” In the 1960s and 70s, there was full employment, in mining, the oil industry, shipping and freight at Dundee’s active port. All this, he says, was “right on the doorstep of gorgeous countryside and stupendous beaches - the Riviera of Scotland”. He adds: “It gave me a sense of necessary extravagance. Let’s not be reasonable about this. Let’s go to town.”

That extravagance is palpable in Brick ]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/793169337</video:player_loc>
<video:duration>2442</video:duration>
<video:publication_date>2023-01-26T18:25:28+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/kyriaki-goni-interview-for-me-technology-is-existential-discussion-data-garden-blenheim-walk-gallery-leeds-arts-university</loc>
<video:video>
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<video:title>Kyriaki Goni | Not Allowed for Algorithmic Audiences, 2021 (excerpt) | © Kyriaki Goni.</video:title>
<video:description><![CDATA[Excerpt from Goni's interview with Studio International, January 2023.
"In 2021, I made a work on voice interfaces and digital assistants. These algorithms are now so well trained that it’s quite difficult for a human to know whether she is talking to a bot. This work is called Not Allowed for Algorithmic Audiences. It was commissioned by Deutsche Telekom and Ars Electronica. And the title references that, right now, there is a huge audience online which is mainly algorithms. YouTube videos are harvested to train algorithms so they can really understand if I’m sobbing or laughing, and accordingly suggest things, for advertising."
Read the interview in full on the Studio International website.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/794825756</video:player_loc>
<video:duration>154</video:duration>
<video:publication_date>2023-02-01T06:19:48+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
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<video:title>Kyriaki Goni | A Way of Resisting (Athens data garden), 2020 (excerpt) | © Kyriaki Goni</video:title>
<video:description><![CDATA[Excerpt from Goni's interview with Studio International, January 2023:
"The Athens Data Garden, which is titled A Way of Resisting ... it’s a multimedia installation, consisting of 10 different parts. There is a main video, which is about a semi-fictional community residing in Athens in 2020 that decides to transfer their digital memory into the DNA of Micromeria acropolitana, a tiny plant endemic on Acropolis Hill. It’s a real plant, with a very small population, quite a fragile ecosystem. 

They say it’s very, very old. I have not seen this plant myself. I decided I would not try to see the plant because I wanted to respect its invisibility. In turn, I use it in the work by making a comparison with the invisibility that we might be in need of in the coming years, protecting our own identity, in a world where privacy becomes something for the few, or in an attention economy where our presence is monetised. So, what does it mean to become invisible or to try as a strategy to be less and less visible? The main video is a narrative by me in Greek, where I talk about these three encounters that I had with this fictional community and the way they introduce me to their philosophy of connecting with a plant, sharing their memories, protecting their fragile ecosystem, and also introducing the ritualistic connection with this plant ecosystem."

Read the interview in full on the Studio International website.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/794831192</video:player_loc>
<video:duration>47</video:duration>
<video:publication_date>2023-02-01T06:39:14+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/rebecca-fortnum-video-interview-les-practiciennes-henry-moore-institute-leeds</loc>
<video:video>
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<video:title>Rebecca Fortnum – interview | Henry Moore Institute, Leeds | 31 January 2023</video:title>
<video:description><![CDATA[‘I’m trying to bring these women back to life by painting them in flesh-like tones’

As Fortnum was at the Henry Moore Institute, installing her exhibition of paintings and drawings of sculptures of women connected to Rodin, she spoke candidly about her belief that the sculptor received a ‘bad press’ and about the slippage between the multiple layers of translation in her work

The daughter of two sculptors, Rebecca Fortnum (b1963, London), despite the need to define herself as a painter, unsurprisingly has a deep interest in sculpture and the direct encounter this medium demands. Continuing her practice of drawing and painting from sculptures, this one-room exhibition at the Henry Moore Institute in Leeds looks at female sculptors who were associated with Auguste Rodin’s studio in Paris at the turn of the last century. A research fellowship at the institute in 2021-22 formed the basis of her study, from which she has chosen 15 – and, she says, it could have been many more – names, most of which were unknown to her beforehand. These include Camille Claudel – perhaps the most tragic and well known of Rodin’s encounters; Sarah Bernhardt – known for her acting, but not for her sculpting; and the African American poet, painter, theatre designer and sculptor Meta Vaux Warrick Fuller.

