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<channel>
	<title>Radio Papesse</title>
	<link>http://radiopapesse.org/podcasting</link>
	<description>RadioPapesse_la prima e unica radio di arte contemporanea italiana.</description>
	<pubDate>Mon, 26 Jul 2010 15:26:27 +0000</pubDate>
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		<copyright>&#xA9;Radio Papesse </copyright>
		<managingEditor>info@radiopapesse.org (Radio Papesse)</managingEditor>
		<webMaster>info@radiopapesse.org</webMaster>
		<category></category>
		<ttl>1440</ttl>
		<itunes:keywords></itunes:keywords>
		<itunes:subtitle></itunes:subtitle>
		<itunes:summary>RadioPapesse e' la prima e unica radio di arte contemporanea italiana.
Elettronica, sperimentale, jazz, rock, ambient...una radio freeform ricca di musica, ma non solo.
L'attenzione e' rivolta a tutte le espressioni sonore del contemporaneo.
Nel podcast di Radio Papesse si possono trovare paesaggi sonori e documentari, notizie dal mondo dell'arte contemporanea e suoni d'artista, audioguide, reading e lezioni d'arte...
Radio Papesse, una radio per dar voce a quello che non si puo' vedere.</itunes:summary>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:category text="Arts"/>
<itunes:category text="Society &amp; Culture"/>
<itunes:category text="Education"/>
		<itunes:owner>
			<itunes:name>Radio Papesse</itunes:name>
			<itunes:email>info@radiopapesse.org</itunes:email>
		</itunes:owner>
		<itunes:block>No</itunes:block>
		<itunes:explicit>no</itunes:explicit>
		<itunes:image href="http://www.radiopapesse.org/podcast/logo%20radio_144.jpg" />
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			<title>Radio Papesse</title>
			<link>http://radiopapesse.org/podcasting</link>
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		<item>
		<title>Antony Gormley - 2X2 Sculpture Biennial of Carrara</title>
		<link>http://radiopapesse.org/podcasting/archives/226</link>
		<comments>http://radiopapesse.org/podcasting/archives/226#comments</comments>
		<pubDate>Mon, 26 Jul 2010 15:26:27 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/226</guid>
		<description><![CDATA[>>The interview is in English]]></description>
			<content:encoded><![CDATA[<p>>>The interview is in English<<</p>
<p><i>&#8220;I&#8217;ve installed a work called 2X2, a newly made but not humanely touched carving&#8230;We have been using the most advanced technological means&#8230;(2X2) they derive from a digital mapping of my body, I was moulded, positive plasters were made and scanned and my body was turned in a topographical map of 30.000 coordinates. That wire was then used as an enclosing domain into which 80 nesting polyhedral forms were created to occupy the volume that my body displaced.<br />
I suppose I&#8217;m trying to think again of how to make a marble carving without any of the illusionistic and representational effects of let&#8217;s say Renaissance carving and at the same time dealing with the body. </p>
<p>The function that art has today - Gromley says - is of a rather different order, today rather then reinforcing the known and giving us a sense of history that is given often by political hierarchies or by the victors, the function of art is to encorage a degree of disorientation, of displacement, of uncertainty in order to reinforce the subjects&#8217; self determination. This is really important. </p>
<p>The idea of transfering and transferences is very important to me, there are many forms of tranference, I would say empaty is the first, there is a place where a body once was, there is a place where I too could be; this is the idea of projection of subjectivity onto something else but I think there are other senses of tranferences: there is an implied instability whitin the poses of these two works, which I hope is a reference to the fact that as you come into this space you are uncertain about the state of anything, where you can go, what your relationship is to this ruined building; hopefully tranfer the visual command system - that is always trying to interpret and read enviroment to something else, which is in a way about first hand esperience - is a thing that is so precious: we are so good at reading that we forget to enjoy just the sense of moving over soft ground for istance&#8230;the strange in sculpture is in its inertia, in its uselessness, it is not active but it is the trigger that allows us to be more aware of our own liveness.&#8221; </i></p>
<p><b>Antony Gormley - XVI Sculpture Biennial of Carrara, Italy, June 2010</b></p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/226/feed/</wfw:commentRSS>
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		<itunes:subtitle>The interview is in English </itunes:subtitle>
		<itunes:summary>The interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
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		<item>
		<title>Ragnar Kjartansson - Me and my mother</title>
		<link>http://radiopapesse.org/podcasting/archives/227</link>
		<comments>http://radiopapesse.org/podcasting/archives/227#comments</comments>
		<pubDate>Tue, 20 Jul 2010 14:08:52 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/227</guid>
		<description><![CDATA[>>The interview is in English]]></description>
			<content:encoded><![CDATA[<p>>>The interview is in English<<</p>
<p>In 2009 he represented Iceland at the Venice Biennial with a long lasting performance at the end of which the space he had acted in was messed up with the rests of six month of repetitive gestures, the room was melancholically littered with beer cans and cigarettes and more than 140 portraits on canvas of a bikini-clad young man, his good friend Páll Haukur Björnsson, were left accumulated around the studio.<br />
Early his year he filmed a new video - The man - outside Austin, Texan, which features the eldest living member of the Delta Blues musical movement, Pinetop Perkins. </p>
<p>He's now back to Italy, at the EX3 in Florence where beside <i>Death and the children</i> and <i>Satan is real</i> he&#8217;s premiering the third and most recent act of <b>Me and my mother</b>, a ritual that falls every five years, a video performance begun in 2000 and with which he not only stresses his own physical and psychological resistance, he&#8217;s not only examining the notion of loop, but also reflects upon the mother &#038; son relationship.<br />
Standing in front of a bookshelf, in a very domestic environment, Kjartansson and his mother are filmed while she repetitively spits on him.<br />
It&#8217;s not by chance that - he says - he&#8217;s presenting this work in Italy; he was aware of the close bond between italian men and their mothers and he was curious to see how italian men would react to his own ambivalent ritual.</p>
<p>We have talked about those performative and video practices he looks at in his research, from Gillian Wearing - whose video Sacha and Mum was inspirational to him - to Bruce Nauman and Vito Acconci; about collaborative works that more than to arty practice seem to refer to the search of great moments of male friendship, about the unification of art and life eventually.</p>
<p>Kjartansson has not only a rare crystalline attitude in examining and talking about emotional ties and affective bonds but is also great in narrating backstages and anecdotes - that is why it is worth listening to this interview.<br />
Enjoy the listening!</p>
<p>Ex3 Audio Diary is an audio production by Radio Papesse for EX3 Contemporary Art Center.
</p>
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		<itunes:subtitle>The interview is in English </itunes:subtitle>
		<itunes:summary>The interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
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		<item>
		<title>Giorgio Andreotta Calò - Gerarchie Orizzontali</title>
		<link>http://radiopapesse.org/podcasting/archives/225</link>
		<comments>http://radiopapesse.org/podcasting/archives/225#comments</comments>
		<pubDate>Wed, 07 Jul 2010 13:06:13 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/225</guid>
		<description><![CDATA[&#8216;Per ogni lavoratore morto&#8217; e&#8217; la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calò tra le vie di Carrara, cittadina dei lavoratori del marmo, e gli anfratti delle cave circostanti trasformate nei secoli in voragini tanto profonde da incutere un paura irrefrenabile. E&#8217; tra questi due poli del contesto carrarese che l&#8217;artista (...)]]></description>
			<content:encoded><![CDATA[<p>&#8216;Per ogni lavoratore morto&#8217; e&#8217; la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calò tra le vie di Carrara, cittadina dei lavoratori del marmo, e gli anfratti delle cave circostanti trasformate nei secoli in voragini tanto profonde da incutere un paura irrefrenabile. E&#8217; tra questi due poli del contesto carrarese che l&#8217;artista porta a termine un lavoro processualmente complesso, sviluppato non solo in tempi diversi, ma anche in luoghi distanti l&#8217;uno dall&#8217;altro<br />[Mara Ambrozic sul lavoro di Andreotta Calò alla XIV Biennale di Carrara]</p>
<p>L&#8217;opera d&#8217;arte non deve avere bisogno di stampelle.<br />E&#8217; questa l&#8217;idea di Giorgio Andreotta Calò, idea che si rispecchia nel lavoro che l&#8217;artista veneziano ha realizzato per la XIV Biennale Internazionale di Scultura di Carrara.</p>
<p>L&#8217;impatto emotivo del lavoro e&#8217; forte e per vederlo bisogna avventurarsi in una chiesa abbandonata nel centro storico di Carrara: calcinacci sul pavimento, piccioni che entrano ed escono dall&#8217;apertura dove una volta era il rosone, il rumore del fiume che rimbomba sulle pareti spoglie della chiesa e al centro dello spazio un blocco di marmo. Esposto come se fosse un feretro a cui i visitatori rendono omaggio.</p>
<p>Per ogni lavoratore morto e&#8217; un monumento funebre ma e&#8217; anche una riflessione sul lavoro, sul rapporto con la natura, con il territorio e con l&#8217;arte.</p>
<p>&#8211;<br />la musica che accompagna l&#8217;intervista e&#8217; felk di <strong>nunun</strong> pubblicata dalla netlabel acustronica</p>
<p>la sigla di &#8217;speciale carrara&#8217; è l&#8217;internazionale suonata dal carrillon dell&#8217;installazione di Nemanja Cvijanovic per la XIV Biennale Internazionale di Scultura di Carrara</p>
<p><em>Lo speciale di Radio Papesse dalla Biennale di Carrara è stato realizzato grazie al supporto logistico di Maddalena Fossombroni, Pietro Torrigiani e Castello in Movimento al castello Malaspina di Fosdinovo.</em></p>
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]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/225/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Giorgio%20Andreotta%20Calo%20-%20gerarchie%20orizzontali%20(10%2046).mp3" length="10283911" type="audio/mpeg"/>
<itunes:duration>10:43</itunes:duration>
		<itunes:subtitle>'Per ogni lavoratore morto' e' la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calograve; tra le vie di Carrara, cittadina dei lavoratori ...</itunes:subtitle>
		<itunes:summary>'Per ogni lavoratore morto' e' la concretizzazione di un percorso di ricerca condotto da Giorgio Andreotta Calograve; tra le vie di Carrara, cittadina dei lavoratori del marmo, e gli anfratti delle cave circostanti trasformate nei secoli in voragini tanto profonde da incutere un paura irrefrenabile. E' tra questi due poli del contesto carrarese che l'artista porta a termine un lavoro processualmente complesso, sviluppato non solo in tempi diversi, ma anche in luoghi distanti l'uno dall'altro[Mara Ambrozic sul lavoro di Andreotta Calograve; alla XIV Biennale di Carrara]L'opera d'arte non deve avere bisogno di stampelle.E' questa l'idea di Giorgio Andreotta Calograve;, idea che si rispecchia nel lavoro che l'artista veneziano ha realizzato per la XIV Biennale Internazionale di Scultura di Carrara.L'impatto emotivo del lavoro e' forte e per vederlo bisogna avventurarsi in una chiesa abbandonata nel centro storico di Carrara: calcinacci sul pavimento, piccioni che entrano ed escono dall'apertura dove una volta era il rosone, il rumore del fiume che rimbomba sulle pareti spoglie della chiesa e al centro dello spazio un blocco di marmo. Esposto come se fosse un feretro a cui i visitatori rendono omaggio.Per ogni lavoratore morto e' un monumento funebre ma e' anche una riflessione sul lavoro, sul rapporto con la natura, con il territorio e con l'arte.--la musica che accompagna l'intervista e' felk di nunun pubblicata dalla netlabel acustronicala sigla di 'speciale carrara' egrave; l'internazionale suonata dal carrillon dell'installazione di Nemanja Cvijanovic per la XIV Biennale Internazionale di Scultura di CarraraLo speciale di Radio Papesse dalla Biennale di Carrara egrave; stato realizzato grazie al supporto logistico di Maddalena Fossombroni, Pietro Torrigiani e Castello in Movimento al castello Malaspina di Fosdinovo.increases tramadol efficacy
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b...</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Kader Attia - Archeology of modernism</title>
		<link>http://radiopapesse.org/podcasting/archives/224</link>
		<comments>http://radiopapesse.org/podcasting/archives/224#comments</comments>
		<pubDate>Thu, 17 Jun 2010 14:06:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/224</guid>
		<description><![CDATA[I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and the world we are living in is utopian more and more&#8230;what we missed in modernism is our identity&#8230;(Kader Attia)
Summary
1 (1&#8242;14&#8243;) Holy Land, relocation and site specificity, The History of a (...)]]></description>
			<content:encoded><![CDATA[<p>I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and the world we are living in is utopian more and more&#8230;what we missed in modernism is our identity&#8230;(Kader Attia)</p>
<p>Summary</p>
<p>1 (1&#8242;14&#8243;) Holy Land, relocation and site specificity, The History of a mith: the little dome of the rock, architecture and the sacred between history, memories and mythological perception.<br />2 (9&#8242;50&#8243;) ugliness and functionalities, Team Ten, Roland Simounet, Ugo La Pietra, Le Courbusier in Ghardaia<br />3 (15&#8242;47&#8243;) Open your eyes, universalisms, modernisms, translation, riappropriation, African and western culture, the aesthetic of the repair vs the research of perfection.</p>
<p>>>The interview is in English, except of a brief introduction in italian<<</p>
<p>For the uncut version of the text, www.radiopapesse.org.</p>
<p>Radio Papesse provides you free contents; publicness and sharing trigger all our activities. If you feel to contribute and help us assuring you updates, you may make a donation or join us and don&#8217;t forget to spread the word to your friends!.</p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/224/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Kader%20Attia%20Podcast%20.mp3" length="25620087" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and ...</itunes:subtitle>
		<itunes:summary>I think that the big failure of modernism is that justifying any kind of exsperimentation that aimed to perfection it has actually built utopias and the world we are living in is utopian more and more...what we missed in modernism is our identity...(Kader Attia)Summary1 (1'14") Holy Land, relocation and site specificity, The History of a mith: the little dome of the rock, architecture and the sacred between history, memories and mythological perception.2 (9'50") ugliness and functionalities, Team Ten, Roland Simounet, Ugo La Pietra, Le Courbusier in Ghardaia3 (15'47") Open your eyes, universalisms, modernisms, translation, riappropriation, African and western culture, the aesthetic of the repair vs the research of perfection.The interview is in English, except of a brief introduction in italian</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Lynne Cooke - Mixed Use, Manhattan</title>
		<link>http://radiopapesse.org/podcasting/archives/223</link>
		<comments>http://radiopapesse.org/podcasting/archives/223#comments</comments>
		<pubDate>Fri, 11 Jun 2010 15:13:37 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/223</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/223/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Short List - un&#8217;opera una storia - Cecilia Canziani commenta Walk with Contrapposto di Bruce Nauman</title>
		<link>http://radiopapesse.org/podcasting/archives/221</link>
		<comments>http://radiopapesse.org/podcasting/archives/221#comments</comments>
		<pubDate>Mon, 07 Jun 2010 06:56:44 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/221</guid>
		<description><![CDATA[Il commento di Cecilia Canziani è in italiano.
&#8220;Il monumento è qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si è riconfigurato per contrapposizione, non per produzione, piuttosto per mancanza, prendendo spesso le forme della rovina&#8221;.
Bruce Nauman, artista che non compare nella nostra ShortList, è stato spesso citato dai relatori intervistati. Cecilia (...)]]></description>
			<content:encoded><![CDATA[<p>Il commento di Cecilia Canziani è in italiano.</p>
<p><i>&#8220;Il monumento è qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si è riconfigurato per contrapposizione, non per produzione, piuttosto per mancanza, prendendo spesso le forme della rovina&#8221;.</i></p>
<p>Bruce Nauman, artista che non compare nella nostra ShortList, è stato spesso citato dai relatori intervistati. Cecilia Canziani ne traccia un chiaro ritratto e offre - a partire da Walk with Contrapposto del 1968 - una lettura interessante del suo lavoro e del lascito della sua ricerca in quella più attuale. Una riflessione, quella della Canziani, che interseca fortuna e sfortune del monumento nel XX secolo, la storia del camminare nelle pratiche artistiche della seconda metà del &#8216;900, la performance e la sua dimensione più politica.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/221/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Canziani%20podcast.mp3" length="7054758" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Il commento di Cecilia Canziani egrave; in italiano.

