1,086,064 views Jan 16, 2025 #eurovision2025 #esc2025 #eurowizja2025

LUSTERKA

U srebrne lusterka uzirałasia

Było b charašo zabyt' pra toje

Rozohnajte dumki

Vse lude v selie pudnialisie

Translation:

In the silver mirror, I looked at myself

It would be good to forget all this

Chase away these thoughts

All the people in the village gathered

I becаme unwell

Śledź na Insta:

Live dla @hodnaby

#indawoods #eurowizja2025 #eurovision2025 #unitedbymusic #esc2025

Jun 10, 2019

(NOTE: This video has been edited as a result of judgment in the Court of Appeal in England and Wales in a libel action by Arron Banks, the funder of the Leave.EU Brexit campaign, against Carole Cadwalladr. A judge found that the talk was lawful at the time of delivery, however due to a subsequent change in circumstances part of the talk was found to be unlawful in England and Wales and has therefore been removed.)

Apr 10, 2025 #TED #TEDTalks #Politics

For more than 20 years, Olivier de Sagazan has developed a hybrid practice that integrates paint- ing, photography, sculpture, and performance. In his existential performative series Transfiguration, which he began in 2001, de Sagazan builds layers of clay and paint onto his own face and body to transform, disfigure and take apart his own figure, revealing an animalistic human who is seeking to break away from the physical world. At once disquieting and deeply moving, this new body of work collapses the boundaries between the physical, intellectual, spiritual and animalistic senses. The artist states: “I am interested in seeing to what degree people think its normal, or even trite, to be alive.” Olivier de Sagazan has exhibited widely in France and Europe,Canada, Brésil Corée in art galleries, museums, and film festivals. With an almost cult following online, and rave reviews about his expressive and inimitable style, it is no wonder de Sagazan’s remarkable “body art” work is featured in the non-verbal film Samsara, the Sequel to Baraka, directed by Ron Fricke.

For more than 20 years, Olivier de Sagazan has developed a hybrid practice that integrates paint- ing, photography, sculpture, and performance. In his existential performative series Transfiguration, which he began in 2001, de Sagazan builds layers of clay and paint onto his own face and body to transform, disfigure and take apart his own figure, revealing an animalistic human who is seeking to break away from the physical world. At once disquieting and deeply moving, this new body of work collapses the boundaries between the physical, intellectual, spiritual and animalistic senses. The artist states: “I am interested in seeing to what degree people think its normal, or even trite, to be alive.” Olivier de Sagazan has exhibited widely in France and Europe,Canada, Brésil Corée in art galleries, museums, and film festivals. With an almost cult following online, and rave reviews about his expressive and inimitable style, it is no wonder de Sagazan’s remarkable “body art” work is featured in the non-verbal film Samsara, the Sequel to Baraka, directed by Ron Fricke.

For more than 20 years, Olivier de Sagazan has developed a hybrid practice that integrates paint- ing, photography, sculpture, and performance. In his existential performative series Transfiguration, which he began in 2001, de Sagazan builds layers of clay and paint onto his own face and body to transform, disfigure and take apart his own figure, revealing an animalistic human who is seeking to break away from the physical world. At once disquieting and deeply moving, this new body of work collapses the boundaries between the physical, intellectual, spiritual and animalistic senses. The artist states: “I am interested in seeing to what degree people think its normal, or even trite, to be alive.” Olivier de Sagazan has exhibited widely in France and Europe,Canada, Brésil Corée in art galleries, museums, and film festivals. With an almost cult following online, and rave reviews about his expressive and inimitable style, it is no wonder de Sagazan’s remarkable “body art” work is featured in the non-verbal film Samsara, the Sequel to Baraka, directed by Ron Fricke.

FIBER Festival 4. 3. 2024 https://www.youtube.com/watch?v=cpG9We15rEs

On Saturday, December 2, 2023, FIBER, in collaboration with some active members of the permacomputing community, and the Unsustainable Research Group of the Willem de Kooning Academy, presented a day full of talks at Tolhuistuin, where a lineup of speakers offered different perspectives on translating sustainability, resilience, and regeneration principles into practical steps.