By choosing to make, not portraits of the women themselves, but paintings of sculpted heads of other women, made by the chosen 15, all using the trope of downcast eyes, Fortnum is not only putting the focus firmly on the status of these women as artists in their own right, but she is creating a multilayered translation. Her finished, two-dimensional, painted image is a translation of a three-dimensional, inanimate translation of a three-dimensional animate being (the original sitter) – and often there is another remove, as many of the sculptures no longer exist or are in private collections, and so Fortnum had to work from two-dimensional archival imagery. She describes her process of “colouring in the blanks” and breathing life into the]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/798145951</video:player_loc>
<video:duration>1421</video:duration>
<video:publication_date>2023-02-12T11:46:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/brian-vincent-heather-spore-interview-edward-bresinski-film-make-me-famous</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/zyFB5bVQWM8/hqdefault.jpg</video:thumbnail_loc>
<video:title>Make Me Famous trailer</video:title>
<video:description><![CDATA[A madcap romp through the 1980's NYC art scene amid the colorful career of painter, Edward Brezinski, hell-bent on making it. Directed by Brian Vincent.

Screening at the 2022 Revelation Perth International Film Festival

https://www.revelationfilmfest.org/event/make-me-famous/2022-07-09/]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/zyFB5bVQWM8</video:player_loc>
<video:duration>97</video:duration>
<video:publication_date>2022-06-27T10:52:25+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/andrew-black-interview-on-clogger-lane-tetley-leeds-film-making-a-research-process</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1616707447-245daed755943059f5a6708021af0489f33c0bc87c77cffb58e742e20cae4a38-d_295x166</video:thumbnail_loc>
<video:title>Andrew Black, On Clogger Lane, 2022. Excerpt courtesy of the artist.</video:title>
<video:description><![CDATA[Andrew Black: ‘The film-making process for me is a research process first … the film is what it forms into when it’s ready’

Artist Andrew Black discusses his film documenting the social and economic history of the Washburn Valley in the Yorkshire Dales, and how mining and, more recently US intelligence gathering, have affected the communities that live here.

Black spoke with Studio International at the Tetley in Leeds before the show’s opening.

Black spoke with Studio International at the Tetley in Leeds before the show’s opening.

Black spoke with Studio International at the Tetley in Leeds before the show’s opening.

Read the interview in full on the Studio International website.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/801281686</video:player_loc>
<video:duration>145</video:duration>
<video:publication_date>2023-02-22T11:29:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/ingela-ihrman-interview-nocturne-gasworks-london-eden-project-cornwall</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/Wk9urDls8Uk/hqdefault.jpg</video:thumbnail_loc>
<video:title>Jan Lindblad Film Festival 2010 - how to communicate with a black-throated diver.</video:title>
<video:description><![CDATA[A clip from the movie Våra Tigrar del 1 (Our Tigers part 1) by the Swedish filmmaker Jan Lindblad (1932-1987). Jan Lindblad shows how to communicate with a black-throated diver.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/Wk9urDls8Uk</video:player_loc>
<video:duration>274</video:duration>
<video:publication_date>2010-05-09T13:48:38+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/wu-tsang-video-interview-of-whales-moby-dick-or-the-whale-thyssen-bornemisza-madrid</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1627416920-1ac7eb183c52b981909236c54c4618f5a5972fb98f3b2df0a39c80c10562f172-d_295x166</video:thumbnail_loc>
<video:title>Wu Tsang – interview | Madrid | 21 February 2023</video:title>
<video:description><![CDATA[‘I’m drawn to stories that have messy politics’

Tsang trains a postcolonial lens on Herman Melville’s 19th-century novel Moby-Dick for her immersive video installation Of Whales and beguiling silent film MOBY DICK; or, The Whale. She talks about the works, staged by TBA21, now on show at Museo Nacional Thyssen-Bornemisza in Madrid.