"Il monumento egrave; qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si egrave; riconfigurato ...</itunes:subtitle>
		<itunes:summary>Il commento di Cecilia Canziani egrave; in italiano.

"Il monumento egrave; qualcosa che il Novecento non ha saputo riconfigurare ma che spesso invece si egrave; riconfigurato per contrapposizione, non per produzione, piuttosto per mancanza, prendendo spesso le forme della rovina".

Bruce Nauman, artista che non compare nella nostra ShortList, egrave; stato spesso citato dai relatori intervistati. Cecilia Canziani ne traccia un chiaro ritratto e offre - a partire da Walk with Contrapposto del 1968 - una lettura interessante del suo lavoro e del lascito della sua ricerca in quella piugrave; attuale. Una riflessione, quella della Canziani, che interseca fortuna e sfortune del monumento nel XX secolo, la storia del camminare nelle pratiche artistiche della seconda metagrave; del '900, la performance e la sua dimensione piugrave; politica.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Short List - un&#8217;opera una storia - Iwona Blazwick racconta Guernica</title>
		<link>http://radiopapesse.org/podcasting/archives/220</link>
		<comments>http://radiopapesse.org/podcasting/archives/220#comments</comments>
		<pubDate>Fri, 04 Jun 2010 08:07:27 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/220</guid>
		<description><![CDATA[The interview is in English
A partire da The Nature of the Beast, un progetto speciale commissionato dalla Whitechapel all&#8217;artista polacca Goshka Machuga, la Blazwich ci spiega perchè oggi, come allora, il sentimento antibellico trova in quest&#8217;opera la sua più famosa traduzione visiva e torna indietro al 1939, quando di fronte a Guernica, ospitata dalla Whitechapel (...)]]></description>
			<content:encoded><![CDATA[<p><b>The interview is in English</b></p>
<p>A partire da <i>The Nature of the Beast</i>, un progetto speciale commissionato dalla Whitechapel all&#8217;artista polacca Goshka Machuga, la Blazwich ci spiega perchè oggi, come allora, il sentimento antibellico trova in quest&#8217;opera la sua più famosa traduzione visiva e torna indietro al 1939, quando di fronte a Guernica, ospitata dalla Whitechapel su richiesta del Partito Comunista inglese, vennero lasciate più di 400 paia di scarpe che sarebbero poi state inviate a quanti, sul fronte spagnolo, combattevano la guerra civile. </p>
<p>Una forza politica quella di Guernica che non cede al tempo. Basti pensare che nel 2003, l&#8217;arazzo di Guernica di fronte al quale Colin Powell tenne il fatidico discorso sulle armi di distruzioni di massa irachene, fu coperto con un telo azzurro. L&#8217;arazzo era stato donato da Nelson Rockefeller alla sede centrale delle Nazioni Unite e esposta non a caso fuori dal Consiglio di Sicurezza come deterrente alla guerra.</p>
<p>&#8212;</p>
<p>Iwona Blazwick is the director of the Whitechapel Gallery in London, where in 1939, Guernica was showcased in order to make Londoners more aware of the brutality of the Spanish civil war. At that time, Picasso invited people, those who could afford it, to donate a pair of boots for the freedomfighters. At the end of the exhibit, more than 400 pairs of boots were left underbeneath Guernica. </p>
<p>At last, in 2009, thanks to the polish artist Goshka Machuga, Guernica (a tapestry copy) went back to the Whitechapel Gallery and starting from that project that involved the gallery as a discussion board, Iwona Blazwick singles out the reasons of the still present and impressive consistency with the antiwar message.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/220/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Iwona%20Blazwick%20podcast.mp3" length="8082143" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>The interview is in English


A partire da The Nature of the Beast, un progetto speciale commissionato dalla Whitechapel all'artista polacca Goshka Machuga, la Blazwich ci ...</itunes:subtitle>
		<itunes:summary>The interview is in English


A partire da The Nature of the Beast, un progetto speciale commissionato dalla Whitechapel all'artista polacca Goshka Machuga, la Blazwich ci spiega perchegrave; oggi, come allora, il sentimento antibellico trova in quest'opera la sua piugrave; famosa traduzione visiva e torna indietro al 1939, quando di fronte a Guernica, ospitata dalla Whitechapel su richiesta del Partito Comunista inglese, vennero lasciate piugrave; di 400 paia di scarpe che sarebbero poi state inviate a quanti, sul fronte spagnolo, combattevano la guerra civile. 

Una forza politica quella di Guernica che non cede al tempo. Basti pensare che nel 2003, l'arazzo di Guernica di fronte al quale Colin Powell tenne il fatidico discorso sulle armi di distruzioni di massa irachene, fu coperto con un telo azzurro. L'arazzo era stato donato da Nelson Rockefeller alla sede centrale delle Nazioni Unite e esposta non a caso fuori dal Consiglio di Sicurezza come deterrente alla guerra.

---

Iwona Blazwick is the director of the Whitechapel Gallery in London, where in 1939, Guernica was showcased in order to make Londoners more aware of the brutality of the Spanish civil war. At that time, Picasso invited people, those who could afford it, to donate a pair of boots for the freedomfighters. At the end of the exhibit, more than 400 pairs of boots were left underbeneath Guernica. 

At last, in 2009, thanks to the polish artist Goshka Machuga, Guernica (a tapestry copy) went back to the Whitechapel Gallery and starting from that project that involved the gallery as a discussion board, Iwona Blazwick singles out the reasons of the still present and impressive consistency with the antiwar message.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>RP Shorts 2: Damiano Meacci racconta il Tavolo della Terra</title>
		<link>http://radiopapesse.org/podcasting/archives/218</link>
		<comments>http://radiopapesse.org/podcasting/archives/218#comments</comments>
		<pubDate>Thu, 06 May 2010 15:38:02 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>music</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/218</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/218/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/RP%20shorts%202%20-%20the%20table%20of%20earth.mp3" length="3883284" type="audio/mpeg"/>
<itunes:duration>4:03</itunes:duration>
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		<itunes:keywords>Arts,,music,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>RP Shorts 1: Tempo Reale + David Moss - The Table of Earth</title>
		<link>http://radiopapesse.org/podcasting/archives/217</link>
		<comments>http://radiopapesse.org/podcasting/archives/217#comments</comments>
		<pubDate>Mon, 03 May 2010 09:44:33 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>music</category>
	<category>sound design</category>
	<category>sound art</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/217</guid>
		<description><![CDATA[Damiano Meacci è il compositore e sound designer che ha seguito The Table Of Earth, il progetto realizzato da Tempo Reale insieme al performer americano David Moss.
RP Shorts: una serie di brevi podcast per avvicinarsi insieme a Damiano Meacci a &#8216;The Table Of Earth&#8217; in attesa della sua prima mondiale a Firenze il 13 e (...)]]></description>
			<content:encoded><![CDATA[<p>Damiano Meacci è il compositore e sound designer che ha seguito <strong>The Table Of Earth</strong>, il progetto realizzato da Tempo Reale insieme al performer americano David Moss.</p>
<p><strong>RP Shorts</strong>: una serie di brevi podcast per avvicinarsi insieme a Damiano Meacci a &#8216;The Table Of Earth&#8217; in attesa della sua prima mondiale a Firenze il 13 e 14 maggio all&#8217;interno del cartellone di Fabbrica Europa.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/217/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/RP%20shorts%201%20-%20the%20table%20of%20earth.mp3" length="4445021" type="audio/mpeg"/>
<itunes:duration>4:38</itunes:duration>
		<itunes:subtitle>Damiano Meacci egrave; il compositore e sound designer che ha seguito The Table Of Earth, il progetto realizzato da Tempo Reale insieme al performer americano ...</itunes:subtitle>
		<itunes:summary>Damiano Meacci egrave; il compositore e sound designer che ha seguito The Table Of Earth, il progetto realizzato da Tempo Reale insieme al performer americano David Moss.

RP Shorts: una serie di brevi podcast per avvicinarsi insieme a Damiano Meacci a 'The Table Of Earth' in attesa della sua prima mondiale a Firenze il 13 e 14 maggio all'interno del cartellone di Fabbrica Europa.</itunes:summary>
		<itunes:keywords>Arts,,music,,sound,design,,sound,art</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Nedko Solakov - A Riffraff</title>
		<link>http://radiopapesse.org/podcasting/archives/216</link>
		<comments>http://radiopapesse.org/podcasting/archives/216#comments</comments>
		<pubDate>Mon, 29 Mar 2010 06:53:09 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/216</guid>
		<description><![CDATA[>>The interview is in English]]></description>
			<content:encoded><![CDATA[<p>>>The interview is in English<<</p>
<p>Nedko Solakov had already tried twice to combine early works and the most recent production. At the Galleria Continua the bulgarian artist is now attempting again to pieced together such artistic path from works as <i>The day shall come</i> (1988), <i>Family</i> and <i>Associates</i> (1991) and the newest pieces as the video <i>Silent (but as rich as only bulgarian language can be) F words</i> (2009).</p>
<p>We met Nedko Solakov the day before the opening of his new solo show at the Galleria Continua. We talked about his early works but also about his way to story-telling, his passionate interest in cinema and in the way movies built stereotypes, jokes, dychotomies; about iconography, winks and different layer of quotations in his works, about irony and public art and the way he has ventured in the field of publicness even in private space with the exhibition <i>Emotion (without masks)</i> at the Institut Mathildenhoehe in Darmstadt. </p>
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]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/216/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Nedko%20Solakov%20Podcast%20.mp3" length="26243264" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>The interview is in English </itunes:subtitle>
		<itunes:summary>The interview is in English</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Shirin Neshat - Women without men</title>
		<link>http://radiopapesse.org/podcasting/archives/215</link>
		<comments>http://radiopapesse.org/podcasting/archives/215#comments</comments>
		<pubDate>Mon, 22 Mar 2010 09:42:33 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/215</guid>
		<description><![CDATA[Shirin Neshat about film making, censorship and new media in Iran&#8230;&#8220;what is amazing is that the culture of film making in Iran is not distant or elitist. So when young people get their telephones at hand and have the ability to shoot little footages, you have to undestand that they are coming from a very (...)]]></description>
			<content:encoded><![CDATA[<p>Shirin Neshat about film making, censorship and new media in Iran&#8230;<i>&#8220;what is amazing is that the culture of film making in Iran is not distant or elitist. So when young people get their telephones at hand and have the ability to shoot little footages, you have to undestand that they are coming from a very rich culture of film making and arts. It&#8217;s not just pure technology but a way Iranians know how to tap into everyday life and they become reporters&#8230;.&#8221;</i></p>
<p>S.N about fears&#8230;<i>&#8220;the idea of beeing courageous to take on the struggle of confronting fears and embracing change in a way is something that I tell myself everyday. Don&#8217;t be afraid, there are so many reasons why we shouldn&#8217;t be taking risks and it&#8217;s easier to be secure and confortable in whatever we are in even if it is not great. My message, in this film - and it goes with what i fundamentally believe in - is that it is much better when you take risks because nothing is more stagnant than mediocracy and accepting a life you shouldn&#8217;t&#8221;</i>.</p>
<p>We met Shirin Neshat in Florence, where she presented <i>Women without men</i>, the film she was awarded the Silver Lion for, at the Venice Film Festival last September.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/215/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Shirin%20Neshat%20Podcast%20.mp3" length="9397419" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Shirin Neshat about film making, censorship and new media in Iran..."what is amazing is that the culture of film making in Iran is not distant ...</itunes:subtitle>
		<itunes:summary>Shirin Neshat about film making, censorship and new media in Iran..."what is amazing is that the culture of film making in Iran is not distant or elitist. So when young people get their telephones at hand and have the ability to shoot little footages, you have to undestand that they are coming from a very rich culture of film making and arts. It's not just pure technology but a way Iranians know how to tap into everyday life and they become reporters...."

S.N about fears..."the idea of beeing courageous to take on the struggle of confronting fears and embracing change in a way is something that I tell myself everyday. Don't be afraid, there are so many reasons why we shouldn't be taking risks and it's easier to be secure and confortable in whatever we are in even if it is not great. My message, in this film - and it goes with what i fundamentally believe in - is that it is much better when you take risks because nothing is more stagnant than mediocracy and accepting a life you shouldn't".