The Practices of Digital Resilience & Permacomputing symposium served as a temporary amplifying stage for researchers, creators, artists, designers, cultural workers and all those interested in computation to try reimagine, rebuild, and rewild our approach to computational culture and aesthetics.

Speakers: Marloes de Valk (NL), Marie Verdeil (BE), Sunjoo Lee (NL), Raaf (Unbinare, BE), Danny Tirthdas van der Kleij (varia, NL), Michal Klodner (CZ) | Moderators: Shailoh Phillips (NL) & Abdo Hassan (NL)

00:00 Introduction by Jarl Schulp and Aymeric Mansoux

Practices of Digital Resilience & Permacomputing is a collaboration between FIBER, the permacomputing community and the Unsustainable Research Group of the Willem de Kooning Academy.

It’s part of FIBER’s Reassemble Lab programme which is currently researching the theme Rewilding Computation, made possible with the support from Amsterdams Fonds voor de Kunst, Stimuleringsfonds.Creatieve Industrie, Pictorights Fonds, Tolhuistuin, and Arduino.

Piazzetta Prague was organized by the German-Czech media artist Michael Bielicky, together with a small group of assitants, students and friends at the Prague Academy of Art, where he had accepted a professorship a year earlier. The project was supported by Fluxus artist and Rector Milan Knížák, among others. Seven programmes were broadcast between mid-July and the beginning of August, after which broadcasting could not continue because the Academy of Fine Arts was renovated during the semester break. Bielicky, who was first a master student and then assistant to Nam June Paik at the Düsseldorf Art Academy, also used impulses from his work on “Piazza virtuale” in his subsequent media works. Shortly before the end of “Piazza virtuale”, another group from Prague produced two Piazzetta shows. “Piazza virtuale” was also broadcast at night in the ČSSR from 6 July 1991 by the newly founded channel OK3.

More information on Van Gogh TV and Piazza virtuale: http://vangoghtv.hs-mainz.de

Academy of Fine Arts in Prague | January 28–29, 2019

Few living American poets have so thoroughly absorbed, and cleverly responded to, the avant-garde traditions in visual art and poetry - including Dada, Futurism, Concretism, Fluxus, and Conceptual Art - as Kenneth Goldsmith. With influences ranging from John Cage and Andy Warhol to contemporary hip hop and internet artists, Goldsmith has pushed the limits of late twentieth century poetics to both reinvigorate and pioneer aspects of visual poetry, sound poetry, the list poem, and digital poetics. If it is true, as Brion Gysin once remarked, that innovations in writing lag 50 years behind those of visual art, Goldsmith has steadfastly worked to bring the form up to date with the accomplishments of conceptual and performance art.

In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.

Kenneth Goldsmith was born in Freeport, New York, to a family employed in the garment industry. He attended various schools in Long Island and Port Washington before receiving a BFA in Sculpture from the Rhode Island School of Design in 1984. Since then he has had a successful career as a visual artist and creator of textual objects, as well as being a DJ for the alternative radio station, WFMU (91.1, New York), and the original editor and compiler of the extensive online archive of avant-garde poetries, Ubu Web. Goldsmith lives in New York City with artist Cheryl Donegan and their son Finnegan.

Class of Interpretation (COI) is a joint educational project between Thyssen-Bornemisza Art Contemporary, Vienna (TBA21), and the Academy of Fine Arts, Prague (AVU).

The program offers ten semesters (2018–2023) of rigorous academic sessions including both open public lectures and semi-public seminars. A core group of twenty-five students have been selected for these semi-public seminars, but COI has the capacity to extend an invitation to more guests from the general public. It proposes to form an enclave of embodied learning, which will further a deep exploration of some crucial themes of contemporary art, including ecology, philosophy, and politics with international and local experts.

COI is curated by Boris Ondreička (TBA21) and Václav Janoščík (AVU).

Find out more at:

Copyright: COI

https://www.youtube.com/watch?v=iYXL3AR3uio

Keynote lecture conference Territories of Art, 2. 11. 2023. Prague, Academy of Performing Arts