Wu Tsang: Of Whales
Staged by TBA21 at Museo Nacional Thyssen-Bornemisza, Madrid
21 February – 11 June 2023

The feature-length film MOBY DICK; or, The Whale, directed by Wu Tsang, will be screened on Tuesdays and Saturdays during the duration of the exhibition.

Interview by ELIZABETH FULLERTON
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/803456787</video:player_loc>
<video:duration>1197</video:duration>
<video:publication_date>2023-03-01T08:26:45+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/shanti-panchal-video-interview-endurance-art-on-the-underground-london-mural</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1633765849-b8d00f13bce7bcd273cde6ec363247df8eb196607241f0fa25fa398df201e6f4-d_295x166</video:thumbnail_loc>
<video:title>Shanti Panchal: interview | Harrow | 13 December 2022</video:title>
<video:description><![CDATA[‘It’s a meditative process, a layering of colour, sometimes 10 or 15 layers’

The artist discusses the enduring power of painting, the evolution of his watercolour technique, the influence of his childhood landscape on palette and subject, and the importance of persistence.

Shanti Panchal believes in slow art. His painstaking and meditative technique with watercolour – a careful layering of colour mixed directly on to paper – can take up to six weeks for a portrait, and his mural at the entrance to Brixton tube station in south London, commissioned by Art on the Underground, took him six months. He attributes this thoughtful, time-rich technique to his upbringing in the rural wilds of North Gujarat. “I grew up in a remote village – not even on the local map – a very organic world,” he tells Studio International. “We had no water tap or electricity, or anything like that. When the monsoon came, we swam in the mud. Your whole body was very much with the earth. These organic elements stayed with me. The earth colours, the mud-wall houses, the red roof tiles.”

Panchal arrived in London in 1978, on a British Council scholarship to study for two years at the Byam Shaw School of Art, after completing five years of study at the Sir JJ School of Art in Mumbai. The bustle of 1970s London was a shock to the system; Mumbai was also a shock to the system, but he was able to get through his art studies thanks to the kindness of the art teacher at his village school, who was ambitious for him, and allowed him to sleep on his affluent Mumbai family’s office floor, paying his school fees in return for daily cleaning.

Panchal returned to India after his studies and taught briefly, but resumed his life in London where his talents were soon recognised, in the radical, pro-diversity atmosphere of early-80s London in which other black and Asian British artists – including the now highfliers Lubaina Himid and Veronica Ryan – had carved out space for new voices and perspectives. The power of his serene, compassionate depictions of As]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/781565077</video:player_loc>
<video:duration>1586</video:duration>
<video:publication_date>2022-12-15T12:53:06+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/dominic-harris-video-interview-feeding-consciousness-halycon-gallery-london</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1680641401-b97db3a934522847343876f8b71020dd7b170eaaacb8ad2969416d30ce9a9331-d_295x166</video:thumbnail_loc>
<video:title>Dominic Harris interview | Halcyon Gallery, London | 22 May 2023</video:title>
<video:description><![CDATA[‘I’m trying to empower the viewer to assume a larger force within the artworks’

At his latest exhibition, Feeding Consciousness, at the Halcyon Gallery, the British artist discussed his inspirations and the artistic processes behind the interactive digital artworks on show.

Dominic Harris initially trained as an architect on Stephen Gage’s interactive architecture course at the Bartlett, University College London, and this has informed his interest in kinetic, interactive and immersive art. Inspired by Stanley Kubrick’s belief that “the screen is not the edge of the artwork,”1 Harris uses the real-time responses of a digitally driven interactive-art system in which the viewer becomes a collaborator with the artist, helping to create meaning.