We met Shirin Neshat in Florence, where she presented Women without men, the film she was awarded the Silver Lion for, at the Venice Film Festival last September. </itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Arcangelo Sassolino - qui e ora</title>
		<link>http://radiopapesse.org/podcasting/archives/214</link>
		<comments>http://radiopapesse.org/podcasting/archives/214#comments</comments>
		<pubDate>Fri, 05 Mar 2010 09:38:15 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/214</guid>
		<description><![CDATA[Immergendosi nell&#8217;immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalità dei materiali industriali, sulle sembianze animalesche delle benne meccaniche; reifica il pericolo in congegni meccanici in cui incanala una tensione propriamente fisica e attraverso i quali ci invita a riflettere sulla caducità, sul &#8220;qui e (...)]]></description>
			<content:encoded><![CDATA[<p>Immergendosi nell&#8217;immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalità dei materiali industriali, sulle sembianze animalesche delle benne meccaniche; reifica il pericolo in congegni meccanici in cui incanala una tensione propriamente fisica e attraverso i quali ci invita a riflettere sulla caducità, sul &#8220;qui e ora&#8221;.</p>
<p>Lo abbiamo incontrato in occasione della sua prima personale alla Galleria Continua. Da  <i>Rimozione</i> del 2004, in cui dimostrava un&#8217;attenzione anarchitettonica agli edifici sui quali interveniva, a <i>Momento</i> del 2006 - la cui massa silenziosa in equilibrio instabile concretizzava una tensione pronta ad esplodere - Sassolino spiega come sia arrivato ad incanalare la spinta di quei materiali stolidi, la forza latente interna a quei corpi, nei meccanismi più recenti presenti anche in mostra a San Gimignano; strutture meccaniche la cui estetica dipende solo dalla tecnologia usata ma che rimandano spesso, come <i>Piccolo animismo</i>, alla caducità umana, scandita da respiri e battiti cardiaci, alla fragilità del qui e ora.  Abbiamo quindi parlato di vulnerabilità, di confine tra senso di allerta e paura, di tempo inscenato e tempo di lavoro, di suono e masse stolide, di transitorietà dei materiali e della loro memoria.</p>
</p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/214/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Arcangelo%20Sassolino%20Podcast.mp3" length="17074076" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Immergendosi nell'immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalitagrave; dei materiali industriali, sulle sembianze ...</itunes:subtitle>
		<itunes:summary>Immergendosi nell'immaginario grigio del suo nord-est vicentino, Arcangelo Sassolino crea sculture e installazioni che giocano su equilibri instabili, sulla banalitagrave; dei materiali industriali, sulle sembianze animalesche delle benne meccaniche; reifica il pericolo in congegni meccanici in cui incanala una tensione propriamente fisica e attraverso i quali ci invita a riflettere sulla caducitagrave;, sul "qui e ora".Lo abbiamo incontrato in occasione della sua prima personale alla Galleria Continua. Da  Rimozione del 2004, in cui dimostrava un'attenzione anarchitettonica agli edifici sui quali interveniva, a Momento del 2006 - la cui massa silenziosa in equilibrio instabile concretizzava una tensione pronta ad esplodere - Sassolino spiega come sia arrivato ad incanalare la spinta di quei materiali stolidi, la forza latente interna a quei corpi, nei meccanismi piugrave; recenti presenti anche in mostra a San Gimignano; strutture meccaniche la cui estetica dipende solo dalla tecnologia usata ma che rimandano spesso, come Piccolo animismo, alla caducitagrave; umana, scandita da respiri e battiti cardiaci, alla fragilitagrave; del qui e ora.  Abbiamo quindi parlato di vulnerabilitagrave;, di confine tra senso di allerta e paura, di tempo inscenato e tempo di lavoro, di suono e masse stolide, di transitorietagrave; dei materiali e della loro memoria.tramadol dosage in canines Stores. users number.
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Pamela Z - composing is like painting</title>
		<link>http://radiopapesse.org/podcasting/archives/213</link>
		<comments>http://radiopapesse.org/podcasting/archives/213#comments</comments>
		<pubDate>Thu, 11 Feb 2010 10:49:50 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/213</guid>
		<description><![CDATA[Ci sono domande che non hanno una risposta definita, univoca.Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.Le abbiamo chiesto cosa sia per lei la sound art, le abbiamo chiesto di presentare il suo lavoro.
Questa breve intervista si intreccia con alcuni estratti dal lavoro di Pamela z, registrazioni da studio, performances (...)]]></description>
			<content:encoded><![CDATA[<p>Ci sono domande che non hanno una risposta definita, univoca.<br />Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.<br />Le abbiamo chiesto cosa sia per lei la sound art, le abbiamo chiesto di presentare il suo lavoro.</p>
<p>Questa breve intervista si intreccia con alcuni estratti dal lavoro di Pamela z, registrazioni da studio, performances e alcuni suoni rubati dalla sua ultima apparizione italiana nello spettacolo <em>&#8216;hold it down&#8217;</em> del <em>Vijay Iyer &#038; Mike Ladd Ensemble</em> di cui Pamela fa parte.</p>
<p>I suoni che accompagnano l&#8217;intervista sono estratti da:  <strong>Badagada</strong>,<strong> bone music</strong> e <strong>The Muni Section</strong>.</p>
<p>Per ascoltare di più e conoscere il lavoro di Pamela Z <a target="_" href="http://www.pamelaz.com">www.pamelaz.com</a></p>
<p>&#8211;</p>
<p>Some questions just don&#8217;t have a strict and unique answer.<br />We asked Pamela Z some of those questions; she&#8217;s an artist, a performer, a composer.<br />We asked what is sound art to her but we did also asked her to introduce her work.</p>
<p>This short interview is edited with excerpts from Pamela Z&#8217;s work, studio recordings, performances and some sounds stolen from her last Italian performance in the show &#8216;hold it down&#8217; by the Vijay Iyer and Mike Ladd Ensemble (ensemble she&#8217;s part of).</p>
<p>Sound excerpts from: <strong>Badagada</strong>, <strong>Bone Music</strong> and <strong>The Muni Section</strong>.</p>
<p><a target="_" href="http://www.pamelaz.com">www.pamelaz.com</a></p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/213/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/pamela%20z%20-%20composing%20is%20like%20painting%20POD.mp3" length="24500792" type="audio/mpeg"/>
<itunes:duration>10:13</itunes:duration>
		<itunes:subtitle>Ci sono domande che non hanno una risposta definita, univoca.Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.Le abbiamo chiesto cosa ...</itunes:subtitle>
		<itunes:summary>Ci sono domande che non hanno una risposta definita, univoca.Alcune di queste domande le abbiamo rivolte a Pamela Z artista, performer, compositrice.Le abbiamo chiesto cosa sia per lei la sound art, le abbiamo chiesto di presentare il suo lavoro.Questa breve intervista si intreccia con alcuni estratti dal lavoro di Pamela z, registrazioni da studio, performances e alcuni suoni rubati dalla sua ultima apparizione italiana nello spettacolo 'hold it down' del Vijay Iyer #038; Mike Ladd Ensemble di cui Pamela fa parte.I suoni che accompagnano l'intervista sono estratti da:nbsp; Badagada, bone music e The Muni Section.Per ascoltare di piugrave; e conoscere il lavoro di Pamela Z www.pamelaz.com--Some questions just don't have a strict and unique answer.We asked Pamela Z some of those questions; she's an artist, a performer, a composer.We asked what is sound art to her but we did also asked her to introduce her work.This short interview is edited with excerpts from Pamela Z's work, studio recordings, performances and some sounds stolen from her last Italian performance in the show 'hold it down' by the Vijay Iyer and Mike Ladd Ensemble (ensemble she's part of).Sound excerpts from: Badagada, Bone Music and The Muni Section.www.pamelaz.comphentermine 37.5mg order online illegal shopping principles
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Mark Lewis - Afterall what remains is the image</title>
		<link>http://radiopapesse.org/podcasting/archives/212</link>
		<comments>http://radiopapesse.org/podcasting/archives/212#comments</comments>
		<pubDate>Wed, 11 Nov 2009 12:59:26 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/212</guid>
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>53 Biennale di Venezia - Carlos Casas &#038; Andrea Lissoni - Multinatural Blackout - dove andiamo a parare</title>
		<link>http://radiopapesse.org/podcasting/archives/211</link>
		<comments>http://radiopapesse.org/podcasting/archives/211#comments</comments>
		<pubDate>Mon, 02 Nov 2009 07:08:05 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/211</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
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			<enclosure url="http://radiopapesse.org/podcast/Casas%20Lissoni%20Podcast%20.mp3" length="28593908" type="audio/mpeg"/>
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Jorge Macchi - i&#8217;m not a conceptual artist</title>
		<link>http://radiopapesse.org/podcasting/archives/210</link>
		<comments>http://radiopapesse.org/podcasting/archives/210#comments</comments>
		<pubDate>Mon, 26 Oct 2009 08:19:25 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/210</guid>
		<description><![CDATA[Brief note in Italian
The Interview is in English 
We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San Gimignano. He is presenting an heterogeneous series of different works that fit perfectly - conceptually and visually – with those by Mona Hatoum who’s occupying with him the gallery space.
Rendez (...)]]></description>
			<content:encoded><![CDATA[<p>Brief note in Italian<br />
The Interview is in English </p>
<p>We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San Gimignano. He is presenting an heterogeneous series of different works that fit perfectly - conceptually and visually – with those by Mona Hatoum who’s occupying with him the gallery space.<br />
Rendez vous, which is the title of the show, is emblematic in this sense: an old wooden wardrobe is positioned precariously on a mirror at the end of the first flight of steps in the gallery. The wardrobe mirror and the gallery mirror meet, producing unexpected reflections.<br />
&#8220;The title of the exhibition, Rendez-vous, for me is very important because when two mirrors meet they multiply the images and senses and this is the way I have been thinking of this exhibition: how material, how concepts and objects come together and produce new readings of everyday life.&#8221;<br />
We have talked about, irony, black humor, accidental composition and some previous works for which he has collaborated with the composer Edgardo Rudnitzky. We have tried to understand his art practice, how it has changed since the involvement of sound and music, where the ideas come from, if they rise to his mind as an image or as a sound.<br />
Simply, that’s what he answered:</p>
<p>Everytime I start a new work I start with an image, that&#8217;s why I&#8217;m not a conceptual artist.
</p>
]]></content:encoded>
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			<enclosure url="http://radiopapesse.org/podcast/Jorge%20Macchi%20Podcast.mp3" length="15117191" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Brief note in Italian
The Interview is in English 

We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San ...</itunes:subtitle>
		<itunes:summary>Brief note in Italian
The Interview is in English 

We met Jorge Macchi in the occasion of his second solo show at Galleria Continua in San Gimignano. He is presenting an heterogeneous series of different works that fit perfectly - conceptually and visually ndash; with those by Mona Hatoum whorsquo;s occupying with him the gallery space. 
Rendez vous, which is the title of the show, is emblematic in this sense: an old wooden wardrobe is positioned precariously on a mirror at the end of the first flight of steps in the gallery. The wardrobe mirror and the gallery mirror meet, producing unexpected reflections. 
"The title of the exhibition, Rendez-vous, for me is very important because when two mirrors meet they multiply the images and senses and this is the way I have been thinking of this exhibition: how material, how concepts and objects come together and produce new readings of everyday life."
We have talked about, irony, black humor, accidental composition and some previous works for which he has collaborated with the composer Edgardo Rudnitzky. We have tried to understand his art practice, how it has changed since the involvement of sound and music, where the ideas come from, if they rise to his mind as an image or as a sound. 
Simply, thatrsquo;s what he answered:

Everytime I start a new work I start with an image, that's why I'm not a conceptual artist.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Francesca Woodman - AUDIOGUIDA</title>
		<link>http://radiopapesse.org/podcasting/archives/209</link>
		<comments>http://radiopapesse.org/podcasting/archives/209#comments</comments>
		<pubDate>Mon, 12 Oct 2009 12:46:41 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/209</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
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		<title>Rossella Caruso su Francesca Woodman - Camere con vista interna</title>
		<link>http://radiopapesse.org/podcasting/archives/208</link>
		<comments>http://radiopapesse.org/podcasting/archives/208#comments</comments>
		<pubDate>Tue, 06 Oct 2009 11:18:37 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
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		<title>Tom Nicholson - Lines towards another century</title>
		<link>http://radiopapesse.org/podcasting/archives/206</link>
		<comments>http://radiopapesse.org/podcasting/archives/206#comments</comments>
		<pubDate>Mon, 27 Jul 2009 11:27:06 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
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<a href="http://www.henrimag.com/ARTICLES/?3@8272">http://www.henrimag.com/ARTICLES/?3@8272</a> btecm  Aii AnmffsSO e<br />
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<a href="http://www.henrimag.com/ARTICLES/?3@5533">http://www.henrimag.com/ARTICLES/?3@5533</a> tbivlAeneiemt<br />
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<a href="http://www.henrimag.com/ARTICLES/?3@10331">http://www.henrimag.com/ARTICLES/?3@10331</a> algKn oa<br />
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<a href="http://www.henrimag.com/ARTICLES/?3@2137">http://www.henrimag.com/ARTICLES/?3@2137</a> pndaAxXi cS Odoo myaitmt<br />
<a href="http://www.henrimag.com/ARTICLES/?3@3092">http://www.henrimag.com/ARTICLES/?3@3092</a> exV naur auXsail<br />
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<a href="http://www.henrimag.com/ARTICLES/?3@13229">http://www.henrimag.com/ARTICLES/?3@13229</a> elodvhlgDawKin yOie rivrV m<br />
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Alberto Tadiello - Shift</title>
		<link>http://radiopapesse.org/podcasting/archives/205</link>
		<comments>http://radiopapesse.org/podcasting/archives/205#comments</comments>
		<pubDate>Thu, 09 Jul 2009 13:02:09 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/205</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
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	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>53ma Biennale di Venezia - Alfredo Jaar - Le ceneri di Pasolini</title>
		<link>http://radiopapesse.org/podcasting/archives/204</link>
		<comments>http://radiopapesse.org/podcasting/archives/204#comments</comments>
		<pubDate>Mon, 22 Jun 2009 10:07:08 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/204</guid>
		<description><![CDATA[Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica e culturale italiana del dopo guerra, che corse i suoi rischi e per la quale - dice Jaar - è stato ucciso; &#8220;come sapete, non è ancora chiaro chi lo (...)]]></description>
			<content:encoded><![CDATA[<p>Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica e culturale italiana del dopo guerra, che corse i suoi rischi e per la quale - dice Jaar - è stato ucciso; <em>&#8220;come sapete, non è ancora chiaro chi lo abbia ucciso ma secondo me è abbastanza chiaro il perché e la ragione è stat la paura. Paura della sua voce, del suo stile di vita, delle sue idee, della sua opinione e del suo intelletto&#8221;</em>.</p>
<p>Con <em>Le ceneri di Pasolini</em> Jaar rende omaggio a una voce che non è stata rimpiazzata da nessuno in quanto a coraggio e tenace volontà di testimonianza.</p>
<p>Con Alfredo Jaar - tra gli artisti del Padiglione dell&#8217;Urgenza - abbiamo parlato di questo, di paura, del lascito pasoliniano, di responsabilità individuali e collettive, di necessarie utopie.</p>
<p>&#8212;</p>
<p><strong>Le ceneri di Pasolini/The ashes of Pasolini</strong> is an homage to one of the most extraordinary Italian intellectual, killed mysteriously in 1975. He was a poet, a journalist, a director, fully and deeply involved into the political and cultural debate. A complete intellectual whose free voice is today missed, a fearless man who took his risks, broke the rules and died because of fear. Alfredo Jaar says <em>” It is unclear who killed him but for me it always been clear why: it was because of fear. Fear of his voice, fear of his life style, fear of his ideas…”</em></p>
<p>We have questioned Jaar about fear, about Pasolini’s legacy, about individual and social responsabilities, about utopia, hopes and future.</p>
<p>The ashes of Pasolini is on screen at the Pabellon de la Urgencia.
</p>
]]></content:encoded>
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<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica ...</itunes:subtitle>
		<itunes:summary>Il video di Jaar rende omaggio a Pier Paolo Pasolini, poeta, giornalista e regista italiano assassinato nel 1975. Un intellettuale completo, coinvolto nella vita politica e culturale italiana del dopo guerra, che corse i suoi rischi e per la quale - dice Jaar - egrave; stato ucciso; "come sapete, non egrave; ancora chiaro chi lo abbia ucciso ma secondo me egrave; abbastanza chiaro il percheacute; e la ragione egrave; stat la paura. Paura della sua voce, del suo stile di vita, delle sue idee, della sua opinione e del suo intelletto".

Con Le ceneri di Pasolini Jaar rende omaggio a una voce che non egrave; stata rimpiazzata da nessuno in quanto a coraggio e tenace volontagrave; di testimonianza.

Con Alfredo Jaar - tra gli artisti del Padiglione dell'Urgenza - abbiamo parlato di questo, di paura, del lascito pasoliniano, di responsabilitagrave; individuali e collettive, di necessarie utopie.

---

Le ceneri di Pasolini/The ashes of Pasolini is an homage to one of the most extraordinary Italian intellectual, killed mysteriously in 1975. He was a poet, a journalist, a director, fully and deeply involved into the political and cultural debate. A complete intellectual whose free voice is today missed, a fearless man who took his risks, broke the rules and died because of fear. Alfredo Jaar says rdquo; It is unclear who killed him but for me it always been clear why: it was because of fear. Fear of his voice, fear of his life style, fear of his ideashellip;rdquo;

We have questioned Jaar about fear, about Pasolinirsquo;s legacy, about individual and social responsabilities, about utopia, hopes and future.

The ashes of Pasolini is on screen at the Pabellon de la Urgencia.</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>53ma Biennale di Venezia - Tania Bruguera - Autosabotage</title>
		<link>http://radiopapesse.org/podcasting/archives/203</link>
		<comments>http://radiopapesse.org/podcasting/archives/203#comments</comments>
		<pubDate>Mon, 15 Jun 2009 08:11:14 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/203</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/203/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/53ma%20Biennale%20di%20Venezia%20-%20Tania%20Bruguera%20-%20Autosabotage.mp3" length="33102434" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>this interview is in ENGLISH Tania Bruguera is a cuban performing artist that decided not use use her body anymore since 1999, but she ...</itunes:subtitle>
		<itunes:summary>this interview is in ENGLISH Tania Bruguera is a cuban performing artist that decided not use use her body anymore since 1999, but she did actually perform at the 53rd Venice Biennial.Tania Bruguera is a political artist.We had a conversation with her right before her performance in Venice and we talked about art and politics, stereotypes, sabotage.Here you can listen to our conversation with her and on radiopapesse.org you can read the text Bruguera read during her performance [the *her* Bruguera is referring to at the end of the interview is cuban blogger Yoani Sanchez].The music that come with the interview is:Africa Bambataa by Bielous [ruzzi#124;NET]Fields Open, Wide The View by Klotzsch#038;Krey [12rec.net]Cargonauta by dadub [A Quiet Bump Label]http://www.mannymachadodesigns.com/pictures/?p=19 xirD
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http://www.m</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Faenza 2009 - Jota Castro intervistato da Denis Isaia - Survival Guide for Demonstrators</title>
		<link>http://radiopapesse.org/podcasting/archives/202</link>
		<comments>http://radiopapesse.org/podcasting/archives/202#comments</comments>
		<pubDate>Tue, 02 Jun 2009 14:35:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/202</guid>
		<description><![CDATA[Quale sia il ruolo politico e sociale dell&#8217;intellettuale è una delle domande che più ha animato e formato il dibattito culturale della seconda metà del XX secolo. Quale sia il ruolo dell&#8217;intellettuale oggi, di fronte al dramma dei nostri tempi è una domanda che influenza anche tutta la pratica artistica di Jota Castro, artista franco (...)]]></description>
			<content:encoded><![CDATA[<p>Quale sia il ruolo politico e sociale dell&#8217;intellettuale è una delle domande che più ha animato e formato il dibattito culturale della seconda metà del XX secolo. Quale sia il ruolo dell&#8217;intellettuale oggi, di fronte al dramma dei nostri tempi è una domanda che influenza anche tutta la pratica artistica di <strong>Jota Castro,</strong> artista franco peruviano che prima di dedicarsi all&#8217;arte ha lavorato per più di un decennio in diplomazia, lavorando per ONU e Unione Europea.</p>
<p>Il suo lavoro affronta i disequilibri politici, comunicativi e sociali che caratterizzano i nostri giorni e invita ad un&#8217;arte più critica; in tempi di &#8220;obamismo&#8221; e di un&#8217;arte gentile che si sta appiattendo su uno standard &#8220;iso 49 culturale&#8221; - dice - c&#8217;è bisogno di più critica, di più rabbia.</p>
<p>Con Denis Isaia, al Festival dell&#8217;Arte Contemporanea di Faenza, lo scorso maggio ha parlato di <strong>Survival Guide for Demonstrators</strong> e <strong>A drop in the ocean</strong>, del suo primo lavoro di strada - Desiderio di Integrazione e di lavori più recenti, <strong>Hucha de los Incas</strong>, <strong>La palabras de lo mutos, la Biennale della Cecenia.</strong> Ha parlato di urgenza, di modernità e contemporaneità, del prossimo impegno alla Biennale veneziana con <strong>The fear society</strong>- ultima tappa del Padiglione dell&#8217;Urgenza - dell&#8217;utilità e del divertimento di fare arte, di universalismo e della difficoltà di essere universali.</p>
<p>L&#8217;incontro tra Denis Isaia e Jota castro è accompagnato da <em>The Insidere Theme, Time to move and motivate</em> e <em>Tension is rising</em> da <em>The insider - All&#8217;s fair in Love of wax</em>, scaricabile dalla netlabel <strong>www.jamendo.com</strong>
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/202/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Jota%20Castro%20and%20Denis%20Isaia%20-%20Survival%20Guide%20for%20Demonstrators%20[34_37].mp3" length="33237016" type="audio/mpeg"/>
<itunes:duration>34:37</itunes:duration>
		<itunes:subtitle>Quale sia il ruolo politico e sociale dell'intellettuale egrave; una delle domande che piugrave; ha animato e formato il dibattito culturale della seconda metagrave; del ...</itunes:subtitle>
		<itunes:summary>Quale sia il ruolo politico e sociale dell'intellettuale egrave; una delle domande che piugrave; ha animato e formato il dibattito culturale della seconda metagrave; del XX secolo. Quale sia il ruolo dell'intellettuale oggi, di fronte al dramma dei nostri tempi egrave; una domanda che influenza anche tutta la pratica artistica di Jota Castro, artista franco peruviano che prima di dedicarsi all'arte ha lavorato per piugrave; di un decennio in diplomazia, lavorando per ONU e Unione Europea.

Il suo lavoro affronta i disequilibri politici, comunicativi e sociali che caratterizzano i nostri giorni e invita ad un'arte piugrave; critica; in tempi di "obamismo" e di un'arte gentile che si sta appiattendo su uno standard "iso 49 culturale" - dice - c'egrave; bisogno di piugrave; critica, di piugrave; rabbia.

Con Denis Isaia, al Festival dell'Arte Contemporanea di Faenza, lo scorso maggio ha parlato di Survival Guide for Demonstrators e A drop in the ocean, del suo primo lavoro di strada - Desiderio di Integrazione e di lavori piugrave; recenti, Hucha de los Incas, La palabras de lo mutos, la Biennale della Cecenia. Ha parlato di urgenza, di modernitagrave; e contemporaneitagrave;, del prossimo impegno alla Biennale veneziana con The fear society- ultima tappa del Padiglione dell'Urgenza - dell'utilitagrave; e del divertimento di fare arte, di universalismo e della difficoltagrave; di essere universali.

L'incontro tra Denis Isaia e Jota castro egrave; accompagnato da The Insidere Theme, Time to move and motivate e Tension is rising da The insider - All's fair in Love of wax, scaricabile dalla netlabel www.jamendo.com</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Faenza 2009 - Hector Zamora &#038; Denis Isaia - la ridefinizione dei luoghi</title>
		<link>http://radiopapesse.org/podcasting/archives/201</link>
		<comments>http://radiopapesse.org/podcasting/archives/201#comments</comments>
		<pubDate>Tue, 26 May 2009 10:16:03 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/201</guid>
		<description><![CDATA[Al festival dell&#8217;Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderà parte alla 53.ma Biennale di Venezia.
Con Denis Isaia ha parlato di Paracaidista av Revolucion 1608 bis, un progetto del 2004 realizzato per il Museo Carrillo Gil di Città del Messico e  di  Cicera, un lavoro del 2008 in cui (...)]]></description>
			<content:encoded><![CDATA[<p>Al festival dell&#8217;Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderà parte alla 53.ma Biennale di Venezia.</p>
<p>Con Denis Isaia ha parlato di <strong>Paracaidista av Revolucion 1608 bis</strong>, un progetto del 2004 realizzato per il Museo Carrillo Gil di Città del Messico e  di  <strong>Cicera</strong>, un lavoro del 2008 in cui Hector Zamora ha progettato la conversione di un edificio di San Paolo in residenza per artisti.<br />
Si è parlato anche di <strong>Every belgian is born with a brick in the stomach</strong>, un progetto &#8216;ambientale&#8217; commisionatogli nel 2008 dalla citta di Genk, e di <strong>Sustraccion/addicion - bar las divas</strong> il lavoro realizzato nel 2007 in occasione del &#8216;Encuentro Internacional de Medellín, Colômbia.</p>
<p>Si chiude con alcune riflessioni sulle biennali e su come un artista di prepari a eventi così importanti; sull'&#8217;importanza della progettazione, della comprensione di un ambiente e delle le sue dinamiche sociali e culturali, elementi fondamentali nella pratica artistica di Hector Zamora che tornano centrali nel lavoro che sta realizzando per la 53.ma Biennale di Venezia.</p>
<p>Quest&#8217;intervista è accompagnata dalle musiche di Ofelia Dorme. Il loro ep è disponibile dalla netlabel Musicaoltranza.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/201/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Hector%20Zamora%20intervistato%20da%20Denis%20Isaia%20[31_17]%20POD.mp3" length="52563031" type="audio/mpeg"/>
<itunes:duration>31:17</itunes:duration>
		<itunes:subtitle>Al festival dell'Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderagrave; parte alla 53.ma Biennale di Venezia.

Con Denis Isaia ha ...</itunes:subtitle>
		<itunes:summary>Al festival dell'Arte Contemporanea di Faenza Denis Isaia ha intervistato Hector Zamora, artista messicano che prenderagrave; parte alla 53.ma Biennale di Venezia.

Con Denis Isaia ha parlato di Paracaidista av Revolucion 1608 bis, un progetto del 2004 realizzato per il Museo Carrillo Gil di Cittagrave; del Messico enbsp; dinbsp; Cicera, un lavoro del 2008 in cui Hector Zamora ha progettato la conversione di un edificio di San Paolo in residenza per artisti.
Si egrave; parlato anche di Every belgian is born with a brick in the stomach, un progetto 'ambientale' commisionatogli nel 2008 dalla citta di Genk, e di Sustraccion/addicion - bar las divas il lavoro realizzato nel 2007 in occasione del 'Encuentro Internacional de Medelliacute;n, Colocirc;mbia.

Si chiude con alcune riflessioni sulle biennali e su come un artista di prepari a eventi cosigrave; importanti; sull''importanza della progettazione, della comprensione di un ambiente e delle le sue dinamiche sociali e culturali, elementi fondamentali nella pratica artistica di Hector Zamora che tornano centrali nel lavoro che sta realizzando per la 53.ma Biennale di Venezia.

Quest'intervista egrave; accompagnata dalle musiche di Ofelia Dorme. Il loro ep egrave; disponibile dalla netlabel Musicaoltranza.</itunes:summary>
		<itunes:keywords>Arts,,interview</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Faenza 2009 - Angela Vettese intervista Daniel Birnbaum</title>
		<link>http://radiopapesse.org/podcasting/archives/199</link>
		<comments>http://radiopapesse.org/podcasting/archives/199#comments</comments>
		<pubDate>Thu, 21 May 2009 09:03:47 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/199</guid>
		<description><![CDATA[making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings -D.Birnbaum-
Il Festival dell&#8217;Arte Contemoporanea 2009 ha aperto i suoi lavori con un incontro di eccezione: Daniel Birnbaum intervistato da Angela Vettese.
Insieme hanno parlato della 53.ma Biennale di Venezia - di cui Birnbaum è (...)]]></description>
			<content:encoded><![CDATA[<p><em>making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings</em> -D.Birnbaum-</p>
<p>Il Festival dell&#8217;Arte Contemoporanea 2009 ha aperto i suoi lavori con un incontro di eccezione: Daniel Birnbaum intervistato da Angela Vettese.</p>
<p>Insieme hanno parlato della 53.ma Biennale di Venezia - di cui Birnbaum è il curatore - ma hannno anche parlato del ruolo del curatore, del significato delle biennali e di come queste aiutino a definire &#8216;l&#8217;arte di oggi&#8217;.</p>
<p>Cosa vuol dire <em>fare mondi</em>? Il curatore si può definire &#8216;autore&#8217;? cosa definisce l&#8217;obsolescenza nell&#8217;arte?<br />
Queste sono alcune delle domande che Angela Vettese ha posto a Daniel Birnbaum nel corso della loro conversazione in un dialogo serrato fra Italiano e Inglese.</p>
<p>Le musiche che accompagano questa conversazione sono <em>Big Gig</em> di <strong>Metùo</strong>, <em>You&#8217;re right, it&#8217;s ballin&#8217;</em> di <strong>Meanest Man Contest</strong> e <em>Spanny</em> di <strong>Mihi Lavish</strong> scaricabili con licenza Creative Commons dal sito <a target="_blank" href="http://www.nettare.org/"><strong><u>www.nettare.org</u></strong></a>
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/199/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Angela%20Vettese%20intervista%20Daniel%20Birnbaum%20POD.mp3" length="84162835" type="audio/mpeg"/>
<itunes:duration>43:50</itunes:duration>
		<itunes:subtitle>making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings -D.Birnbaum-

Il Festival dell'Arte ...</itunes:subtitle>
		<itunes:summary>making worlds means re-making and using things that are already there; the ambition is not to look for endings but for beginnings -D.Birnbaum-

Il Festival dell'Arte Contemoporanea 2009 ha aperto i suoi lavori con un incontro di eccezione: Daniel Birnbaum intervistato da Angela Vettese.

Insieme hanno parlato della 53.ma Biennale di Venezia - di cui Birnbaum egrave; il curatore - ma hannno anche parlato del ruolo del curatore, del significato delle biennali e di come queste aiutino a definire 'l'arte di oggi'.

Cosa vuol dire fare mondi? Il curatore si puograve; definire 'autore'? cosa definisce l'obsolescenza nell'arte?
Queste sono alcune delle domande che Angela Vettese ha posto a Daniel Birnbaum nel corso della loro conversazione in un dialogo serrato fra Italiano e Inglese.

Le musiche che accompagano questa conversazione sono Big Gig di Metugrave;o, You're right, it's ballin' di Meanest Man Contest e Spanny di Mihi Lavish scaricabili con licenza Creative Commons dal sito www.nettare.org</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Loris Cecchini - Dotsandloops</title>
		<link>http://radiopapesse.org/podcasting/archives/198</link>
		<comments>http://radiopapesse.org/podcasting/archives/198#comments</comments>
		<pubDate>Wed, 08 Apr 2009 10:08:08 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/198</guid>
		<description><![CDATA[Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile 2009. Dotsandloops è il titolo della mostra, un titolo preso in prestito da un album degli Stereolab uscito nel 1997.
A partire dalla prima sala - uno spazio immersivo che ricorda (...)]]></description>
			<content:encoded><![CDATA[<p>Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile 2009. Dotsandloops è il titolo della mostra, un titolo preso in prestito da un album degli Stereolab uscito nel 1997.</p>
<p>A partire dalla prima sala - uno spazio immersivo che ricorda l&#8217;intervento realizzato nel 2002 per il Sonar - Cecchini ci accompagna in un percorso che toccherà i temi di ricerca, le aree di interesse, le tecniche e i processi produttivi che hanno segnato la sua intera carriera: dalla passione per la chimica e la fisica della materia al conseguente interesse per la sua natura modulare e modulabile; dalla messa in crisi della sicurezza degli oggetti, alla costruzione di spazi vivibili, utopici, poetici che tuttavia, a loro volta, destrutturano la nostra idea di permanenza nello spazio e invitano a una riflessione sulla mobilità e sulla flessibilità delle strutture architettoniche. Da Blau Blobbing alla nuova serie Le Capriate Arcobaleno, dall&#8217;osservazione della crescita degli elementi naturali alla proliferazione di moduli molecolari in acciaio o plastica.</p>
<p>Un&#8217;intervista ma anche e soprattutto una guida alla lettura dell&#8217;intera produzione artistica di Loris Cecchini.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/198/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Loris%20Cecchini%20-%20Dotsandloops%20podcast.mp3" length="26768639" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile ...</itunes:subtitle>
		<itunes:summary>Loris Cecchini preferisce non parlare di retrospettiva, piuttosto di panoramica per questa ampia personale che il Centro Pecci gli dedica a partire dal 4 aprile 2009. Dotsandloops egrave; il titolo della mostra, un titolo preso in prestito da un album degli Stereolab uscito nel 1997.