His aesthetic continues the tradition of romanticism and notions of the sublime that have intrigued artists since the late 1700s. Drawing on these concepts of the different, the otherworldly and the awesome, Harris’s work evokes the wonder of the natural world, the grandeur of nature or, indeed, the strangeness of contemporary life. Addressing issues of contemporary importance, such as the fragility of ecosystems and global systems of control and consumption, including vast productions of data and the constant bombardment of imagery, the artist aims to connect with beauty to transform the destabilising influence of our now ubiquitous digital technology. This remains vitally important as we continue to navigate the complex inter-relationship of humans and machines in the 21st century.

The Halcyon Gallery has recently taken over 148 New Bond Street in Mayfair, London, the former premises of The Fine Art Society, where for more than 140 years works by JMW Turner, James McNeill Whistler and many other leading artists had been exhibited. The Halcyon sees itself as a custodian of this historic building; the renovations have retained many of the original architectural features and the space now takes on a fresher feel for a younger generation of artists. 

Reference
1. Stanley K]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/832689566</video:player_loc>
<video:duration>1280</video:duration>
<video:publication_date>2023-06-02T12:32:57+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/paul-smith-video-interview-picasso-celebration-the-collection-in-a-new-light</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/1680298382-5f52ebd54e5d17ad24112a191f0071257fc5bb067dc02eb3ae740c1afc4a7397-d_295x166</video:thumbnail_loc>
<video:title>Paul Smith interview | The Musée National Picasso-Paris | 24 May 2023</video:title>
<video:description><![CDATA[‘I'd often look up and ask the boss, “Mr Picasso, would you like that?”’

To mark the 50th anniversary of Picasso’s death, the Musée National Picasso, Paris, commissioned a re-presentation of its extensive collection and invited the designer Paul Smith to be its artistic director. Studio International caught up with him at the resulting exhibition, Picasso Celebration: The Collection in a New Light.

The leading British fashion designer Paul Smith is well-known for his use of bright colours and combinations of patterns in his clothing and his shops, and he has brought that same design skill to bear in this new exhibition, for which he was given a free hand in which works to include and how to display them. Banishing the white cube, he has drawn out Picasso’s own colour and patterns in unusual ways. It was a risk, he admits, to place masterpieces by one of modern arts most famed artists on walls of brightly painted stripes and floral wallpaper, but it works. Smith is, in his own field, a master of putting a creative twist on tradition and he has done it again here, fulfilling his brief to show Picasso “in a new light”.

Smith didn’t just design the show. He also selected the works from the thousands of pieces in the museum’s collection – the world’s largest holding of Picasso’s work – and decided what would go where. The designer shares Picasso’s eclectic taste in influences, his endless willingness to experiment, and his love of seeing one thing in another. Smith’s approach is at once serious and playful, respectful and fun. And it is proving a hit with everyone from children and students to top international curators.  

Picasso Celebration: The Collection in a New Light
The Musée National Picasso-Paris
7 March – 27 August 2023

Interview by JULIET RIX
Filmed and edited by MARTIN KENNEDY]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/833676618</video:player_loc>
<video:duration>1037</video:duration>
<video:publication_date>2023-06-06T09:44:24+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/tom-wood-i-started-doing-portraits-of-these-kids-hanging-around-on-drugs-photie-man-walker-art-gallery-liverpool</loc>
<video:video>
<video:thumbnail_loc>https://i.ytimg.com/vi/9xS3nRF8zvI/hqdefault.jpg</video:thumbnail_loc>
<video:title>Photie Man: 50 Years of Tom Wood | Walker Art Gallery | National Museums Liverpool</video:title>
<video:description><![CDATA[This exhibition celebrates the internationally-acclaimed Irish artist Tom Wood (b. 1951), showcasing his iconic images of Liverpool and bringing together his work from across all decades, it will be the first major retrospective of Tom’s work in Liverpool.

Highlights include epic and renowned projects such as ‘Looking for Love’ from the Chelsea Reach nightclub in New Brighton, and Wood’s widely-praised Bus Series (‘All Zones Off Peak’). Unseen long-term studies of two major local institutions like Cammell Laird Shipyard feature alongside his images taken around the city’s football grounds.