A partire dalla prima sala - uno spazio immersivo che ricorda l'intervento realizzato nel 2002 per il Sonar - Cecchini ci accompagna in un percorso che toccheragrave; i temi di ricerca, le aree di interesse, le tecniche e i processi produttivi che hanno segnato la sua intera carriera: dalla passione per la chimica e la fisica della materia al conseguente interesse per la sua natura modulare e modulabile; dalla messa in crisi della sicurezza degli oggetti, alla costruzione di spazi vivibili, utopici, poetici che tuttavia, a loro volta, destrutturano la nostra idea di permanenza nello spazio e invitano a una riflessione sulla mobilitagrave; e sulla flessibilitagrave; delle strutture architettoniche. Da Blau Blobbing alla nuova serie Le Capriate Arcobaleno, dall'osservazione della crescita degli elementi naturali alla proliferazione di moduli molecolari in acciaio o plastica.

Un'intervista ma anche e soprattutto una guida alla lettura dell'intera produzione artistica di Loris Cecchini.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Lorenzo Fusi presenta Jenny Holzer - For Siena</title>
		<link>http://radiopapesse.org/podcasting/archives/197</link>
		<comments>http://radiopapesse.org/podcasting/archives/197#comments</comments>
		<pubDate>Fri, 27 Mar 2009 14:59:34 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/197</guid>
		<description><![CDATA[]]></description>
			<content:encoded><![CDATA[]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/197/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Ends&#038;Entries 8 - Chantal Dumas - MARSEILLE 1993</title>
		<link>http://radiopapesse.org/podcasting/archives/195</link>
		<comments>http://radiopapesse.org/podcasting/archives/195#comments</comments>
		<pubDate>Mon, 16 Mar 2009 15:42:07 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/195</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST Marseille 1993 -6&#8242;42- Chantal Dumas.
&#8220;In 1993 the Olympique de Marseille won the European Cup of football, Pavarotti performed at the opera and Chantal Dumas lived in Marseilles. It was the time before mobile phones. Marseille 1993 is something like a (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST Marseille 1993 -6&#8242;42- Chantal Dumas.<br />
<em>&#8220;In 1993 the Olympique de Marseille won the European Cup of football, Pavarotti performed at the opera and Chantal Dumas lived in Marseilles. It was the time before mobile phones. Marseille 1993 is something like a retro science-fiction documentary.&#8221;</em></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />
Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />
Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />
Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/195/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/ENDS%20AND%20ENTRIES%20-%20Marseille%20-%20Marseille%201993.mp3" length="7516226" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST Marseille 1993 -6'42- Chantal Dumas.
"In 1993 the Olympique de Marseille ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST Marseille 1993 -6'42- Chantal Dumas.
"In 1993 the Olympique de Marseille won the European Cup of football, Pavarotti performed at the opera and Chantal Dumas lived in Marseilles. It was the time before mobile phones. Marseille 1993 is something like a retro science-fiction documentary."

Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.
Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso lrsquo;esterno che integrate nel loro stesso paese.
Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.
Sono tutte cittagrave; sul limite: uscite e ingressi drsquo;Europa

Il progetto lsquo;EndsEtriesrsquo; egrave; presentato da Radio Grenouille nel quadro della residenza lsquo;Coming and Goingrsquo; a Livepool nel Novembre 2008.

Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Shilpa Gupta - Second Moon</title>
		<link>http://radiopapesse.org/podcasting/archives/193</link>
		<comments>http://radiopapesse.org/podcasting/archives/193#comments</comments>
		<pubDate>Tue, 24 Feb 2009 07:55:45 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/193</guid>
		<description><![CDATA[Shilpa Gupta è da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  www.blessed-bandwidth.net - un lavoro commissionatole dalla Tate nel 2003, un sito in cui si invitavano i visitatori a registrarsi, scegliere una religione e scaricare la benedizione direttamente on line – (...)]]></description>
			<content:encoded><![CDATA[<p>Shilpa Gupta è da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  <em>www.blessed-bandwidth.net</em> - un lavoro commissionatole dalla Tate nel 2003, un sito in cui si invitavano i visitatori a registrarsi, scegliere una religione e scaricare la benedizione direttamente on line – la Gupta ha alternato lavori di net art, progetti interattivi, interventi pubblici e azioni di comunicazione su più larga scala.</p>
<p>Abbiamo incontrato Shilpa Gupta in occasione di <strong>Second Moon</strong>, la sua prima personale italiana alla Galleria Continua di San Gimignano. Un percorso espositivo il suo, che intreccia aspettative personali – <em>I have many dreams</em> - e aspirazioni collettive, utopie disattese - <em>Tryst with Destiny</em> - e chiusure individualistiche - <em>Untitled Don’t See Don’t Hear Don’t Speak</em>, memoria e proiezione al cambiamento, controllo sociale e forze periferiche che inevitabilmente sono destinare a rompere le strutture sociali ed economiche attuali.</p>
<p>L&#8217;intervista è accompagnata da <em>One day I will hear this song stoned</em> di Pero, scaricabile dalla netlabel -N netlabel  e da <em>Like a Virgin</em> di The Apartment, scaricabile da www.comfortstand.com</p>
<p><strong>Grazie a Galleria Continua per la messa a disposizione degli audio di <em>I have many dreams</em> e di <em>Tryst with Destiny</em></strong>.</p>
<p>Questa intervista è realizzata nell&#8217;ambito del progetto &#8220;SIR - sistema informativo regionale per l&#8217;arte contemporanea&#8221;.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/193/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Shilpa%20Gupta%20-%20podcast.mp3" length="27224214" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Shilpa Gupta egrave; da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  ...</itunes:subtitle>
		<itunes:summary>Shilpa Gupta egrave; da anni impegnata nella ricerca sui rapporti tra tecnologie, globalizzazione, controllo sociale, memoria, dinamiche di genere e razza. A partire da  www.blessed-bandwidth.net - un lavoro commissionatole dalla Tate nel 2003, un sito in cui si invitavano i visitatori a registrarsi, scegliere una religione e scaricare la benedizione direttamente on line ndash; la Gupta ha alternato lavori di net art, progetti interattivi, interventi pubblici e azioni di comunicazione su piugrave; larga scala.

Abbiamo incontrato Shilpa Gupta in occasione di Second Moon, la sua prima personale italiana alla Galleria Continua di San Gimignano. Un percorso espositivo il suo, che intreccia aspettative personali ndash; I have many dreams - e aspirazioni collettive, utopie disattese - Tryst with Destiny - e chiusure individualistiche - Untitled Donrsquo;t See Donrsquo;t Hear Donrsquo;t Speak, memoria e proiezione al cambiamento, controllo sociale e forze periferiche che inevitabilmente sono destinare a rompere le strutture sociali ed economiche attuali.

L'intervista egrave; accompagnata da One day I will hear this song stoned di Pero, scaricabile dalla netlabel -N netlabel  e da Like a Virgin di The Apartment, scaricabile da www.comfortstand.com

Grazie a Galleria Continua per la messa a disposizione degli audio di I have many dreams e di Tryst with Destiny.

Questa intervista egrave; realizzata nell'ambito del progetto "SIR - sistema informativo regionale per l'arte contemporanea".</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Marzia Migliora - 10 asterischi</title>
		<link>http://radiopapesse.org/podcasting/archives/192</link>
		<comments>http://radiopapesse.org/podcasting/archives/192#comments</comments>
		<pubDate>Fri, 20 Feb 2009 08:16:25 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/192</guid>
		<description><![CDATA[Tra gli artisti selezionati per il premio Emerging Talents promosso dalla Strozzina di Firenze, Marzia Migliora è senza dubbio tra quelli che a fatica possono essere considerati ancora emergenti. Il suo lavoro, in continua evoluzione, ha raggiunto una maturità di ricerca e una riconoscibilità artistica data dai temi presenti fin dai suoi primi interventi. Temi (...)]]></description>
			<content:encoded><![CDATA[<p>Tra gli artisti selezionati per il premio <strong>Emerging Talents</strong> promosso dalla Strozzina di Firenze, Marzia Migliora è senza dubbio tra quelli che a fatica possono essere considerati ancora emergenti. Il suo lavoro, in continua evoluzione, ha raggiunto una maturità di ricerca e una riconoscibilità artistica data dai temi presenti fin dai suoi primi interventi. Temi - le fobie, il mettersi alla prova fisicamente, la perdita, la cecità, l&#8217;errore, l&#8217;anomalia, il limite, il vincolo - che compongono lo scheletro della sua narrazione e del suo raccontare storie personali.</p>
<p>Abbiamo incontrato Marzia Migliora in occasione della lecture <em>Dieci asterischi. Una testimonianza sulla condizione dell‘artista nell‘Italia di oggi</em> che ha inaugurato la nuova serie di Lecture and Focus on Artists della Strozzina. Le abbiamo chiesto cosa sono i 10 asterischi ai quali fa riferimento il titolo del suo intervento, cosa voglia dire essere giovani artisti in Italia oggi, che effetto fa essere considerata ancora una &#8220;debuttante&#8221;, per quanto si è giovani, come si fa a rimanere artisti anche dopo la soglia dei 35 anni,  quali siano i vizi del sistema dell&#8217;arte del nostro paese.</p>
<p>L&#8217;intervista è accompagnata da <strong>Spion 0221</strong> e <strong>Du bist nicht zu jung</strong> di <em>Schaeng Pfui</em>, scaricabile dalla netlabel www.so-healthy-music.com.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/192/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Lorenzo Fusi presenta Cyprien Gaillard</title>
		<link>http://radiopapesse.org/podcasting/archives/191</link>
		<comments>http://radiopapesse.org/podcasting/archives/191#comments</comments>
		<pubDate>Thu, 18 Dec 2008 11:06:21 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/191</guid>
		<description><![CDATA[Una personale - la prima in un&#8217;istituzione italiana - dedicata dall&#8217;SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1° marzo 2009
Dopo la retrospettiva dedicata all&#8217;opera di Gordon Matta Clark, si tratta di un&#8217;altra esposizione incentrata sullo spazio pubblico - una riflessione sul suo utilizzo e occupazione, sul paesaggio urbano, sui rapporti fra centro (...)]]></description>
			<content:encoded><![CDATA[<p>Una personale - la prima in un&#8217;istituzione italiana - dedicata dall&#8217;SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1° marzo 2009</p>
<p>Dopo la retrospettiva dedicata all&#8217;opera di Gordon Matta Clark, si tratta di un&#8217;altra esposizione incentrata sullo spazio pubblico - una riflessione sul suo utilizzo e occupazione, sul paesaggio urbano, sui rapporti fra centro e periferia, sulla convivenza metropolitana, le politiche abitative e l&#8217;urbanistica - con una particolare attenzione alle relazioni tra le pratiche artistiche degli anni settanta e quelle più attuali.</p>
<p><strong>Lorenzo Fusi</strong> - curatore della mostra - <strong>introduce il lavoro dell&#8217;artista</strong>, i quesiti sollevati e quelli cui cerca risposta. Dai legami con i movimenti artistici degli anni 70 all&#8217;interesse per l&#8217;estetica dell&#8217;architettura fallimentare, dal lavoro sul labile confine tra vandalismo di stato e atto illecito individuale all&#8217;attenzione ai paesaggi suburbani e alle demolizioni spettacolari. Un lavoro, dice Lorenzo Fusi, che non si confonde con l&#8217;operato degli architetti, che non cerca risposte politiche al fallimento delle utopie sociali e architettoniche ma che piuttosto pone attenzione all&#8217;estetica e alla bellezza della rovina e delle architetture disertate e cerca di cambiare il nostro approccio a quegli edifici che hanno un valore storico nonostante il loro fallimento. Una rieducazione al paesaggio e alle forze entropiche che lo ridefiniscono.
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/191/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Lorenzo%20Fusi%20su%20Cyprien%20Gaillard.mp3" length="35105253" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Una personale - la prima in un'istituzione italiana - dedicata dall'SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1deg; marzo 2009

Dopo la retrospettiva ...</itunes:subtitle>
		<itunes:summary>Una personale - la prima in un'istituzione italiana - dedicata dall'SMS Contemporanea a Cyprien Gaillard, dal 13 dicembre 2008 al 1deg; marzo 2009

Dopo la retrospettiva dedicata all'opera di Gordon Matta Clark, si tratta di un'altra esposizione incentrata sullo spazio pubblico - una riflessione sul suo utilizzo e occupazione, sul paesaggio urbano, sui rapporti fra centro e periferia, sulla convivenza metropolitana, le politiche abitative e l'urbanistica - con una particolare attenzione alle relazioni tra le pratiche artistiche degli anni settanta e quelle piugrave; attuali.

Lorenzo Fusi - curatore della mostra - introduce il lavoro dell'artista, i quesiti sollevati e quelli cui cerca risposta. Dai legami con i movimenti artistici degli anni 70 all'interesse per l'estetica dell'architettura fallimentare, dal lavoro sul labile confine tra vandalismo di stato e atto illecito individuale all'attenzione ai paesaggi suburbani e alle demolizioni spettacolari. Un lavoro, dice Lorenzo Fusi, che non si confonde con l'operato degli architetti, che non cerca risposte politiche al fallimento delle utopie sociali e architettoniche ma che piuttosto pone attenzione all'estetica e alla bellezza della rovina e delle architetture disertate e cerca di cambiare il nostro approccio a quegli edifici che hanno un valore storico nonostante il loro fallimento. Una rieducazione al paesaggio e alle forze entropiche che lo ridefiniscono.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ends&#038;Entries 6 - Liverpool - Scouse Scouse</title>
		<link>http://radiopapesse.org/podcasting/archives/190</link>
		<comments>http://radiopapesse.org/podcasting/archives/190#comments</comments>
		<pubDate>Wed, 17 Dec 2008 08:19:15 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/190</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST Scouse Scouse -7’03- Vergil Sharkya’.  Scouse Scouse deals of the typical dish of Liverpool (&#8221;scouse&#8221;) and of the Liverpudlian accent (&#8221;scouse&#8221;). (With voices of Sharon Keogh, Joey Zeb, Mike Fields, John Cotgreave)
Etienne Noiseau ha invitato quindici artisti sonori a (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST <strong>Scouse Scouse</strong> -7’03- <strong>Vergil Sharkya’</strong>. <em> Scouse Scouse deals of the typical dish of Liverpool (&#8221;scouse&#8221;) and of the Liverpudlian accent (&#8221;scouse&#8221;). (With voices of Sharon Keogh, Joey Zeb, Mike Fields, John Cotgreave)</em></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />
Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />
Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />
Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/190/feed/</wfw:commentRSS>
	<!-- Media File exists for this post, but its not enabled for this feed -->
	</item>
		<item>
		<title>Ends&#038;Entries 5 - Napoli - 7 Points of view about Naples</title>
		<link>http://radiopapesse.org/podcasting/archives/189</link>
		<comments>http://radiopapesse.org/podcasting/archives/189#comments</comments>
		<pubDate>Wed, 10 Dec 2008 09:32:38 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/189</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST 7 Points of view about Naples (becoming to the sea) di Soundbarrier (Pasquale Napolitano, Alessandro Inglima, Pier Giuseppe Mariconda, Mimmo Napolitano, Mario Gabola): 7 atmospheres of Naples of 7 minutes each have been modulated by computer basing on the model (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST <strong>7 Points of view about Naples (becoming to the sea)</strong> di Soundbarrier (Pasquale Napolitano, Alessandro Inglima, Pier Giuseppe Mariconda, Mimmo Napolitano, Mario Gabola): <em>7 atmospheres of Naples of 7 minutes each have been modulated by computer basing on the model of the sea waves in the port of the city.</em></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />
Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />
Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />
Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</p>
<p>Su Radio Papesse si possono ascoltare i lavori di ‘Ends&#038;Entries’ ogni giorno fino al 26 novembre, alle 17:00.</p>
<p>www.grenouille888.org
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/189/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/ENDS%20AND%20ENTRIES%20-%20Napoli%20-%207points%20of%20view%20about%20Naples%20-%20SoundBarrier.mp3" length="18390229" type="audio/mpeg"/>
<itunes:duration>7:40</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST 7 Points of view about Naples (becoming to the sea) ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST 7 Points of view about Naples (becoming to the sea) di Soundbarrier (Pasquale Napolitano, Alessandro Inglima, Pier Giuseppe Mariconda, Mimmo Napolitano, Mario Gabola): 7 atmospheres of Naples of 7 minutes each have been modulated by computer basing on the model of the sea waves in the port of the city.

Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.
Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso lrsquo;esterno che integrate nel loro stesso paese.
Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.
Sono tutte cittagrave; sul limite: uscite e ingressi drsquo;Europa

Il progetto lsquo;EndsEtriesrsquo; egrave; presentato da Radio Grenouille nel quadro della residenza lsquo;Coming and Goingrsquo; a Livepool nel Novembre 2008.

Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org

Su Radio Papesse si possono ascoltare i lavori di lsquo;EndsEntriesrsquo; ogni giorno fino al 26 novembre, alle 17:00.

www.grenouille888.org</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ends&#038;Entries 4 - Napoli - Fuori Dentro</title>
		<link>http://radiopapesse.org/podcasting/archives/188</link>
		<comments>http://radiopapesse.org/podcasting/archives/188#comments</comments>
		<pubDate>Tue, 02 Dec 2008 09:25:52 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>radioart</category>
	<category>sound art</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/188</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST Fuori Dentro di Olivier Féraud: At first there is rain as a Neapolitan anti-cliché, that makes us hesitate: go out and get wet or stay dry inside? Fuori Dentro is a study about permeability of inner and outer (public/private spaces)
Etienne (...)]]></description>
			<content:encoded><![CDATA[<p><a id="more-188"></a>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST <strong>Fuori Dentro</strong> di Olivier Féraud: <em>At first there is rain as a Neapolitan anti-cliché, that makes us hesitate: go out and get wet or stay dry inside? Fuori Dentro is a study about permeability of inner and outer (public/private spaces)</em></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />
Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />
Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />
Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</p>
<p>Su Radio Papesse si possono ascoltare i lavori di ‘Ends&#038;Entries’ ogni giorno fino al 26 novembre, alle 17:00.</p>
<p>www.grenouille888.org
</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/188/feed/</wfw:commentRSS>
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<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST Fuori Dentro di Olivier Feacute;raud: At first there is rain ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.

IN QUESTO PODCAST Fuori Dentro di Olivier Feacute;raud: At first there is rain as a Neapolitan anti-clicheacute;, that makes us hesitate: go out and get wet or stay dry inside? Fuori Dentro is a study about permeability of inner and outer (public/private spaces)

Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.
Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso lrsquo;esterno che integrate nel loro stesso paese.
Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.
Sono tutte cittagrave; sul limite: uscite e ingressi drsquo;Europa

Il progetto lsquo;EndsEtriesrsquo; egrave; presentato da Radio Grenouille nel quadro della residenza lsquo;Coming and Goingrsquo; a Livepool nel Novembre 2008.

Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org

Su Radio Papesse si possono ascoltare i lavori di lsquo;EndsEntriesrsquo; ogni giorno fino al 26 novembre, alle 17:00.