The exhibition will also explore Wood’s use of found photographs and landscape photography taken in Ireland and North Wales, alongside never-before-seen film work from the artist.

Photie Man: 50 Years of Tom Wood
20 May 2023—07 Jan 2024

Book your tickets
www.liverpoolmuseums.org.uk/photie-man

Twitter  - https://twitter.com/walkergallery 
Facebook -  https://www.facebook.com/walkerartgallery
Instagram -  https://www.instagram.com/walkerartgallery]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://www.youtube.com/embed/9xS3nRF8zvI</video:player_loc>
<video:duration>31</video:duration>
<video:publication_date>2023-04-21T15:11:27+00:00</video:publication_date>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/shezad-dawood-interview</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/474396084-9248cf6f64d38eb8d8fd5ee8161f0f56b43e7d14a36a25653e75e991838a6aed-d_295x166</video:thumbnail_loc>
<video:title>Shezad Dawood: interview</video:title>
<video:description><![CDATA[The multidisciplinary artist Shezad Dawood’s first solo London show opened at the Parasol Unit in April this year. Titled Towards the Possible Film, Dawood’s practice tells us stories that draw from multicultural sources while dancing with issues that concern humanity. Highlighting new ways to consider where, who and what we are to ourselves and to each other, Dawood gives us much to think about, and to dream on, too. 
We went to Shezad Dawood’s studio in east London to talk about his work and his exhibition.
Interview by MK Palomar.
Film by Martin Kennedy.]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/94447320</video:player_loc>
<video:duration>1421</video:duration>
<video:publication_date>2014-05-07T15:29:04+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
<url>
<loc>https://www.studiointernational.com/index.php/bloomberg-new-contemporaries-2014-ica-london-kirsty-ogg-marvin-gaye-chetwynd</loc>
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/499692637-1bfd49ea414e91004416f6583b43bb2e3953ca639937d4f7ae03352a30ead1e1-d_295x166</video:thumbnail_loc>
<video:title>Marvin Gaye Chetwynd, interview at Bloomberg New Contemporaries 2014, ICA, London</video:title>
<video:description><![CDATA[Turner Prize-nominee Marvin Gaye Chetwynd is one of the panellists for this year’s Bloomberg New Contemporaries. Drawing on both art history and popular culture for inspiration, her own practice is largely performance based, often involving a carnivalesque collection of handmade costumes and a cast of extras. Chetwynd is also known for changing her name; formerly calling herself Spartacus, a name she felt was an appropriate nom de guerre. We spoke to Chetwynd about the selection process behind this year’s BNC exhibition and the surprising ways in which such a high-profile prize can affect an artist’s career.
Institute of Contemporary Arts, London
26 November 2014 – 25 January 2015
Interview by Emily Spicer
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/114120216</video:player_loc>
<video:duration>293</video:duration>
<video:publication_date>2014-12-10T06:27:30+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
<video:video>
<video:thumbnail_loc>https://i.vimeocdn.com/video/499719991-483f360cf4098cb947adfe12874f755754bd70413812898cc6085d9e82bac5ce-d_295x166</video:thumbnail_loc>
<video:title>Kirsty Ogg, Bloomberg New Contemporaries Director, interview, ICA, London, 25 November 2014</video:title>
<video:description><![CDATA[On the opening night of British New Contemporaries at the Institute of Contemporary Art, we spoke to the competition’s director and former curator at the Whitechapel Gallery, Kirsty Ogg, about curating this year’s exhibition in London, the selection process and how BNC acts as a barometer for contemporary art.
Institute of Contemporary Arts, London
26 November 2014 – 25 January 2015
Interview by Emily Spicer
Filmed by Martin Kennedy]]></video:description>
<video:player_loc allow_embed="yes" autoplay="ap=1">https://player.vimeo.com/video/113818988</video:player_loc>
<video:duration>238</video:duration>
<video:publication_date>2014-12-06T22:13:32+00:00</video:publication_date>
<video:uploader>studio international</video:uploader>
<video:live>no</video:live>
</video:video> 
</url>
</urlset>