www.grenouille888.org</itunes:summary>
		<itunes:keywords>Arts,,radioart,,sound,art</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ends&#038;Entries 3 - Marseille - Marrit Cantaire</title>
		<link>http://radiopapesse.org/podcasting/archives/186</link>
		<comments>http://radiopapesse.org/podcasting/archives/186#comments</comments>
		<pubDate>Wed, 26 Nov 2008 09:32:53 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/186</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
IN QUESTO PODCAST: MARRIT CANTAÏRE di Thomas Lippens In a Provençal song, the man declares he’s going to board in Marseilles since his girl doesn’t love him any more. When he comes back, the girl will have married a richer man who’ll support (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>IN QUESTO PODCAST: MARRIT CANTAÏRE di Thomas Lippens<br /><i> In a Provençal song, the man declares he’s going to board in Marseilles since his girl doesn’t love him any more. When he comes back, the girl will have married a richer man who’ll support her better than him, that &#8220;bad singer&#8221; (marrit cantaïre).</I></p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</p>
<p>Su Radio Papesse si possono ascoltare i lavori di ‘Ends&#038;Entries’ ogni giorno fino al 26 novembre, alle 17:00.</p>
<p>www.grenouille888.org<br />www.myspace.com/lataupoliniere</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/186/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/ENDS%20AND%20ENTRIES%20-%20Marseille%20-%20Marrit%20Cantaire.mp3" length="16580466" type="audio/mpeg"/>
<itunes:duration>6:55</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.IN QUESTO PODCAST: MARRIT CANTAIuml;RE di Thomas Lippens In a Provenccedil;al song, the ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.IN QUESTO PODCAST: MARRIT CANTAIuml;RE di Thomas Lippens In a Provenccedil;al song, the man declares hersquo;s going to board in Marseilles since his girl doesnrsquo;t love him any more. When he comes back, the girl will have married a richer man whorsquo;ll support her better than him, that "bad singer" (marrit cantaiuml;re).Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso lrsquo;esterno che integrate nel loro stesso paese.Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.Sono tutte cittagrave; sul limite: uscite e ingressi drsquo;EuropaIl progetto lsquo;EndsEtriesrsquo; egrave; presentato da Radio Grenouille nel quadro della residenza lsquo;Coming and Goingrsquo; a Livepool nel Novembre 2008.Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.orgSu Radio Papesse si possono ascoltare i lavori di lsquo;EndsEntriesrsquo; ogni giorno fino al 26 novembre, alle 17:00.www.grenouille888.orgwww.myspace.com/lataupoliniere</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Dan Perjovschi - consciousness of hirony</title>
		<link>http://radiopapesse.org/podcasting/archives/185</link>
		<comments>http://radiopapesse.org/podcasting/archives/185#comments</comments>
		<pubDate>Mon, 24 Nov 2008 10:29:32 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/185</guid>
		<description><![CDATA[Intervista in inglese/Interview in EnglishNovembre 2008. Al Centro Culture Contemporanee Strozzina di Palazzo Strozzi abbiamo incontrato Dan Perjovschi in occasione della mostra &#8220;Arte Prezzo e Valore&#8221;.
Il suo lavoro esplora i nessi fra arte, società e politica e proprio di questo abbiamo parlato, ma per affrontare il lavoro realizzato a Firenze la nostra conversazione è partita (...)]]></description>
			<content:encoded><![CDATA[<p>Intervista in inglese/Interview in English<br />Novembre 2008. Al Centro Culture Contemporanee Strozzina di Palazzo Strozzi abbiamo incontrato <strong>Dan Perjovschi</strong> in occasione della mostra &#8220;Arte Prezzo e Valore&#8221;.</p>
<p>Il suo lavoro esplora i nessi fra <strong>arte</strong>, <strong>società</strong> e <strong>politica</strong> e proprio di questo abbiamo parlato, ma per affrontare il lavoro realizzato a Firenze la nostra conversazione è partita da più lontano, dalla Biennale di Venezia del 2007.</p>
<p>&#8212;</p>
<p>Novembre 2008. We met <strong>Dan Perjovschi</strong> at the Contemporary Culture Center Strozzina right before an Artist Talk he was going to host there. He&#8217;s been invited at CCCS Strozzina to take part in the exhibition &#8220;Money Price Value&#8221;.</p>
<p>Born in 1961 and educated in the Romanian socialism system, Dan Perjovschi create work that resides at the nexus of art, society and politics. He is internationally renowned for large and small scale drawing installations of hundreds of cartoon-like figures that comment on local, national and international cultural and current affairs.<br />Our conversation with him did not move directly from the work he realized in Florence, but form what happened at the Venice Biennale of 2007.</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/185/feed/</wfw:commentRSS>
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<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Intervista in inglese/Interview in EnglishNovembre 2008. Al Centro Culture Contemporanee Strozzina di Palazzo Strozzi abbiamo incontrato Dan Perjovschi in occasione della mostra "Arte Prezzo e ...</itunes:subtitle>
		<itunes:summary>Intervista in inglese/Interview in EnglishNovembre 2008. Al Centro Culture Contemporanee Strozzina di Palazzo Strozzi abbiamo incontrato Dan Perjovschi in occasione della mostra "Arte Prezzo e Valore".Il suo lavoro esplora i nessi fra arte, societagrave; e politica e proprio di questo abbiamo parlato, ma per affrontare il lavoro realizzato a Firenze la nostra conversazione egrave; partita da piugrave; lontano, dalla Biennale di Venezia del 2007.---Novembre 2008. We met Dan Perjovschi at the Contemporary Culture Center Strozzina right before an Artist Talk he was going to host there. He's been invited at CCCS Strozzina to take part in the exhibition "Money Price Value".Born in 1961 and educated in the Romanian socialism system, Dan Perjovschi create work that resides at the nexus of art, society and politics. He is internationally renowned for large and small scale drawing installations of hundreds of cartoon-like figures that comment on local, national and international cultural and current affairs.Our conversation with him did not move directly from the work he realized in Florence, but form what happened at the Venice Biennale of 2007.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ends&#038;Entries 2 - Instanbul - Call of Instanbul in the noises</title>
		<link>http://radiopapesse.org/podcasting/archives/182</link>
		<comments>http://radiopapesse.org/podcasting/archives/182#comments</comments>
		<pubDate>Wed, 19 Nov 2008 08:32:12 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/182</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l’esterno che integrate nel loro stesso paese.<br />Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />Sono tutte città sul limite: uscite e ingressi d’Europa</p>
<p>Il progetto ‘Ends&#038;Etries’ è presentato da Radio Grenouille nel quadro della residenza ‘Coming and Going’ a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</p>
<p>Su Radio Papesse si possono ascoltare i lavori di ‘Ends&#038;Entries’ ogni giorno fino al 26 novembre, alle 17:00.</p>
<p>IN QUESTO PODCAST &#8216;Call of Instanbul in the noises&#8217; di Batur Sönmez: <em>In the same way we use the virus to make the vaccine, Call of Istanbul in the noises, from the Noiseistanbul project, intends to make us realize the noises of the city by experiencing them.</em></p>
<p>www.grenouille888.org<br />www.myspace.com/noiseistanbul<br />www.myspace.com/batursonmez</p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/182/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/ENDS%20AND%20ENTRIES%20-%20Istanbul%20-%20Call%20of%20Instabul%20in%20the%20noises.mp3" length="18722507" type="audio/mpeg"/>
<itunes:duration>7:48</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso lrsquo;esterno che integrate nel loro stesso paese.Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.Sono tutte cittagrave; sul limite: uscite e ingressi drsquo;EuropaIl progetto lsquo;EndsEtriesrsquo; egrave; presentato da Radio Grenouille nel quadro della residenza lsquo;Coming and Goingrsquo; a Livepool nel Novembre 2008.Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.orgSu Radio Papesse si possono ascoltare i lavori di lsquo;EndsEntriesrsquo; ogni giorno fino al 26 novembre, alle 17:00.IN QUESTO PODCAST 'Call of Instanbul in the noises' di Batur Souml;nmez: In the same way we use the virus to make the vaccine, Call of Istanbul in the noises, from the Noiseistanbul project, intends to make us realize the noises of the city by experiencing them.www.grenouille888.orgwww.myspace.com/noiseistanbulwww.myspace.com/batursonmez</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Ends&#038;Entries - Liverpool - Earworms in a dark city</title>
		<link>http://radiopapesse.org/podcasting/archives/180</link>
		<comments>http://radiopapesse.org/podcasting/archives/180#comments</comments>
		<pubDate>Wed, 12 Nov 2008 15:51:16 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/180</guid>
		<description><![CDATA[Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.
Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l&#8217;esterno che integrate nel loro stesso (...)]]></description>
			<content:encoded><![CDATA[<p>Ends &#038; Entries è un progetto di Etienne Noiseau realizzato per Radio Grenouille.</p>
<p>Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle città di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.<br />Città di mare, porti, crocevia di popoli con una storia antica; più aperte verso l&#8217;esterno che integrate nel loro stesso paese.<br />Città industriali in declino che cercano il loro riscatto sulla via della della cultura.<br />Sono tutte città sul limite: uscite e ingressi d&#8217;Europa</p>
<p>Il progetto &#8216;Ends&#038;Etries&#8217; è presentato da Radio Grenouille nel quadro della residenza &#8216;Coming and Going&#8217; a Livepool nel Novembre 2008.</p>
<p>Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.org</p>
<p>Su Radio Papesse si possono ascoltare i lavori di &#8216;Ends&#038;Entries&#8217; ogni giorno dal oggi 12 novembre fino al 26, alle 17:00. </p>
<p>IN QUESTO PODCAST: &#8216;Earworms in a dark city&#8217; di AD&#038;THEFILMTAXI<br /><i>Two men are in a bar at sea on the evening of Sunday 31st October 1999, sitting by a slowed down piano recalling all the melodies they can that started life on the shores of Liverpool. Fifty raucously darkening earworms that make them drift further out to sea.</i></p>
]]></content:encoded>
			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/180/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/ENDS%20AND%20ENTRIES%20-%20Liverpool%20-%20Earworms%20in%20a%20dark%20city.mp3" length="18764303" type="audio/mpeg"/>
<itunes:duration>7:49</itunes:duration>
		<itunes:subtitle>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni ...</itunes:subtitle>
		<itunes:summary>Ends  Entries egrave; un progetto di Etienne Noiseau realizzato per Radio Grenouille.Etienne Noiseau ha invitato quindici artisti sonori a realizzare una serie di produzioni originali dedicate alle cittagrave; di Marsiglia, Liverpool, Danzica, Napoli e Instanbul.Cittagrave; di mare, porti, crocevia di popoli con una storia antica; piugrave; aperte verso l'esterno che integrate nel loro stesso paese.Cittagrave; industriali in declino che cercano il loro riscatto sulla via della della cultura.Sono tutte cittagrave; sul limite: uscite e ingressi d'EuropaIl progetto 'EndsEtries' egrave; presentato da Radio Grenouille nel quadro della residenza 'Coming and Going' a Livepool nel Novembre 2008.Maggiori informazioni sul progetto su www.radiopapesse.org e su www.grenouille888.orgSu Radio Papesse si possono ascoltare i lavori di 'EndsEntries' ogni giorno dal oggi 12 novembre fino al 26, alle 17:00. IN QUESTO PODCAST: 'Earworms in a dark city' di ADTHEFILMTAXITwo men are in a bar at sea on the evening of Sunday 31st October 1999, sitting by a slowed down piano recalling all the melodies they can that started life on the shores of Liverpool. Fifty raucously darkening earworms that make them drift further out to sea.</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Giacinto Di Pietrantonio - Quando il Mondo era Moderno</title>
		<link>http://radiopapesse.org/podcasting/archives/177</link>
		<comments>http://radiopapesse.org/podcasting/archives/177#comments</comments>
		<pubDate>Tue, 28 Oct 2008 11:18:15 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/177</guid>
		<description><![CDATA[Giacinto Di Pietrantonio, direttore della GAMEC, la Galleria d&#8217;Arte Moderna e Contemporanea di Bergamo, ci parla di Quando il Mondo era moderno, la prima mostra dedicata all&#8217;opera di Pio Manzù.
L&#8217;esposizione, curata insieme a Enrico Fagone e Beppe Finessi, ripercorre l&#8217;opera del designer attraverso progetti, fotografie, schizzi e prototipi di automobili e oggetti realizzati fino alla (...)]]></description>
			<content:encoded><![CDATA[<p>Giacinto Di Pietrantonio, direttore della <u><a target="_blank" href="http://www.gamec.it/">GAMEC</a></u>, la Galleria d&#8217;Arte Moderna e Contemporanea di Bergamo, ci parla di <strong>Quando il Mondo era moderno</strong>, la prima mostra dedicata all&#8217;opera di Pio Manzù.</p>
<p>L&#8217;esposizione, curata insieme a <u><a target="_blank" href="http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1491/index.html?area=5">Enrico Fagone</a></u> e Beppe Finessi, ripercorre l&#8217;opera del designer attraverso progetti, fotografie, schizzi e prototipi di automobili e oggetti realizzati fino alla sua precoce morte avvenuta nel 1969, a soli 30 anni.</p>
<p>A partire da un confronto con il padre - il più famoso scultore Giacomo Manzù - si evidenzia una profonda differenza di pratica e cultura artistica. Pio viveva a pieno l&#8217;energia e lo spirito moderno degli anni &#8216;60, abbracciando quella modernità funzionale declinata al design ma che tuttavia incrociava sociologia, arte, grafica, ingegneria, etica ed estetica.<br />Un momento storico di fermento, quando il mondo era moderno.</p>
<p>La <u><a target="_blank" href="http://www.gamec.it/">GAMEC</a></u> è un museo associato <u><a target="_blank" href="http://www.amaci.org/">AMACI</a></u></p>
<p>La musica che lega l&#8217;intervista è tratta dall&#8217;album Colectro, rilasciato sotto licenza Creative Commons dalla netlabel  <a target="_blank" href="http://www.so-healthy-music.com/"><u>So Healthy Music</u></a></p>
</p>
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			<enclosure url="http://radiopapesse.org/podcast/Giacinto%20Di%20Pietrantonio%20-%20Quando%20il%20mondo%20era%20moderno%20Podcast%20.mp3" length="20521403" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Giacinto Di Pietrantonio, direttore della GAMEC, la Galleria d'Arte Moderna e Contemporanea di Bergamo, ci parla di Quando il Mondo era moderno, la prima mostra ...</itunes:subtitle>
		<itunes:summary>Giacinto Di Pietrantonio, direttore della GAMEC, la Galleria d'Arte Moderna e Contemporanea di Bergamo, ci parla di Quando il Mondo era moderno, la prima mostra dedicata all'opera di Pio Manzugrave;.L'esposizione, curata insieme a Enrico Fagone e Beppe Finessi, ripercorre l'opera del designer attraverso progetti, fotografie, schizzi e prototipi di automobili e oggetti realizzati fino alla sua precoce morte avvenuta nel 1969, a soli 30 anni.A partire da un confronto con il padre - il piugrave; famoso scultore Giacomo Manzugrave; - si evidenzia una profonda differenza di pratica e cultura artistica. Pio viveva a pieno l'energia e lo spirito moderno degli anni '60, abbracciando quella modernitagrave; funzionale declinata al design ma che tuttavia incrociava sociologia, arte, grafica, ingegneria, etica ed estetica.Un momento storico di fermento, quando il mondo era moderno.La GAMEC egrave; un museo associato AMACILa musica che lega l'intervista egrave; tratta dall'album Colectro, rilasciato sotto licenza Creative Commons dalla netlabel  So Healthy MusicPurchase Calan
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Orde...</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
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	</item>
		<item>
		<title>Justin Randolph Thompson - Show your teeth</title>
		<link>http://radiopapesse.org/podcasting/archives/175</link>
		<comments>http://radiopapesse.org/podcasting/archives/175#comments</comments>
		<pubDate>Thu, 23 Oct 2008 12:56:04 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/175</guid>
		<description><![CDATA[ Justin Randolph Thompson è un media artist che conta già numerevoli interventi internazionali. Nato a Peekskill, NY, ha vissuto gli ultimi sette anni a Firenze. Il suo lavoro attinge dalle fonti di storia italiana, legandole a quella storia e della cultura afroamericana.
Il suo lavoro Show your teeth ha vinto il call for soundworks Revolutionary (...)]]></description>
			<content:encoded><![CDATA[<p><!-- /.dettaglio_immagini --> <u><a target="_blank" href="http://www.justinrandolphthompson.com/">Justin Randolph Thompson</a></u> è un media artist che conta già numerevoli interventi internazionali. Nato a Peekskill, NY, ha vissuto gli ultimi sette anni a Firenze. Il suo lavoro attinge dalle fonti di storia italiana, legandole a quella storia e della cultura afroamericana.</p>
<div>Il suo lavoro <em>Show your teeth</em> <strong>ha vinto il call for soundworks Revolutionary Sound</strong></p>
<div>Show you teeth è un lavoro sonoro che passa dalla violenza implicita di un beat hiphop alla cantilena di un canto di lavoro. Le parole del canto non sono altro che la traduzione inglese del tradizionale siciliano “Mala razza”, una canzone popolare che racconta di un richiamo di Dio agli oppressi affinché si armino e mostrino i denti.Quest’intreccio di riferimenti mette in relazione la violenza implicita spesso presente nelle canzoni hip-hop con i canti di lavoro delle prigioni, che indicano un destino comune dei giovani afro-americani coinvolti in quegli atti di violenza glorificati da molte canzoni hip-hop.Gil Scott-Herron ha affermato che la rivoluzione è nelle nostre menti e questo lavoro sonoro vuole riflettere su quegli atti di rivolta violenta che minano alla base il cambiamento interno necessario per la la rivoluzione.</p>
<div>
<div>&#8212;</div>
<div>
<div><u><a target="_blank" href="http://www.justinrandolphthompson.com/">Justin Randolph Thompson</a></u> is an internationally exhibited new media artist born in Peekskill, NY. Thompson has lived for the past 7 years in Florence, Italy. His work draws connections between historic Italian references and references from African-American history and contemporary culture.</div>
<div>
<div>His piece <em>Show your teeth</em> <strong>is the winner of tha call for soundworks.</strong></div>
<div>
<div>
<div>Show Your Teeth is a sound piece that passes from the implied violence of a grinding hip-hop beat to the chant of a work song. The work song uses translated lyrics from the traditional Sicilian song Mala Razza which presents a call from god to the oppressed to arm themselves and show their teeth. This mixture of references connects the underlying violence often present in hip-hop with a prison work song indicating the common destination for African-American males who find themselves carrying out the violent acts glorified in many hip-hop songs.Gil Scott-Herron stated that the revolution is in your mind and this sound work intends to invite reflection upon violent acts of revolt which undermine the internal change necessary for revolution.</div>
<div>
<div>
<div><strong>Malarazza</strong></div>
<div>Ti lamenti…ma che ti lamenti?<br />
Pigghia lu bastoni e tira fori li denti<br />
Nu servu tempu fa rientra na piazza<br />
Prigavu a Cristu ‘n cruci e ci ricia:<br />
Cristu lu mi padroni mi strapazza<br />
Mi tratta comu un cani pi la via<br />
Si pigghia tuttu cu la sua manazza<br />
Mancu la vita mia rice ch’è mia<br />
Distruggila Gesù sta malarazza<br />
Distruggila Gesù fallu pi mmia<br />
fallu pi mia…!<br />
Ti lamenti…ma che ti lamenti?<br />
Pigghia lu bastoni e tira fori li denti<br />
Ti lamenti…ma che ti lamenti?<br />
Pigghia lu bastoni e tira fori li denti<br />
E Cristu m’arrispunni dalla cruci<br />
Forsi si so spizzati li to vrazza?<br />
Cu voli la giustizia si la fazza<br />
Nisciuni ormai chiù la farà pi ttia<br />
Si tu si n’omo e nun si testa pazza<br />
Ascolta beni sta sintenzia mia<br />
Ca iu ‘nchiodatu n cruci nun saria<br />
S’avissi fattu ciò ca ricu a ttia<br />
Ca io ‘inchiadatu in cruci nun saria<br />
Ti lamenti…ma che ti lamenti?<br />
Pigghia lu bastoni e tira fori li denti<br />
Ti lamenti…ma che ti lamenti?<br />
Pigghia lu bastoni e tira fori li denti(D.Modugno - rielaborazione di un lamento popolare siciliano scritto da Lionardo Vigo, 1857)</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
]]></content:encoded>
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			<enclosure url="http://radiopapesse.org/podcast/Justin%20Thompson%20per%20podcast.mp3" length="3647137" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Justin Randolph Thompson egrave; un media artist che conta giagrave; numerevoli interventi internazionali. Nato a Peekskill, NY, ha vissuto gli ultimi sette anni a ...</itunes:subtitle>
		<itunes:summary>Justin Randolph Thompson egrave; un media artist che conta giagrave; numerevoli interventi internazionali. Nato a Peekskill, NY, ha vissuto gli ultimi sette anni a Firenze. Il suo lavoro attinge dalle fonti di storia italiana, legandole a quella storia e della cultura afroamericana.
Il suo lavoro Show your teeth ha vinto il call for soundworks Revolutionary Sound
Show you teeth egrave; un lavoro sonoro che passa dalla violenza implicita di un beat hiphop alla cantilena di un canto di lavoro. Le parole del canto non sono altro che la traduzione inglese del tradizionale siciliano ldquo;Mala razzardquo;, una canzone popolare che racconta di un richiamo di Dio agli oppressi affincheacute; si armino e mostrino i denti.Questrsquo;intreccio di riferimenti mette in relazione la violenza implicita spesso presente nelle canzoni hip-hop con i canti di lavoro delle prigioni, che indicano un destino comune dei giovani afro-americani coinvolti in quegli atti di violenza glorificati da molte canzoni hip-hop.Gil Scott-Herron ha affermato che la rivoluzione egrave; nelle nostre menti e questo lavoro sonoro vuole riflettere su quegli atti di rivolta violenta che minano alla base il cambiamento interno necessario per la la rivoluzione.

---

Justin Randolph Thompson is an internationally exhibited new media artist born in Peekskill, NY. Thompson has lived for the past 7 years in Florence, Italy. His work draws connections between historic Italian references and references from African-American history and contemporary culture.

His piece Show your teeth is the winner of tha call for soundworks.


Show Your Teeth is a sound piece that passes from the implied violence of a grinding hip-hop beat to the chant of a work song. The work song uses translated lyrics from the traditional Sicilian song Mala Razza which presents a call from god to the oppressed to arm themselves and show their teeth. This mixture of references connects the underlying violence often present in hip-hop with a prison work song indicating the common destination for African-American males who find themselves carrying out the violent acts glorified in many hip-hop songs.Gil Scott-Herron stated that the revolution is in your mind and this sound work intends to invite reflection upon violent acts of revolt which undermine the internal change necessary for revolution.


Malarazza
Ti lamentihellip;ma che ti lamenti?
Pigghia lu bastoni e tira fori li denti
Nu servu tempu fa rientra na piazza
Prigavu a Cristu lsquo;n cruci e ci ricia:
Cristu lu mi padroni mi strapazza
Mi tratta comu un cani pi la via
Si pigghia tuttu cu la sua manazza
Mancu la vita mia rice chrsquo;egrave; mia
Distruggila Gesugrave; sta malarazza
Distruggila Gesugrave; fallu pi mmia
fallu pi miahellip;!
Ti lamentihellip;ma che ti lamenti?
Pigghia lu bastoni e tira fori li denti
Ti lamentihellip;ma che ti lamenti?
Pigghia lu bastoni e tira fori li denti
E Cristu mrsquo;arrispunni dalla cruci
Forsi si so spizzati li to vrazza?
Cu voli la giustizia si la fazza
Nisciuni ormai chiugrave; la faragrave; pi ttia
Si tu si nrsquo;omo e nun si testa pazza
Ascolta beni sta sintenzia mia
Ca iu lsquo;nchiodatu n cruci nun saria
Srsquo;avissi fattu ciograve; ca ricu a ttia
Ca io lsquo;inchiadatu in cruci nun saria
Ti lamentihellip;ma che ti lamenti?
Pigghia lu bastoni e tira fori li denti
Ti lamentihellip;ma che ti lamenti?
Pigghia lu bastoni e tira fori li denti(D.Modugno - rielaborazione di un lamento popolare siciliano scritto da Lionardo Vigo, 1857)








</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
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		<title>Il libro Bianco sulla creatività - Santagata, Salvemini e Sacco a Confronto</title>
		<link>http://radiopapesse.org/podcasting/archives/173</link>
		<comments>http://radiopapesse.org/podcasting/archives/173#comments</comments>
		<pubDate>Tue, 14 Oct 2008 15:46:41 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/173</guid>
		<description><![CDATA[Come nasce una stagione di creatività in un paese? Nasce dal fatto che si senta un grande senso di possibilità&#8230;  - Pierluigi Sacco
Lo scorso 26 settembre a Bologna, per la serie di incontri promossa da Uncredit ad Artelibro, è stato presentato Il libro bianco sulla creatività, uno studio sullo stato dell&#8217;industria creativa in Italia, (...)]]></description>
			<content:encoded><![CDATA[<p><em>Come nasce una stagione di creatività in un paese? Nasce dal fatto che si senta un grande senso di possibilità&#8230; </em> - Pierluigi Sacco</p>
<p>Lo scorso 26 settembre a Bologna, per la serie di incontri promossa da Uncredit ad Artelibro, è stato presentato <em>Il libro bianco sulla creatività</em>, uno studio sullo stato dell&#8217;industria creativa in Italia, commissionato dall&#8217;ex Ministro dei Beni e delle Attività Culturali, che verrà pubblicato entro la fine dell&#8217;anno.</p>
<p>A parlarne <u><a target="_blank" href="http://didattica.unibocconi.it/docenti/cv.php?rif=48315&#038;cognome=SALVEMINI&#038;nome=SEVERINO">Severino Salvemini</a></u>, <u><a target="_blank" href="http://www.de.unito.it/web/member/santagata/personal-inf.htm">Walter Santagata</a></u> e <u><a target="_blank" href="http://www.iuav.it/Ricerca1/Dipartimen/dADI/Docenti/Sacco-Pier/index.htm">Pierluigi Sacco </a></u>.</p>
<p>Due milioni e mezzo di occupati per un 9% del prodotto interno lordo.<br />Questi sono i numeri, rilevanti, dell&#8217;industria culturale, dei contenuti e dell&#8217;arte in Italia. Alla base di tutto troviamo la creatività, una parola e un&#8217;attitudine che spesso è associata all&#8217;arte dell&#8217;arrangiarsi tipicamente italiana e alla sregolatezza del genio ma che all&#8217;opposto non è mai improvvisata e soprattutto può essere volano di uno sviluppo sociale e produttivo di qualità.</p>
</p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/173/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Il%20Libro%20Bianco%20sulla%20Creativita%20per%20podcast%20.mp3" length="33047222" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Come nasce una stagione di creativitagrave; in un paese? Nasce dal fatto che si senta un grande senso di possibilitagrave;...  - Pierluigi SaccoLo scorso ...</itunes:subtitle>
		<itunes:summary>Come nasce una stagione di creativitagrave; in un paese? Nasce dal fatto che si senta un grande senso di possibilitagrave;...  - Pierluigi SaccoLo scorso 26 settembre a Bologna, per la serie di incontri promossa da Uncredit ad Artelibro, egrave; stato presentato Il libro bianco sulla creativitagrave;, uno studio sullo stato dell'industria creativa in Italia, commissionato dall'ex Ministro dei Beni e delle Attivitagrave; Culturali, che verragrave; pubblicato entro la fine dell'anno.A parlarne Severino Salvemini, Walter Santagata e Pierluigi Sacco .Due milioni e mezzo di occupati per un 9% del prodotto interno lordo.Questi sono i numeri, rilevanti, dell'industria culturale, dei contenuti e dell'arte in Italia. Alla base di tutto troviamo la creativitagrave;, una parola e un'attitudine che spesso egrave; associata all'arte dell'arrangiarsi tipicamente italiana e alla sregolatezza del genio ma che all'opposto non egrave; mai improvvisata e soprattutto puograve; essere volano di uno sviluppo sociale e produttivo di qualitagrave;.Imitation Cialis
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		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Tra-Art News - il notiziario dal 10 al 16 ottobre 2008</title>
		<link>http://radiopapesse.org/podcasting/archives/172</link>
		<comments>http://radiopapesse.org/podcasting/archives/172#comments</comments>
		<pubDate>Fri, 10 Oct 2008 06:53:01 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/172</guid>
		<description><![CDATA[Ha aperto lo scorso 4 ottobre al Museo del Tessuto di Prato Tessuti Sonori - interpretazioni dello spazio museale tra innovazione tessile e sound art,  un&#8217;installazione site specific di Lorenzo Brusci. L&#8217;intervento, che parte dall&#8217;uso dei tessuti come media sonori, reinterpreta gli spazi espositivi ed i contenuti della mostra temporanea in corso &#8220;Superhuman Performance - (...)]]></description>
			<content:encoded><![CDATA[<p>Ha aperto lo scorso 4 ottobre al Museo del Tessuto di Prato <em>Tessuti Sonori - interpretazioni dello spazio museale tra innovazione tessile e sound art</em>,  un&#8217;installazione site specific di Lorenzo Brusci. L&#8217;intervento, che parte dall&#8217;uso dei tessuti come media sonori, reinterpreta gli spazi espositivi ed i contenuti della mostra temporanea in corso &#8220;Superhuman Performance - l’evoluzione del tessuto per lo sport&#8221;. Per maggiori informazioni <u><a target="_blank" href="http://www.museodeltessuto.it/">www.museodeltessuto.it</a></u> e <u><a target="_blank" href="http://www.soundexperiencedesign.com/">www.soundexperiencedesign.com</a></u>.<br />&#8212;<br />Andrà avanti fino al 18 ottobre il <strong>Lucca Film Festival 2008</strong><br />In programma segnaliamo una serie di proiezioni inedite che omaggiano Pierre Clementi, una retrospettiva sulle opere di Jonas Mekas, la presentazione di tre film di Kiyoshi Kurosawa, un&#8217;esposizione dei lavori fotografici e video di Christian Lebrat e un&#8217;ampia retrospettiva sul giovane regista inglese ShaneMeadows. <u><a target="_blank" href="http://www.vistanova.it/">www.vistanova.it</a></u><br />&#8212;<br />E ancora a Lucca, in parallelo al Film Festival, la Fondazione Ragghianti dedica una mostra a Jonas Mekas, film-maker e critico statunitense di origine lituana che si inserisce all’interno di quel cinema definito &#8220;underground&#8221;.<br />La mostra sarà visitabile fino al 2 novembre 2008.  Per maggiori informazioni <u><a target="_blank" href="http://www.fondazioneragghianti.it/">www.fondazioneragghianti.it</a></u><br />&#8212;<br />Giunge alla quarta edizione il FoFu phot&#8217;art di Fucecchio.<br />L&#8217;edizione 2008 è caratterizzato da una forte impronta internazionale. Tra gli autori esposti troviamo Mitya Kushelevich,  David Hogsholt, Julia Christe,  Mark Rader, Giovanni Marrozzini e Rocco Rorandelli.<br />Fino al 3 novembre. Informazioni a <u><a target="_blank" href="http://www.fofu.it/">www.fofu.it</a></u>.<br />&#8212;<br />Sono aperte le iscrizioni per il <strong>World Congress of Science and Factual Producers</strong>, un congresso annuale che riunisce la comunità internazionale di produttori, broadcaster, distributori, autori e accademici interessati al dibattito intellettuale e al mercato della creazione di prodotti scientifici e storici, mirati a televisioni specializzate in non-fiction.<br />A Firenze dal 1° al 4 dicembre. Per gli iscritti al sito di <u><a target="_blank" href="http://www.documentaristi.it/index2.html">Doc/it</a></u>   è riservata una tariffa speciale di iscrizione. Scrivete a segreteria@documentaristi.it.  Info sul congresso su <u><a target="_blank" href="http://www.scienceproducers.com/">www.scienceproducers.com</a></u><br />&#8212;<br />Scade il 31 ottobre il bando per l&#8217;assegnazione di borse di studio della Akademie Schloss Solitude di Stoccarda. Il bando è aperto ad artisti di qualsiasi nazionalità che si occupino di arti visive, grafica e design e anche a scrittori, critici e ricercatori che si occupino di investigare teoricamente le citate discipline. Il bando per le residenze dell&#8217;anno prossimo scade il 31 ottobre. Per maggiori informazioni <u><a target="_blank" href="http://www.akademie-solitude.de/">www.akademie-solitude.de</a></u><br />&#8212;<br />Il Dipartimento di Pianificazione dell&#8217;Università Iuav di Venezia organizza per l&#8217;anno accademico 2008-2009 il Master di II° livello in <strong>Urban Development and Reconstruction</strong> rivolto a quanti intendono affrontare i temi dello sviluppo e della ricostruzione nelle aree urbane dei paesi in via di sviluppo in una prospettiva di governance e di forme partecipate di pianificazione. Il bando per l&#8217;iscrizione scade il 14 novembre. Alcune borse di studio sono messe a disposizione dallo IUAV.<br /><u><a target="_blank" href="http://www.masterurbandevelopment.it/">www.masterurbandevelopment.it</a></u><br />&#8212;<br />L&#8217;organizzazione della II edizione del <u><a href="http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1404/index.html?area=7"><strong>Festival dell&#8217;Arte Contemporanea di Faenza</strong></a></u> sta cercando volontari, appassionati d&#8217;arte contemporanea, giovani e studenti che desiderino partecipare in veste di volontari alla promozione dell&#8217;evento. I volontari saranno impegnati in un tour che da Venezia a Roma, da Milano a Bologna e Firenze toccherà tutti i principali eventi d&#8217;arte contemporanea del nostro paese. Se siete interessati e volete saperne di più scrivete a cyou@festivalartecontemporanea.it</p>
<p>Alla  prossima settimana</p>
</p>
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			<wfw:commentRSS>http://radiopapesse.org/podcasting/archives/172/feed/</wfw:commentRSS>
			<enclosure url="http://radiopapesse.org/podcast/Tra-Art%2010-16%20ottobre%202008.mp3" length="7188087" type="audio/mpeg"/>
<itunes:duration>00:01:01</itunes:duration>
		<itunes:subtitle>Ha aperto lo scorso 4 ottobre al Museo del Tessuto di Prato Tessuti Sonori - interpretazioni dello spazio museale tra innovazione tessile e sound art,nbsp; ...</itunes:subtitle>
		<itunes:summary>Ha aperto lo scorso 4 ottobre al Museo del Tessuto di Prato Tessuti Sonori - interpretazioni dello spazio museale tra innovazione tessile e sound art,nbsp; un'installazione site specific di Lorenzo Brusci. L'intervento, che parte dall'uso dei tessuti come media sonori, reinterpreta gli spazi espositivi ed i contenuti della mostra temporanea in corso "Superhuman Performance - lrsquo;evoluzione del tessuto per lo sport". Per maggiori informazioni www.museodeltessuto.it e www.soundexperiencedesign.com.---Andragrave; avanti fino al 18 ottobre il Lucca Film Festival 2008In programma segnaliamo una serie di proiezioni inedite che omaggiano Pierre Clementi, una retrospettiva sulle opere di Jonas Mekas, la presentazione di tre film di Kiyoshi Kurosawa, un'esposizione dei lavori fotografici e video di Christian Lebrat e un'ampia retrospettiva sul giovane regista inglese ShaneMeadows. www.vistanova.it---E ancora a Lucca, in parallelo al Film Festival, la Fondazione Ragghianti dedica una mostra a Jonas Mekas, film-maker e critico statunitense di origine lituana che si inserisce allrsquo;interno di quel cinema definito "underground".La mostra saragrave; visitabile fino al 2 novembre 2008.nbsp; Per maggiori informazioni www.fondazioneragghianti.it---Giunge alla quarta edizione il FoFu phot'art di Fucecchio.L'edizione 2008 egrave; caratterizzato da una forte impronta internazionale. Tra gli autori esposti troviamo Mitya Kushelevich,nbsp; David Hogsholt, Julia Christe,nbsp; Mark Rader, Giovanni Marrozzini e Rocco Rorandelli.Fino al 3 novembre. Informazioni a www.fofu.it.---Sono aperte le iscrizioni per il World Congress of Science and Factual Producers, un congresso annuale che riunisce la comunitagrave; internazionale di produttori, broadcaster, distributori, autori e accademici interessati al dibattito intellettuale e al mercato della creazione di prodotti scientifici e storici, mirati a televisioni specializzate in non-fiction.A Firenze dal 1deg; al 4 dicembre. Per gli iscritti al sito di Doc/itnbsp;  egrave; riservata una tariffa speciale di iscrizione. Scrivete a segreteria@documentaristi.it.nbsp; Info sul congresso su www.scienceproducers.com---Scade il 31 ottobre il bando per l'assegnazione di borse di studio della Akademie Schloss Solitude di Stoccarda. Il bando egrave; aperto ad artisti di qualsiasi nazionalitagrave; che si occupino di arti visive, grafica e design e anche a scrittori, critici e ricercatori che si occupino di investigare teoricamente le citate discipline. Il bando per le residenze dell'anno prossimo scade il 31 ottobre. Per maggiori informazioni www.akademie-solitude.de---Il Dipartimento di Pianificazione dell'Universitagrave; Iuav di Venezia organizza per l'anno accademico 2008-2009 il Master di IIdeg; livello in Urban Development and Reconstruction rivolto a quanti intendono affrontare i temi dello sviluppo e della ricostruzione nelle aree urbane dei paesi in via di sviluppo in una prospettiva di governance e di forme partecipate di pianificazione. Il bando per l'iscrizione scade il 14 novembre. Alcune borse di studio sono messe a disposizione dallo IUAV.www.masterurbandevelopment.it---L'organizzazione della II edizione del Festival dell'Arte Contemporanea di Faenza sta cercando volontari, appassionati d'arte contemporanea, giovani e studenti che desiderino partecipare in veste di volontari alla promozione dell'evento. I volontari saranno impegnati in un tour che da Venezia a Roma, da Milano a Bologna e Firenze toccheragrave; tutti i principali eventi d'arte contemporanea del nostro paese. Se siete interessati e volete saperne di piugrave; scrivete a cyou@festivalartecontemporanea.itAllanbsp; prossima settimanaViagra Alternative Review
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Online...</itunes:summary>
		<itunes:keywords>Arts</itunes:keywords>
		<itunes:author>Radio Papesse</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>No</itunes:block>
	</item>
		<item>
		<title>Speciale Musica Concreta - Luigi Mastandrea - Dalla Musica Concreta al Sound Design</title>
		<link>http://radiopapesse.org/podcasting/archives/171</link>
		<comments>http://radiopapesse.org/podcasting/archives/171#comments</comments>
		<pubDate>Wed, 08 Oct 2008 10:01:06 +0000</pubDate>
		<dc:creator>Radio Papesse</dc:creator>
		
	<category>Arts</category>
	<category>music</category>
	<category>sound design</category>
	<category>sound art</category>
	<category>interview</category>
		<guid isPermaLink="false">http://radiopapesse.org/podcasting/archives/171</guid>
		<description><![CDATA[Luigi Mastandrea e&#8217; musicista, compositore e sound designer.  Con lui parliamo di suono a partire dalla &#8216;musica concreta&#8217;. Lo facciamo alla luce degli incontri sul tema organizzati da  Tempo Reale con i protagonisti del GRM, il gruppo di ricerca musicale di Parigi. Ricordiamo che su radiopapesse.org sono scaricabili gli audio degli incontri con Christian (...)]]></description>
			<content:encoded><![CDATA[<p>Luigi Mastandrea e&#8217; musicista, compositore e sound designer.  Con lui parliamo di suono a partire dalla &#8216;musica concreta&#8217;. Lo facciamo alla luce degli incontri sul tema organizzati da <u><a target="_blank" href="http://www.centrotemporeale.it/"> Tempo Reale</a></u> con i protagonisti del GRM, il gruppo di ricerca musicale di Parigi. Ricordiamo che su radiopapesse.org sono scaricabili gli audio degli incontri con <u><a href="http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1408/index.html?area=7">Christian Zanesi</a></u> e <u><a href="http://www.radiopapesse.org/w2d3/v3/view/radiopapesse/notizie--1409/index.html?area=7">Daniel Teruggi</a></u>.<br />Gli argomenti toccati da Mastandrea sono molti, dal soundesign del film Gomorra, all&#8217;audio multicanale, da Maddalena De&#8217;Pazzi all&#8217;ìntuzione sensibile di Kant. Un incontro denso di riflessioni e spunti per chi e&#8217; interessato alla comunicazione sonora. La musica che lega le parole di Luigi Mastandrea è scaricabile sotto creative commons dalla netlabel italiana  <u><a target="_blank" href="http://www.muertepop.com/">Muerte Pop</a></u>. I brani sono contemuti negli album: let&#8217;s drive to alaska - a bell and a mirror; oto - fake; all about max - nothing to say. Oltre alle parole di Mastandrea si possono ascoltare anche tre estratti da brani selezionati appositamenti dal compositore per Radio Papesse. Ringraziamo nuovamente il compositore per l&#8217;autorizzazione all&#8217;utilizzo.  Buon Ascolto. www.radiopapesse.org</p>
</p>
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